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Bartók: The String Quartets (2 CDs)
 
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Bartók: The String Quartets (2 CDs)

13 janvier 1998 | Format : MP3

EUR 15,99 (TVA incluse le cas échéant)
Également disponible en format CD

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Disc 2
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6:53
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Détails sur le produit

  • Date de sortie d'origine : 13 janvier 1998
  • Date de sortie: 13 janvier 1998
  • Nombre de disques: 2
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 1997 Decca Music Group Limited
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 2:30:42
  • Genres:
  • ASIN: B0025CDGSO
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 153.352 en Albums (Voir les 100 premiers en Albums)

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Format: CD
Les cent dernières années ont vu la composition de plusieurs cycles de Quatuors à cordes de très grande qualité, depuis celui d'Arnold Schönberg (1874-1951) à celui de Nicola Bacri (né en 1961), en passant par celui d'Ottorino Respighi (1879-1936), de Frank Bridge (1879-1941), de Karl Weigl (1881-1949), de Nikolaï Miaskovsky (1881-1950), de Gian Francesco Malipiero (1882-1973), d'Egon Wellesz (1885-1974), d'Heitor Villa-Lobos (1887-1959), d'Ernst Toch (1887-1964), de Bohuslav Martinü (1890-1959), de Darius Milhaud (1892-1974), de Walter Piston (1894-1976), de Paul Hindemith (1895-1963), d'Howard Hanson (1896-1931), de Richard Flury (1896-1967), d'Alexandre Tansman (1897-1986), de Marcel Mihalovici (1898-1985), de Silvestre Revueltas (1899-1940), de Randall Thompson (1899-1984), d'Ernst Krenek (1900-1991), d'Edmund Rubbra (1901-1986), de Conrad Beck (1901-1986), de Vissarion Chebaline (1902-1963), de Giacinto Scelsi (1905-1988), de Michael Tippett (1905-1998), de Benjamin Frankel (1906-1973), de Dmitri Chostakovitch (1906-1975) bien sûr, mais aussi d'Ahmed Adnan Saygun (1907-1991), d'Elliott Carter (né en 1908), de Vagn Holmboe (1909-1996), de William Schuman (1910-1992), d'Alan Hovhaness (1911-2000), de Donald Gillis (1912-1978), de Daniel Jones (1912-1993), de David Diamond (1915-2005), de Mordecai Seter (1916-1994), de Milton Babbitt (né en 1916), d'Isang Yun (1917-1995), de Richard Arnell (né en 1917), de George Rochberg (1918-2005), de Mieczysaw Weinberg (1919-1996), de Leon Kirchner (né en 1919), de Robert Simpson (1921-1997), d'Iain Hamilton (1922-2000), de Ned Rorem (né en 1923), de Boris Tchaikovsky (1925-1996), d'Hans Werner Henze (né en 1926), d'Einojuhani Rautavaara (né en 1928), de...Lire la suite ›
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Amazon.com: HASH(0x8b613a14) étoiles sur 5 21 commentaires
101 internautes sur 104 ont trouvé ce commentaire utile 
HASH(0x8b797ba0) étoiles sur 5 Incredible performances in the Vegh Qt tradition... 16 janvier 2001
Par C. Noble - Publié sur Amazon.com
Format: CD
For years I was a card-carrying devotee of the Emerson Quartet's Grammy Award-winning set of these quartets on Deutsche Grammophon. I still love the ESQ's performances: they're wonderfully rhythmic in the more rigid sense of the word, amazingly muscular and clear. The recording is likewise almost microscopically close -- there's no place to hide, and the ESQ has nothing to hide, the performances set a high-water mark of technical perfection. Then I picked up the Takacs Quartet's set. Whereas the ESQ readings come in the tradition of the Juilliard Quartet's groundbreaking set(s), with a very literal interpretative view, the Takacs take the more gypsy-informed approach, more in the vein of the celebrated Vegh Quartet. There is a sense of color and fantasy which I'd previously thought lacking in some of the Bartok quartets, at least in the performances I'd heard live and on CD. The Takacs bring such authority to these pieces, and such a sense of wonder and joy, too. The sound is exemplary, but not with the in-your-face closeness of the DG set. It's like listening to a live concert in a nicely (but not overly) reverberant hall. Whatever set(s) you may already own, or if you're looking for a fabulous introduction to these incredible masterpieces of the string quartet literature, buy this set now -- you will not be disappointed!
75 internautes sur 76 ont trouvé ce commentaire utile 
HASH(0x8b797bf4) étoiles sur 5 Finally, they get it 31 août 2005
Par Cade - Publié sur Amazon.com
Format: CD
Bartok has been called many things, but one thing I wish he would be called more often is a mystic of music. In my over-educated opinion, that is what he was, and that dominated him as a composer, a pianist, an ethnomusicologist and a pedagogue. The problem is that many performers come to this music very naive or, worse, dismissive of this quality of Bartok's genius, and focus too heavily on technical apsects. The result is obvious: a failure to give a proper and authentic voice to the music.

