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Beethoven : Quatuors à cordes (Coffret 7 CD)

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Détails sur le produit

  • Interprète: Emerson String Quartet
  • Compositeur: Ludwig van Beethoven
  • CD (2 novembre 2010)
  • Nombre de disques: 7
  • Label: Deutsche Grammophon
  • ASIN : B003W16T9A
  • Autres éditions : Téléchargement MP3
  • Classement des meilleures ventes d'Amazon: 51.544 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Quatuor n 3 op 18 en re majeur - 1. allegro
  2. Quatuor n 3 op 18 en re majeur - 2. andante con moto
  3. Quatuor n 3 op 18 en re majeur - 3. allegro
  4. Quatuor n 3 op 18 en re majeur - 4. presto
  5. Quatuor n 1 op 18 en fa majeur - 1. allegro con brio
  6. Quatuor n 1 op 18 en fa majeur - 2. adagio affettuoso ed appassionato
  7. Quatuor n 1 op 18 en fa majeur - 3. scherzo (allegro molto)
  8. Quatuor n 1 op 18 en fa majeur - 4. allegro
  9. Quatuor n 2 op 18 en sol majeur - 1. allegro
  10. Quatuor n 2 op 18 en sol majeur - 2. adagio cantabile - allegro - tempo I
  11. Quatuor n 2 op 18 en sol majeur - 3. scherzo (allegro)
  12. Quatuor n 2 op 18 en sol majeur - 4. allegro molto, quasi presto

Disque : 2

  1. Quatuor n 4 op 18 en ut mineur - 1. allegro ma non tanto
  2. Quatuor n 4 op 18 en ut mineur - 2. andante scherzoso, quasi allegretto
  3. Quatuor n 4 op 18 en ut mineur - 3. menuetto (allegretto)
  4. Quatuor n 4 op 18 en ut mineur - 4. allegro
  5. Quatuor n 5 op 18 en la majeur - 1. allegro
  6. Quatuor n 5 op 18 en la majeur - 2. menuetto
  7. Quatuor n 5 op 18 en la majeur - 3. andante cantabile
  8. Quatuor n 5 op 18 en la majeur - 4. allegro
  9. Quatuor n 6 op 18 en si bemol majeur - 1. allegro con brio
  10. Quatuor n 6 op 18 en si bemol majeur - 2. adagio ma non troppo
  11. Quatuor n 6 op 18 en si bemol majeur - 3. scherzo (allegro)
  12. Quatuor n 6 op 18 en si bemol majeur - 4. la malinconia (adagio - allegretto quasi allegro - adagio - allegretto - poco adagio - prestissimo)

Disque : 3

  1. Quatuor n 1 op 59 en fa majeur - 1. allegro
  2. Quatuor n 1 op 59 en fa majeur - 2. allegretto vivace e sempre scherzando
  3. Quatuor n 1 op 59 en fa majeur - 3. adagio molto e mesto
  4. Quatuor n 2 op 59 en mi mineur - 1. allegro
  5. Quatuor n 2 op 59 en mi mineur - 2. molto adagio
  6. Quatuor n 2 op 59 en mi mineur - 3. allegretto
  7. Quatuor n 2 op 59 en mi mineur - 4. finale (presto)
  8. Quatuor n 1 op 59 en fa majeur - 4. thème russe (allegro)

Disque : 4

  1. Quatuor n 3 op 59 en ut majeur - 1. introduzione (andante con moto) - allegro vivace
  2. Quatuor n 3 op 59 en ut majeur - 2. andante con moto quasi allegretto
  3. Quatuor n 3 op 59 en ut majeur - 3. menuetto (grazioso)
  4. Quatuor n 3 op 59 en ut majeur - 4. allegro molto
  5. Quatuor op 74 en mi bemol majeur - 1. poco adagio - allegro
  6. Quatuor op 74 en mi bemol majeur - 2. adagio ma non troppo
  7. Quatuor op 74 en mi bemol majeur - 4. allegretto con variazioni
  8. Quatuor op 95 en fa mineur - 1. allegro con brio
  9. Quatuor op 95 en fa mineur - 2. allegretto ma non troppo
  10. Quatuor op 95 en fa mineur - 3. allegro assai vivace ma serioso
  11. Quatuor op 95 en fa mineur - 4. larghetto espressivo - allegretto agitato
  12. Quatuor op 74 en mi bemol majeur - 3. presto - più presto quasi prestissimo

