This is an indispensable set – as revealing of the Beethoven quartets as Schnabel is of the sonatas, and if it were ever correct to speak of any performances as definitive, this is an instance when one might be tempted to do so. 132, Op. In the summer of 1826, when Beethoven sent off the finished score of his String Quartet in C-sharp minor, he flustered his publisher by jesting that it was “patched together from pieces filched here and there.” To the contrary, what appeared in print as Op. EMI planned for a long time to assemble this starry line-up of soloists, conductor and orchestra for Beethoven's Triple Concerto, and the artists do not disappoint, bringing sweetness as well as strength to a work which in lesser hands can sound clumsy and long-winded. This is one of the – perhaps the most – perfect accounts of the Fourth Concerto ever recorded. It’s possible, even probable. He is well matched in intellect, musicianship and temperament by cellist Xavier Phillips as they journey from the ridiculous (the Variations on ‘See the Conqu’ring Hero Comes’, in which Guy dispatches the virtuoso piano part with complete aplomb, to delectable effect) to the sublime (the Op 102 Sonatas). In G♯ minor, this movement is in bar form with a coda, which serves as a slow, sombre introduction to the next movement. To find out more about subscribing to this unique and endlessly fascinating resource, visit: gramophone.co.uk/subscribe. If possible, I'd like some reasonably recent recordings in fabulous sound. And it was seven years after that, in Reggio Emilia in 2008, that he conducted his first Fidelio. True, there are moments of grandeur but the overall impression is of a poised, at times chamber-like traversal, with sculpted pianism and crisply pointed orchestral support. “You even have the madness, in the Scherzo and the Finale. Christopher Headington (July 1993), Chamber Orchestra of Europe / Nikolaus Harnoncourt. Harnoncourt offers some answers that will be familiar to admirers of his Teldec recording of the symphonies (11/91). 'Kleiber, Erich': certainly. I didn’t pay very much, shall we say, to download this recording. 131. Cords explains that this is a response to the “pristine clarity” of Beethoven’s writing in, for example, the first movement fugue. While a parallel with, What makes it successful, Quintal emphasizes, is that “Beethoven is unabashed about, The presence of the number seven actually played a significant role in Brooklyn Rider’s approach to Op. 6: Budapest String Quartet In Concert At The Library of Congres, Beethoven: Late Quartets, Opp.127,130,131,132,135/Grosse Fuge, Op.133, Beethoven: Streichquartett, Op. 59/3, Op. And the outer movements are also wonderfully well done. Somehow Lewis’s quiet and distinctive voice can lift even the most familiar phrase on to another sphere and his playing throughout, shorn of accretion, makes all these sonatas shine with their first radiance and eloquence. The fff climax of the development of the Eighth Symphony's first movement is slightly underpowered, which is odd when the horns and trumpets are elsewhere so thrillingly caught; perhaps, in the Eighth, the recording could have been a shade tighter and drier in order better to define the playing of the London Classical Players. “We don’t want to stand outside the tradition and be iconoclastic in that way.”. London Classical Players / Sir Roger Norrington. A transitional theme appears next, and eventually we arrive at a second subject. The performance doesn't stale, though it is the first movement that stays most vividly in the memory. Sample Osborne’s way with the theme of the finale: it has an outward simplicity from which the variations can grow, yet listen more closely and you’ll detect the endlessly varied colourings and subtle changes of dynamics and phrasing, making the repeats truly developmental. I love the crispness of the Andante scherzoso and the cannily calculated crescendi at the start of the finale. Then, last month, came confirmation in Gunter Wand's Eroica that the traditional-classical approach can still be roundly satisfying. In Opp 74 and 95, they more than hold their own against all comers. View Profile View Forum Posts View Blog Entries Senior Member Join Date Jan 2017 Location London, … There’s the odd fumble in the Scherzo of No 31; but, if anything, the playing has even greater resolve, both in No 31 and in a songful (but never sentimental) account of No 27.
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