- Compositor: Ludwig Van Beethoven
- CD de audio (29 de abril de 2014)
- Número de discos: 8
- Formato: CD
- Sello: United Archives
- ASIN: B005HO1W7O
- Disponible también en: CD de audio | Música MP3
- Clasificación en los más vendidos de Amazon:
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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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.
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
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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.
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.