Disque : 5

  1. Quatuor op 127 en mi bemol majeur - 1. maestoso - allegro
  2. Quatuor op 127 en mi bemol majeur - 2. adagio ma non troppo e molto cantabile
  3. Quatuor op 127 en mi bemol majeur - 3. scherzando vivace
  4. Quatuor op 127 en mi bemol majeur - 4. finale
  5. Quatuor op 131 en ut diese mineur - 1. adagio ma non troppo e molto espressivo
  6. Quatuor op 131 en ut diese mineur - 2. allegro molto vivace
  7. Quatuor op 131 en ut diese mineur - 3. allegro moderato
  8. Quatuor op 131 en ut diese mineur - 5. presto
  9. Quatuor op 131 en ut diese mineur - 6. adagio quasi un poco andante
  10. Quatuor op 131 en ut diese mineur - 7. allegro
  11. Quatuor op 131 en ut diese mineur - 4. andante ma non troppo e molto cantabile - più mosso - andante moderato e lusinghiero - adagio - allegretto - adagio, ma non troppo e semplice - allegretto

Disque : 6

  1. Quatuor op 132 en la mineur - 1. assai sostenuto - allegro
  2. Quatuor op 132 en la mineur - 2. allegro ma non tanto
  3. Quatuor op 132 en la mineur - 5. allegro appassionato
  4. Quatuor op 135 en fa majeur - 1. allegretto
  5. Quatuor op 135 en fa majeur - 2. vivace
  6. Quatuor op 135 en fa majeur - 3. lento assai, cantante e tranquillo
  7. Quatuor op 135 en fa majeur - 4. der schwer gefaßte entschluß (grave - allegro - grave ma non troppo tratto - allegro)
  8. Quatuor op 132 en la mineur - 3. canzona di ringraziamento offerta alla divinità da un guarito, in modo lidico (molto adagio) - sentendo nuova forza (andante)
  9. Quatuor op 132 en la mineur - 4. alla marcia, assai vivace - più allegro - presto

Disque : 7

  1. Quatuor op 130 en si bemol majeur - 1. adagio ma non troppo - allegro
  2. Quatuor op 130 en si bemol majeur - 2. presto
  3. Quatuor op 130 en si bemol majeur - 3. andante con moto ma non troppo. poco scherzando
  4. Quatuor op 130 en si bemol majeur - 4. alla danza tedesca (allegro assai)
  5. Quatuor op 130 en si bemol majeur - 5. cavatina ( adagio molto espressivo)
  6. - grosse fuge in b flat, op.133
  7. Quatuor op 130 en si bemol majeur - 6. finale (allegro)

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Amazon.com: 32 commentaires
55 internautes sur 56 ont trouvé ce commentaire utile 
As Good As It Gets 27 janvier 2012
Par Johannes Climacus - Publié sur Amazon.com
Format: CD Achat vérifié
This really is an astonishing bargain: a first-rate Beethoven quartet cycle, in digital recording of recent provenance, now available in the lowest price bracket.

