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Beethoven: Integral De Cuartetos ; Budapest String Quartet (1951-52) CD

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CD de audio , CD, 29 abr 2014
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EUR 226,26

Descripción del producto

Descripción del producto

This unique recording of the Beethoven string quartets made from 1951 to 1952 for Columbia has for the first time been entirely edited for CD. These digital remasterings enable the listener to hear the Budapest Quartet at the peak of its sound and performing a repertoire on which it so famously made its mark. Balance of tonality, intensity of expression, precise phrasing: the following collection is symbolic of the qualities of an ensemble that, during the 1950s, left behind a discography that continues to inspire musicians and listeners today.

Opinión

Lista de canciones:
1. String Quartet in F Major, Op. 18, No. 1
2. String Quartet in G Major, Op. 18, No. 2
3. String Quartet in D Major, Op. 18, No. 3
4. String Quartet in C Minor, Op. 18, No. 4
5. String Quartet in a Major, Op. 18, No. 5
6. String Quartet in B Flat Major, Op. 18, No. 6
7. String Quartet in F Major, Op. 59, No. 1
8. String Quartet in E Minor, Op. 59, No. 2
9. String Quartet in C Major, Op. 59, No. 3
10. String Quartet in E Flat Major, Op. 74, 'Harp'
11. String Quartet in F Minor, Op. 95, 'Serioso'
12. String Quartet in E Flat Major, Op. 127
13. String Quartet in B Flat Major, Op. 130
14. String Quartet in C Sharp Minor, Op. 131
15. String Quartet in a Minor, Op. 132
16. Grosse Fuge in B Flat Major, Op. 133
17. String Quartet in F Major, Op. 135


Detalles del producto

Listas de canciones

Disco: 1

  1. Quartet no. 1 in f major, op. 18 no. 1: I. allegro con brio
  2. Quartet no. 1 in f major, op. 18 no. 1: II. adagio affetuoso ed appassionato
  3. Quartet no. 1 in f major, op. 18 no. 1: III. scherzo, allegro molto
  4. Quartet no. 1 in f major, op. 18 no. 1: IV. allegro
  5. Quartet no. 2 in g major, op. 18 no. 2: I. allegro
  6. Quartet no. 2 in g major, op. 18 no. 2: II. adagio cantabile - allegro
  7. Quartet no. 2 in g major, op. 18 no. 2: III. scherzo, allegro
  8. Quartet no. 2 in g major, op. 18 no. 2: IV. allegro molto quasi presto
  9. Quartet no. 3 in d major, op. 18 no. 3: I. allegro
  10. Quartet no. 3 in d major, op. 18 no. 3: II. andante con moto
  11. Quartet no. 3 in d major, op. 18 no. 3: III. allegro
  12. Quartet no. 3 in d major, op. 18 no. 3: IV. presto
  13. Quartet no. 4 in c minor, op. 18 no. 4: I. allegro ma non tanto
  14. Quartet no. 4 in c minor, op. 18 no. 4: II. andante scherzoso quasi allegretto
  15. Quartet no. 4 in c minor, op. 18 no. 4: III. menuetto, allegretto
  16. Quartet no. 4 in c minor, op. 18 no. 4: IV. allegro
  17. Quartet no. 5 in a major, op. 18 no. 5: I. allegro
  18. Quartet no. 5 in a major, op. 18 no. 5: II. menuetto
  19. Quartet no. 5 in a major, op. 18 no. 5: III. andante cantabile
  20. Quartet no. 5 in a major, op. 18 no. 5: IV allegro
  21. Quartet no. 6 in b-flat major, op. 18 no. 6: I. allegro con brio
  22. Quartet no. 6 in b-flat major, op. 18 no. 6: II. adagio ma non troppo
  23. Quartet no. 6 in b-flat major, op. 18 no. 6: III. scherzo, allegro
  24. Quartet no. 6 in b-flat major, op. 18 no. 6: IV. la malincolia, adagio - allegretto quasi allegro
  25. Quartet no. 7 in f major, op. 59 no. 1: I. allegro
  26. Quartet no. 7 in f major, op. 59 no. 1: II. allegretto vivace e sempre scherzando
  27. Quartet no. 7 in f major, op. 59 no. 1: III. adagio molto e mesto
  28. Quartet no. 7 in f major, op. 59 no. 1: IV. allegro
  29. Quartet no. 8 in e minor, op. 59 no. 2: I. allegro
  30. Quartet no. 8 in e minor, op. 59 no. 2: II. molto adagio
  31. Quartet no. 8 in e minor, op. 59 no. 2: III. allegretto
  32. Quartet no. 8 in e minor, op. 59 no. 2: IV. finale, presto
  33. Quartet no. 9 in c major, op. 59 no. 3: I. introduzione, andante con moto - allegro vivace
  34. Quartet no. 9 in c major, op. 59 no. 3: II. andante con moto quasi allegretto
  35. Quartet no. 9 in c major, op. 59 no. 3: III. menuetto, grazioso
  36. Quartet no. 9 in c major, op. 59 no. 3: IV. allegretto molto

