Would someone please round up the members of Camerata San Antonio, lock them up in a room, and not let them out until they’ve recorded the whole damn cycle of Beethoven’s 16 string quartets?

The notion first occurred to me in March of last year, when the foursome delivered a stunning account of the “Great Fugue” in its original context as the final movement of the Quartet in B-flat, Op. 130. Then the first of the three “Rasumovsky” Quartets (Op. 59,No. 1, in F) closed Camerata’s Feb. 18 concert at the University of the Incarnate Word, and the impression was confirmed. Feral and untethered, but also warm and sweet, and always in motion, this was among the most Beethovenian Beethoven performances in my experience, whether live or in recordings.

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