The quality of the performances is quite exceptional. I have only recently come to appreciate the collective artistry of the Emerson Sring Quartet. Previously I had heeded the admonitions of reviewers, online and in print, to the effect that their playing was slick, superficial "virtuosity for its own sake." Then not long ago I purchased their most recent CD on Sony (the Mozart "Prussian" Quartets) and was simply bowled over. In this Beethoven cycle there is virtuosity aplenty--we would expect nothing less of an ensemble known to play all six Bartók quartets in a single evening--but at least to my ears it is entirely in the service of musical expression. The fugal finale of Op. 59, no. 3, will lift you right out of your seat--an incredible feat of collective bravura--yet the movement's formal outlines are clearly in view and every phrase sings out full-throatedly--even at their blistering pace. Throughout the cycle, slow movements are deeply expressive without being unduly romanticized. The elegance as well as the "unbuttoned" enthusiasms of the Op. 18 quartets is splendidly conveyed; in Op. 59, 74 and 95 they communicate an appropriate sense of adventure as Beethoven experiments with successive redefinitions of the genre; and in the Late quartets they manage to express the cragginess, the whimsicality, the existential angst, and the mysticism without a single detectable imperfection of ensemble or intonation.

Indeed, the Emerson's technical address is almost superhuman: as quartet playing, this is as good as it gets. Yet this very quality, paradoxically, manages to illuminate the underlying humanity, even vulnerability. of Beethoven's most private utterances. Every phrase breathes; every note is placed and articulated with exquisite care for detail. At times, this virtue can be heard as a liability, and occasionally (as in the opening movement of Op. 131), I thought the Emersons came perilously close to "loving the music to death." Some listeners, myself included, would trade some of their sophistication--genuine though it is, and rarely "showy"--for a greater measure of spontaneity. Even this misgiving surfaces but rarely in the ongoing and effortless stream of sheer loveliness that proceeds from these four extraordinarily gifted (and democratically organized) instrumentalists. One listen through their rendition of the "Heiliger Dankgesang" from Op. 132 should convince anyone of the Emerson's musicality, sincerity, and deep understanding of Beethoven. No empty virtuosity here--or really anywhere in this glorious cycle, which now holds a place in my affections alongside the Busch, the Budapest of the 1940's and the Hungarians as the finest Beethoven cycle ever recorded.

No grumbles about the recording, either; the DG/Universal engineers have caputred this group's distinctive sonority--sweet, tart and spicy--with remarkable clarity, and plenty of ambient warmth.

Whatever Beethoven quartet recordings you may already own, you must hear the Emersons. And while you're at it give a listen to their equally perceptive Mozart, Haydn and Schubert.
203 internautes sur 228 ont trouvé ce commentaire utile 
Everbody Into The Pool 4 février 2011
Par J. Lambie - Publié sur Amazon.com
Format: CD
Howdy folks. Lest you fret, I am under no illusion that I am the first to review these recordings. These are a bargain re-release of the the DG recordings listed below for $50-$60 more. (Which is what I paid and still feel like I got a bargain.) If you like play-ground arguments, there are currently 25 reviews accompanying the listing below. It's as passionate a bunch of opinions as you are likely to find. If we could get all the reviewers together with some liquor, we'd have the makings of a terrific bar fight. The interesting thing to me is that no other set of these quartets generates this amount of passion. And I can't help but think that that alone would tickle Ludwig to death.

To me, one of the most peculiar notions abroad in the land is that there is a "right" way to perform a piece of music and whatever differs is "wrong". And how coincidental it is that the "right" way just happens to be the preference of the reviewer. I'm waiting for someone to say,"I've spent my life as a musician studying this magnificent piece and this performance is precisely the one the composer intended and I don't care for it at all. Don't like it no way, no how." I'm coming up 68 so I'm not holding my breath. (I confess that the notion that an artist as creative as a Bach or Beethoven would play any piece of music the same way over and over to be fatuous in the extreme. I've made a living as an actor for over 45 years and never been able to repeat a performance or line reading exactly even when I wanted to.) There's a line in a Peter Shaffer play in which a straight-laced accountant is described as being "walled up in 'should' like a tomb". So my point becomes, once you've decided your preference is "right", then you can't even hear the "wrong" ones. You're too busy being upset by the violation of your "should". For instance, try changing a sentence in a child's favorite bedtime story. Just try it.