Disco: 2

  1. Quartet no. 10 in e-flat major, op. 74 "harp": I. poco adagio - allegro
  2. Quartet no. 10 in e-flat major, op. 74 "harp": II. adagio ma non troppo
  3. Quartet no. 10 in e-flat major, op. 74 "harp": III. presto
  4. Quartet no. 10 in e-flat major, op. 74 "harp": IV. allegretto con variazioni
  5. Quartet no. 11 in f minor, op. 95: I. allegro con brio
  6. Quartet no. 11 in f minor, op. 95: II. allegretto ma non troppo
  7. Quartet no. 11 in f minor, op. 95: III. allegro assai vivace ma serioso
  8. Quartet no. 11 in f minor, op. 95: IV. larghetto espressivo - allegretto agitato
  9. Quartet no. 12 in e-flat major, op. 127: I. maestoso - allegro teneramente
  10. Quartet no. 12 in e-flat major, op. 127: II. adagio, ma non troppo e molto cantabile
  11. Quartet no. 12 in e-flat major, op. 127: III. scherzando vivace
  12. Quartet no. 12 in e-flat major, op. 127: IV. finale
  13. Quartet no. 14 in c-sharp minor, op. 131: I. adagio ma non troppo e molto espressivo
  14. Quartet no. 14 in c-sharp minor, op. 131: II. allegro molto vivace
  15. Quartet no. 14 in c-sharp minor, op. 131: III. allegro moderato - adagio
  16. Quartet no. 14 in c-sharp minor, op. 131: IV. andante ma non troppo e molto cantabile
  17. Quartet no. 14 in c-sharp minor, op. 131: V. presto
  18. Quartet no. 14 in c-sharp minor, op. 131: VI. adagio quasi un poco andante
  19. Quartet no. 14 in c-sharp minor, op. 131: VII. allegro
  20. Quartet no. 13 in b-flat major, op. 130: I. adagio ma non troppo - allegro
  21. Quartet no. 13 in b-flat major, op. 130: II. presto
  22. Quartet no. 13 in b-flat major, op. 130: III. andante con moto ma non troppo
  23. Quartet no. 13 in b-flat major, op. 130: IV. alla danza tedesca, allegro assai
  24. Quartet no. 13 in b-flat major, op. 130: V. cavatina, adagio molto espressivo
  25. Grosse fugue, op. 133
  26. Quartet no. 13 in b-flat major, op. 130: VI. finale, allegro
  27. Quartet no. 15 in a minor, op. 132: I. assai sostenuto - allegro
  28. Quartet no. 15 in a minor, op. 132: II. allegro ma non tanto
  29. Quartet no. 15 in a minor, op. 132: III. canzona di ringraziamento, molto adagio
  30. Quartet no. 15 in a minor, op. 132: IV. alla marcia, assai vivace
  31. Quartet no. 15 in a minor, op. 132: V. allegro appassionato
  32. Quartet no. 16 in f major, op. 135: I. allegretto
  33. Quartet no. 16 in f major, op. 135: II. vivace
  34. Quartet no. 16 in f major, op. 135: III. lento assai, cantabile e tranquillo
  35. Quartet no. 16 in f major, op. 135: IV. grave ma non troppo tratto - allegro