I am sympathetic to the dilemma of any performer tackling these quartets - these are very demanding on a technical level alone. But this does not mean their beauty resides purely in that facet, nor does it excuse any performer for rendering these as a technical or academic exercise. Suffice to say, some performers just don't "get it," and thus ought not attempt these works, if they are not able to met the technical challenge they present and then transcend it in spirit to articulate their fuller beauty.

As a musician who's studied Bartok academically, I am very aware on an intellectual level of how these works relate to Bartok's studies in folk music, and I can easily pick out and analyze his inversions and sequences of folk motifs that populate these works. However, all too often this is something not easily *heard* by the average listener - a tragic irony, seeing much of Bartok's work is so rooted in folk music, which is possibly the most accessible of music idioms. Sadly, this is a mystic's lot: they experience something that is univerally accessible, yet in the process of articulating that experience, those first recieving the message miss the point, get destracted by superficial details, and obscure the beauty and truth of the mystic's message for everyone else. Luckily, music can speak for itself - if the performer doesn't get in the way. So if the performer understands, either consciously or intuitively, that there is a *heart* to these works beyond what he sees written so precisely and techinically on the page (i.e. "gets it"), and strives to articulate this, then that engimatic mysicism of Bartok is unlocked and becomes readily accessible to anyone willing to peer into it.

Fortunately and thankfully, the Takacs Quartet "get it." This is very likely the finest performance of these quartets ever recorded. Without repeating too much of what other reviewers have already said, there is a very genuine spirit and superior command to the Takacs Quartet's performance that makes the very challenging and highly technical quality of these quartets transparent so to reveal, rather than obscure, Bartok's vision. They open up Bartok's quartets in a rare way that allow the listener to "live" inside them, and glaze readily upon their beauty, possibly very closely to how Bartok originally envisioned it. I listened to this recording immediately after listening the 1960's recording by the Novak Quartet, and the difference was astounding. It only vindicated my long standing opinion that Bartok was indeed a mystic of music, and that his unique and very challenging compositions offer much, much more (and for a wider audience) than one might assume from a less inspired performance.

Absolutey, unequivocally recommended.
72 internautes sur 74 ont trouvé ce commentaire utile 
HASH(0x8b79b048) étoiles sur 5 Earth and fire, a powerful Bartok cycle! 16 août 2001
Par Autonomeus - Publié sur Amazon.com
Format: CD Achat vérifié
The Takacs Quartet has produced a powerful version of Bartok's string quartets, the great cycle of the early 20th century. They play in the gypsy style of the Vegh Quartet, rough, earthy, and fiery by turns. Heavier, thicker, and more passionate than many non-Hungarian interpretations, this London Records set is definitive, superbly recorded and mastered in 1996 with amazing separation and clarity of the four instruments, including the cello with a strong bottom. Superb, extensive liner notes describe each quartet and how it was written.