So what was I talking about before I became distracted by my own wisdom? Oh yeah, the Emerson's Beethoven. No question they can rattle your cage. Their prestos cannot be mistaken for anything else. They are the musical equivalent of a Chilean bus ride in the Andes on a dirt road without a guard-rail and a NASCAR wannabe at the wheel. We're talking genuine excitement and willtheygoovertheedge suspense. On the other hand, some of their adagios are heartrending in their simplicity and lack of melodrama. They just play the music without trying to tell you how you should feel about it. They let Beethoven speak for himself. Try the Op. 135 (a little miracle which Beethoven only heard in his head) for example. It is my sincerest hope that somewhere, somehow, Beethoven has heard the Emerson's interp and sat back with a grin saying,"Wow! Who knew?" Remember, this is the guy who in the middle of the last movement of his last piano sonata (which he also never heard outside the bounds of his skull) invented Ragtime, so he wasn't above shaking things up when it comes to a musical experience. To now try to cast him as hidebound traditionalist just has to be the very definition of nonsense on stilts.

Now none of this should be interpreted to mean that the Emerson version is my ultimate favorite. I'm fickle. Depends on the day. Some days it's the Lindsays (first recordings), some days the Tokyo (first or second). Others the Alexander delights and, still others, the Takacs is cracker-jack. And let's not forget the Petersen Qt. No, no. A hundred years ago, you'd be lucky to have heard even a mediocre performance of any of LvB's quartets even once in your lifetime....even. Now, you can listen to splendid performances whenever. Makes you wonder what was so good about the good ol' days. Except that an irascible, middle-aged, deaf guy could still hear God whispering to him. He was not entombed in should. But, in the immortal words of the poet Simon, "A man hears what he wants to hear and he disregards the rest." Listening is one thing. Hearing is another thing altogether.

Anyhoo, you now can join the fun for about two bucks a quartet including shipping. Choices, choices.
12 internautes sur 13 ont trouvé ce commentaire utile 
Excellent early and middle quartets and mixed results in the late quartets 23 mai 2013
Par Gwac - Publié sur Amazon.com
Format: CD Achat vérifié
I was introduced to Beethoven's string quartets by the Emersons through their 3-disc "Trio" set of late quartets. Over time I was able to hear other ensembles (Alban Berg, Suske, Takacs, Cleveland, Talich, Vegh, Italiano, Guarneri, Gewandhaus, among others), and frankly I came to the conclusion that the Emersons were not my favorite in the late works. However, I was still curious enough about the Emersons' Beethoven that when this "Collector's Edition" budget box of the complete quartets came out I didn't hesitate to pick it up. It's a good thing, too, as my impression of the Emersons' early and middle quartets is more consistently positive than with the late quartets. Their energy and dramatic flair suit these more youthful and revolutionary works very well. In particular I consider their recordings of Opp. 59/2, 74, and 95 to be among the very best I've heard. Their early quartets are clean, brisk and dramatic without missing out on the grace of some of the nice slow movements like the adagio cantabile of Op. 18/2 and the andante cantabile of Op. 18/5. The focus on the Emersons' speed and virtuosity tends to overlook the fact that they present the music in scrupulous detail. Consider the buildup to the exquisite climax of the first movement of the 'Harp' quartet - in no other recording are the instrumental balances so clear and carefully handled, and the result is a gorgeously ecstatic finish.

My reservations are mostly regarding the late works, where the short, fast movements like the prestos of Opp. 130 and 131 and the vivace of Op. 135 are played with amazing perfection while critical slow movements like the adagio ma non troppo of Op. 127 and the andante ma non troppo of Op. 131 lack the grace and delicacy needed to seal the deal. Also, the dynamic punches can get tiresome in some movements like the scherzo and finale of Op. 127. These complaints aside, I do think their Opp 132 and 135 are consistently excellent. Outside of the late quartets I also have reservations regarding the finale of Op. 59/3, where not even the Emersons' virtuosity can sustain the manic tempo; The result is that important details and phrasing are smeared in the name of speed.

