In the stereo era, before digital, there were two great sets of recordings of 's string quartets: the 's for Philips and the 's for Deutsche Grammophon. You, yourself, dearest friend, told me of your satisfaction with them during your last Visit to this Capital. So I took the plunge and bought this. Here, certainly, the individuality of the four instruments is fully realized, while the interplay of motif and melody between them is of a compositional order that makes the dull word 'counterpoint' seem inadequate and inappropriate. Also owned the Haydn Quartet.
They are, it is true, the fruit of a long and laborious endeavor, yet the hope inspired in me by several Friends that it may be at least partly compensated encourages me, and I flatter myself that this offspring will serve to afford me solace one day. In general the ten mature quartets, though recorded earlier 1960's , sound marginally more natural to my ears than the early quartets, which if memory serves me correctly are of 1970's vintage. You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. At this time, the quartet began to consistently have four movements, like the form. The latter also playing Eine Kleine Nachtmusik K. It's nice that it makes people jolly happy.
This is Global Limited London. Robert I really enjoyed No. But a longer discussion is impracticable here: suffice it to say that they are admirable despite an occasional slowish tempo and that the recording is fresh and faithful. Tastes have changed, as has the recording quality , with the modern version better than the older 1991 recordings. The playing of the Quartetto Italiano has a freshness, range and subtlety that vividly realizes the music in all its variety, showing that the music making can be both spontaneous-sounding and thoughtful. The string quartet was far more important to Haydn than to Mozart which is why Haydn composed far more in this area than the younger composer.
Quatuor Mosaiques also have recorded the Clarinet Quintet K. Maybe this has something to do with the fact that my stereo system is rather old from the mid and late 80's, that is , and I have often found it to be the case that a well-engineered older recording just sounds better to my ears than any of the more recent state-of-the art innovations. As for the Mozart quartet cycles - they're all very pleasant middle-upper class Viennese chamber music to air when wearing lycra tights and pommel hair-do's. Here they are more willing to play with intimacy and quiet intelligence and less inclined to indulge in rhetoric and exaggeration. By joining our community you will have access to post topics, upload content and access many other features.
Can't say I have any Mozart favourites :P I think many would say Mozart's last 10 quartets at least are not background music, and of course Haydn himself gave a very positive opinion on Mozart's later efforts in this genre. Mozart studied Haydn's string quartets and began composing this set of six, which were published in 1785. My favorite is the set by Hagen String Quartet. Best of all is K156 in G, with its breezy, wittily developed opening Presto — a sort of proto-waltz — and pathetic E minor Adagio. On the other hand, I must confess to feeling that this can be wearing particularly in the earlier music where at times I long for an unforced simplicity, but also often in the better-known later quartets. If you have any problems with the registration process or your account login, please.
As a longstanding fan of the Amadeus Quartet, I have heard all of their Mozart recordings, and am of the opinion that their later recordings are by no means inferior. I was frankly amazed at the final movement of the second Haydn Quartet, in D Minor, for example. He has taste, and, what is more, the most profound knowledge of composition. These works stand as some of Mozart's most famous works. No16, the E Flat one it seems k428, is surely one of his best. So I guess this is little discussed topic.
Favorable reports of the quartets came soon after their publication from newspapers in and Berlin. Admirers of the Amadeus Quartet will not need to be told what to expect in terms of performance style. It is this indulgence above all which urges me to commend them to you and encourages me to hope that they will not seem to you altogether unworthy of your favour. Registration is absolutely free so please,! Repetition makes them seem more varied in quality than I had expected. The Quartetto Italiano Philips and, more recently, the American Quartet MusicMasters would be my first choices in these apprentice works, though both are only available as part of a complete Mozart quartet cycle.
The other four discs have 14-23 in good recordings with some divertimenti and other quartets that seemed more interesting than the ones on disc 1 and 2. Here they are then, O great Man and dearest Friend, these six children of mine. The players have still greater interpretative challenges and opportunities in the quartets of the 'second period', by which I mean the ten quartets of 1782-90. And you need to get your head examined if you think the Clarinet Quintet is nothing special. The Amadeus are at their finest, not surprisingly, in the later quartets including the six dedicated to Haydn and the final three ''Prussian'' Quartets. Oddly enough, this finale was a later addition, as the accompanying booklet reminds us: it is a little dismissive of the work, finding it dominated by the first violin, but this does not especially strike me.
I had always heard it so much more forcefully stated, the first violin telegraphing distress. Di Mozart's enthusiasm for a projected set wane for some reason? To me these recordings sound very Mozartean; this is classic Mozart playing at its best. These followed a gap of nine years 1773-82 which roughly parallels a similar hiatus in Haydn's quartet series between his Opp. Actually I would recommend the Telarc recording of. The early quartets among which there are a surprising number of near-masterpieces are given no more or less than the weight they deserve; their rococo charms are undeniable in these light-hearted, but never condescending renditions. None of the great mature quartets was recorded later than 1969, in fact, though this need not worry us since the quality of the sound is at the very least serviceable.
These recordings were made in the 1960's and 1970's, and the sound is consistently very good. May it therefore please you to receive them kindly and to be their Father, Guide and Friend! From this moment I resign to you all my rights in them, begging you however to look indulgently upon the defects which the partiality of a Father's eye may have concealed from me, and in spite of them to continue in your generous Friendship for him who so greatly values it, in expectation of which I am, with all of my Heart, my dearest Friend, your most Sincere Friend, W. The booklet has detailed information about the recording times and venues, although it does not say if the original recordings were remastered. The Life of Mozart Including His Correspondence. One could differ with this or that detail— for example the opening Presto of K156 is a bit leisurely and its E minor Adagio perhaps invested with a profundity more suited to the later quartets, while the Andante un poco allegretto of K158 could flow more—but it is more sensible to enjoy these performances on their own terms, which remain consistently within good Mozart style.