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Amazon.com: 4.5 de un máximo de 5 estrellas 4 opiniones
10 de 12 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas How lovely to be in Budapest now that spring is here! 4 de abril de 2014
Por Andrew Billek - Publicado en Amazon.com
Formato: CD de audio Compra verificada
These complete recordings have not been available since, probably, the late 1950s. The Budapest Quartet was newly recorded in the stereo format in the late 50s but the boys were past their prime. The mono versions have been hard to get in the CD era and were only issued piece-meal. Now they come in a sexy red cardboard box, in individual red sleeves with the minimal but necessary information and a brief essay. The asked price is ridiculously low considering what you get.
These performances are without a doubt among the best recorded performances of this music. I state that without the qualifying 'in my opinion.' Mine is not a subjective opinion. It is an objective fact. How do I know? Trust me - I'm right. Don't even think of adding a comment to this review.
If you're under 70 years of age you probably aren't aware of these recordings. It seems that every decade has a new prism, mode or style in which to play the quartets. These interpretations stand out among the many great performances that followed. I grew up on the Budapest’s and when the CD age came I had purchased or listened to every other that appeared. I always came back to these as a reference point.
The permanent lack of surface noise on a CD and the excellent mastering make these performances new again.
1 de 2 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Historic greatness stands the test of time 26 de febrero de 2016
Por Amazon Customer - Publicado en Amazon.com
Formato: CD de audio Compra verificada
While I have only had time to listen to some of the Budapest Quartet’s historic Beethoven Cycle at the Library of Congress in 1951-1952, this review is based principally on the their performance of the Grosse Fuge, Op. 133, which is my favorite of Beethoven’s compositions for string quartet, the one I’m the most familiar with, and the first piece I listened to after opening the box. The comparison performance is the Grammy-winning one by the Juilliard String Quartet in the mid-1980s. Both performances are extraordinary, yet with important differences between them.

First is plain technology — the Budapest’s recordings seem flawlessly transferred from analog to digital, but such a transfer cannot add the highest overtones and timbres that simply were not picked up and recorded by the early 1950s sound equipment. One can still hear some of the richness of the four great Stradivarius instruments from the Library of Congress collection, but not their full sound. In contrast, everything from the Juilliard’s instruments is there to be heard.

The second difference is in microphone placement and monaural vs. stereo recording. In the Budapest’s recording, all the instruments can be heard clearly all the time they are playing, but it is as an ensemble of sound. The Juilliard’s recording puts each instrument in its own aural “space” to be heard.

Third is a difference in concept about how the performances by the individual members of the quartet come together as a unified performance. The Budapest performances represent a major departure from an earlier tradition where the first violin largely was a soloist with the other three as accompaniment. In this set, all four instruments are clearly co-equals in performance, yet the result is still a unified ensemble greater than the sum of its individual parts. The Juilliard’s performance — reinforced by the separate sonic “space” for each instrument — seems more focused on the articulation and expression of the individual instruments’ lines, with the result that in some more dissonant passages each instrument is playing its part brilliantly as a solo, but with a lesser sense of a sum emerging from the parts. This is not a criticism of the Juilliard’s approach, but an acknowledgment of its difference from the Budapest’s. And despite that difference, both of them deliver successfully stunning renditions of the lushly resonant final measures, and in the ensuing silence one can only say “wow” to oneself … every time.

If you already have the Juilliard’s Beethoven cycle, I would still recommend getting this one by the Budapest Quartet as something well worth your investment . It is different, but equally valid and successful as an experience of Beethoven’s genius. And If you don’t have the Beethoven quartets, the Budapest ‘s historic recordings — despite the 1950s sound —are a superb introduction to them.
7 de 8 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Classic Recording 8 de julio de 2013
Por D. J. Leedham - Publicado en Amazon.com
Formato: CD de audio Compra verificada
These are the transfer from the original 1951/2 recording. Sound quality if very good. You can quibble over stylistic or technical preferences compared with Tokyo or Julliard, or Emmerson, etc. But no question of the sheer quality of their beautifully combined musical intelligence. A joy and pleasure to listen to, over and over...
7 de 15 personas piensan que la opinión es útil
3.0 de un máximo de 5 estrellas The beginning of plenitude . . . 4 de diciembre de 2013
Por Albert MacSwigart - Publicado en Amazon.com
Formato: CD de audio
This is the first set of the Budapest complete Beethoven and I'm old enough to have purchased it in its original Hi-Fi LP incarnation, when it was virtually the only complete cycle available. I still revisit some of the old discs with great fondness from time to time, but I must say that the experience is no longer a unique one. The Budapest was a pioneering group, yes, and one of the things they pioneered was the notion that these pieces of music (the Late Quartets especially) could be played, and played well by more than one or two transcendental artists in the world. In short, they begot several generations of younger musicians who refused to accept the idea that late Beethoven was impossible to play except by a few hexagenarian geniuses. Now the world is full of first rate string quartets, and some of them (many of them perhaps) play Beethoven on an artistic level that is comparable and perhaps even superior. If there is one member of the Budapest who best exemplifies the ways the BQ democratized Beethoven without degrading him it is Alexander Schneider, "the best second fiddle in the world".


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