The recorded acoustic captures each instrument individually while leaving enough room for the sounds to reverberate and coalesce. It is ultra-clear and suits the Emersons' virtuosic ensemble. Liner notes are pretty abbreviated yet these days it seems we are lucky to get anything at all.

There are a lot of great recordings of these works out there, each providing a slightly different perspective on this incredible music. While the Emersons tend to get a bad rap for overlooking depth in favor of excitement, I don't quite see it that way with this collection. In my view their early and middle works stand among the best, even in the slow movements, while the late quartets lack some degree of mystery and reverence. Stylistically they are complementary to other recordings that tend towards the lyrical and searching (Italiano, Suske, Gewandhaus, Vegh, Talich). If you're looking for only one set, the Alban Berg Quartett and the Takacs Quartet take more of a middle road that for my money captures the best of both worlds.
10 internautes sur 11 ont trouvé ce commentaire utile 
Room at the top 2 septembre 2012
Par Jon Miller - Publié sur Amazon.com
Format: CD Achat vérifié
Before recent changes the Emersons had improved recognizably upon even their previous excellence. This was apparent when they performed the quartets opus 130, 132, and 133 in Savannah, including a particularly electrifying Grosse Fugue, best that I have heard. It is also true of their more recent Haydn and Mozart (their two CD "Haydn Project" quartets/DG and Mozart's #s 21-23/Sony.)
In this Beethoven set, there is more interpretive probing/depth in all of the quartets-less of a sense of rush. It is apparent in the slow movements of opus 59 and throughout the final five, e.g the end of opus 127/2 with its transfigured modulations and all of Opus 130-133.
The opus 18s contain youthful brio (occasionally on the cusp of excess depending upon my mood) in the outer movements, including a fiery 18/4 and a sunnier 18/5. The Janacek Quartet's 18/6 has been unapproached yet for me, and the Emersons face formidable competition from other groups. But their set is fully competitive with them

Cycles: Amadeus, Tokyo, Vegh, Talich, Smetana, Italiano (especially #s 7-16)
Singles: Lindsays #s 7-16 ( I have not yet heard their opus 18s); Janacek Quartet 59/2 and 130
Barylli Quartet #s 1-6
5 internautes sur 5 ont trouvé ce commentaire utile 
A bargin for the Beethoven aficionado 21 septembre 2013
Par Micaloneus - Publié sur Amazon.com
Format: CD
The Emerson String Quartet combine a strength of performance at the same time giving the listener subtle shades of color producing one of the supreme recordings of Beethovens string quartets ever. They've almost done the unattainable, by producing a new approach to this old musical literature, while maintaining integrity. They bring a level of thought to these performances that have rarely been matched. Enthusiastic and sensitive interpretations rolled into one.

This set is my favorite interpretation. The Budapest, Busch, Guarneri, Talich and Vegh quartets are also very good, but these provide technical brilliance and are faithful to the score, while being heartwarming and intellectually inspiring. Also, these are definitely not cold readings, but ecstatic one's. I found them refreshing and different, and still deeply moving and of course, thrill with excitement.

The main reason I recommend these recordings is because they're carefully edited performances, so well edited in fact, that I never heard a single edit, and I'm a headphone listener. They recorded many takes (versions) so that they (the Emersons & producer Max Wilcox) could cherry pick the best parts within each movement, creating "the magic take" or at least something very close. I also read that they'd like to enjoy hearing these recordings someday, without worrying...could we have done it better? Sure, they could have done the "one take" perfectly (I've seen them live), but perfect doesn't necessarily mean...magical. They utilized the recording studio for all it's worth. Bravo!

These musicians have obviously polished their form to a high level of refinement, and anyone interested in the string quartets of Beethoven would likely rate this set as a valuable addition to their collection.

Highly recommended.
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