The 3rd, 4th and 5th quartets are sheer modernist genius. Bartok was inspired by hearing Berg's new "Lyric Suite" in 1927, and wrote his Third and Fourth quartets in response. The 1st and 2nd are less innovative -- the 1st is in the romantic tradition. The Fourth and Fifth both use palindrome structures, with a central movement and the others grouped around it in layers. The 6th is calm and tragic, written as Bartok prepared to leave Hungary for the USA.

String Quartet No. 1 (1907-09) 28'18
String Quartet No. 2 (1915-17) 25'47
String Quartet No. 3 (1927) 15'18
String Quartet No. 4 (1928) 22'24
String Quartet No. 5 (1934) 30'26
String Quartet No. 6 (1939) 29'15

Bartok was a great modernist, and very influential, but less so than his peers Stravinsky or Schoenberg because, as Milton Babbitt once complained, his innovations tended to be particular to each composition rather than a system like Schoenberg's 12-tone music. Bartok famously drew on Hungarian folk music, and his use of modal scales gives his music a uniquely odd quality in contrast to standard tonality, but he emphatically maintained that his music was tonal. The key was his mixing of modes, resulting in polytonality. What Bartok brought from the classical tradition was the strong influence of Liszt, Debussy, and Beethoven (thanks to the excellent November 1945 article from "The Musical Times").

Unfortunately this great set is currently out of print. While waiting for it to be reissued, a great alternative cycle in the Hungarian tradition is the Keller Quartet, a set recorded in 1993-94.

[UPDATED 5/29/13]
25 internautes sur 26 ont trouvé ce commentaire utile 
HASH(0x8b79b030) étoiles sur 5 Brav-issimo! 4 juillet 2000
Par Un client - Publié sur Amazon.com
Format: CD
I have several recordings of Bartok's quartets and have attended several performances of them, and I have to say this is one of, if not, the best recording of the quartets. My opinion is also strongly influenced by my attendance at the performance of all 6 quartets by the Takacs String Quartet last fall; a performance I will not soon forget. Their intensity was incredibly palpable and, after comparing that performance to another performed by the Julliard String Quartet, the Takacs blow them out of the water! Not that I'm disregarding the enormous prowess of the Julliard quartet, but in both performance and recording, there was an aspect of genuine involvement found in the Takacs that lacked in the Julliard; the latter in recorded and live performance seemed almost aloof (perhaps from many years of performance, which is definitely commendable, as they were the first to perform the whole cycle here in the U.S.). The editorial review was right: this could very well become a standard with regard to Bartok's quartet recordings.
25 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0x8b79b288) étoiles sur 5 The third way. 4 octobre 2005
Par Paco Yáñez - Publié sur Amazon.com
Format: CD
I've recently bought this cycle, after having or listening those by Tokyo String Quartet (DG & RCA), Hagen Quartett (DG), Alban Berg Quartett (EMI), Vegh Qt (Auvidis) and some other versions played by outstanding quartets, like the glorius Arditti Quartet's recording of the Fourth Quartet in Grammavision label.

If I'm thinking about a third way is because Takács shows a middle interpretation between the very hungarian performings of the Vegh Qt and the very "international" or "western" playing of the Tokyo Qt, ABQ or Hagen Qt versions. The Takács Quartet that play in this CD box is formed by musicians from the western tradition and hungarian born players, 50%; something you can feel in their interpretation, which is a bit more objective than Takács' first recording released by Hungaroton, with more hungarian players in the quartet, but still with the taste of the hungarian Bartók tradition, much more close to the popular and folk reminiscences of his music.

I don't hear in this performings the amazing precision of the Tokyo String Quartet in every pizzicatti, glissandi, or technical resource of the works; but, on the other hand, I can say that the musicality and folk sense of some parts it's better done in this Decca recording, which looks much more to the origin of some chords in the folk hungarian music which Bartók so deep has studied. Takács (Decca) bring a more aggressive version, something that makes very complex to have the precision of the more refine and "distant" Tokyo performings. Anyway, technically it's marvellous too, and that's the reason why I give them 4 stars... 5 stars only in heaven...

The conclusion is we are listening a very good performances of the cycle, in style and technique, one of the key works in this genre along the XXth Century; probably between the better.
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