By Nancy Plum

Over its history, Princeton University Concerts has developed strong collaborative relationships with a wide range of performing organizations specializing in specific composers, but especially the renowned string ensemble Takács Quartet, with their legendary interpretation of Ludwig van Beethoven. The innovative players returned to Richardson Auditorium last Thursday night with more Beethoven, as well as music of Johannes Brahms and British pianist/composer Stephen Hough. With the Takács seasoned artistic identity and Hough’s virtuosic technique, the full house at Richardson was treated to a performance which easily clarified why the Takács musicians have appeared on the Princeton University Concerts series more than 20 times.

Violinists Edward Dusinberre and Harumi Rhodes, violist Richard O’Neill, and cellist András Fejér opened Thursday night’s program with a string quartet from Beethoven’s early period. String Quartet in F Major, Op. 18, No. 1, full of the composer’s trademark melodic and rhythmic variety, began with chipper “question and answer” passages which the Takács Quartet played with decisive repetitions before launching into a lyrical opening theme. Throughout the movement, the Quartet made the most of uniform silences and sforzando dynamic effects, with second violinist Rhodes particularly leaning into the score.

The dramatic second movement “Adagio” featured an intense melody from first violinist Dusinberre, with Rhodes and violist O’Neill trading lyrical phrases. The rollicking “Scherzo” was played with playful ornaments, and Beethoven’s Quartet closed with the Takács musicians building intensity well, led by Dusinberre. Fejér had a chance to emerge from the texture with energetic solo playing.

As part of its 50th anniversary season focus on innovation, the Takács Quartet has teamed with pianist and composer Sir Stephen Hough, taking full advantage of all his talents. A longtime collaborator with the Takács musicians, Hough composed a string quartet for the ensemble in 2021. Turning away from the historic Austro-German model, Hough’s String Quartet No. 1 is an homage to the pre-World War I French Belle Époque era. The six movements of the work subtitled “Les Six Rencontres” portray random “meetings” at varied locations, including a boulevard, park, theater and church. In this collection of vignettes, Hough effectively captured scenes of Paris in a time untouched by worldwide calamity.

The opening scene portrayed a romantic walk down a boulevard, led by violist O’Neill. Dusinberre played a winding melody conveying the casual atmosphere of a park, delicately accompanied by pizzicato second violin and cello. Rhodes guided the ensemble through a smooth homogenous sound in passages taking place at a hotel, as the Quartet well handled the rhythmic shifts and varied styles in the movement. The most reverent vignette depicted a scene “at the church,” and each player maintained a reflective character, with O’Neill providing a poignant melody. Hough’s String Quartet closed joyfully, with a bit of humor within a celebratory flair.

Hough joined the Takács Quartet as pianist for the closing work on the program, Brahms’ Quintet in F minor for Piano and Strings, Op. 34. Originally composed for five-part string ensemble, this piece subsequently became a sonata for two pianos before its final form as a four-movement Quintet for piano and string quartet. Hough and the Takács players highlighted the drama of the music from the outset, with exacting precision between piano and strings. The opening movement presented the four strings as contrasting to the piano, yet the result was true partnership, rather than tension. The second movement “Andante” was played as a lullaby, with sweet thirds between the two violins and a poignant melody from Fejér.

Throughout the Quintet, Hough’s flowing keyboard lines consistently had direction, with the piano serving as a fifth and equal solo instrument. Both pianist and string players executed the dotted rhythms of the third movement in martial fashion. Together with Hough’s strong independent keyboard performance, the Takács Quartet well brought out Brahmsian majesty.

A stark chromatic introduction opened the final movement, with Hough and Fejér leading the way to a spirited rondo. Hough demonstrated an ability to find elegance within the drama, and the five performers together were instinctively in synch without having to watch one another. A fiery coda featuring quick playing by all enthusiastically closed the Quintet with Beethovenesque passion and fervor.

Princeton University Concerts will present the Richardson Chamber Players on Sunday, March 2 at 3 p.m.in Richardson Auditorium. “Serenade Meets Steampunk” will feature music of David Bruce and Johannes Brahms. Ticket information can be obtained at concerts.princeton.edu/events.