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Beethoven: The Late String Quartets
 
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Beethoven: The Late String Quartets

12 février 1996 | Format : MP3

EUR 17,99 (TVA incluse le cas échéant)
Également disponible en format CD

Applications Amazon Music

Applications Amazon Music
Titre
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Popularité  
30
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6:36
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15:57
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8:27
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6:53
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5:55
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6
2:56
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0:47
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14:32
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4:58
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2:00
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11
6:30
Disc 2
30
1
13:29
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2:02
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6:58
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3:21
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7:11
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16:05
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9:45
Disc 3
30
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9:41
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9:23
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17:16
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2:25
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6:50
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6:52
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3:25
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7:44
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1:20
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6:13
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Amazon.com: HASH(0x9e9d5120) étoiles sur 5 7 commentaires
18 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x9e05de70) étoiles sur 5 Simply perfect. 16 novembre 2005
Par Paco Yáñez - Publié sur Amazon.com
Format: CD
The Tokyo String Quartet is one of my favourites quartets of all time, together with the Alban Berg Quartett and the Arditti Quartet for the modern music. All this three quartets have something in common, a very perfect technical playing, together with a deep and well understood musicality.

From all the Tokyo String Quartet's CDs this is one of my favourites and a jewel in this repertoire, so much that I think this are the better recordings available for Beethoven's late quartets, and I think it will be very, very, very difficult to play them better. Of course you can chose another way of performing this music, like the Mosaiques has shown, with `original instruments', or the Quartetto Italiano in a more classical style, but if we talk about perfection it's quite impossible to make it better. I've analysed this recording with the scores and I can really say it was an outstanding vision of clearness in Tokyo playing, amazing.

Of course, all the quartets are very well done. You can ask for different tempi or more charm in some passages (Melos Qt. Shows a very different possibility in this sense), but those moments based on the most highly technical demand are perfect done, like that jewel of the quartet literature, the "Grosse Fuge" Op.133, that is a lesson of fingering and union in this ensemble. The dynamics are very fine, like the pauses and the different entrances of the instruments, very important in this piece, as it could be a chaos if it's not very well done.

I have listened some other versions (Quartetto Italiano, Melos Quartett, LaSalle Quartett & Alban Berg Quartett I) but when you are used to listen this level of perfection quite all seem to be not enough, even when every quartet can give a view, and that's very important in this abstract and complex music written by Beethoven in his very last years.

The recording is AMAZING and one of the better technically registered that I know for chamber music (if you know another Tokyo String Quartet recordings, or those by the Ensemble Modern for RCA you know what am I talking about). Everything is so clear that you can imagine you have the own players at home if you have a good Hi-Fi system. You can even listen them breathes and the movement of the fingers, the clothes, the chairs, outstanding. This is a key, too, for the great success of this recordings, as perfection become much more real when you listen it in this conditions. Anyway, it's truth all that we listen. I've seen them some years ago playing in A Coruña (Spain) and I had the possibility of talking to them after the concert; we had a grateful chat about this recordings which they think are among them best.

It's a shame that Tokyo String Quartet CDs are really hard to find nowadays, even if they are RCA, DG or Sony recordings. I have all them recordings, but I would like all the people could listen this great musicians playing some of the better chamber music.

A jewel for not to be missed.
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x9e06d930) étoiles sur 5 The religious approach 7 février 2005
Par Musicus - Publié sur Amazon.com
Format: CD
The Tokyo Quartet plays Beethoven with both reverence and a floating ease and very much sense of the architecture of the music. Yes, it is perfection, but it is something religious about it, like kids playing under stars on the first virgin snow of winter. Listen to their Beethoven gives me a strange feeling of luxury, like enjoying a glass of a well-aged red Bordeaux from one of the better chateaux. Was this Beethoven's intention? I don't know. When you get used to the perfection of the Tokyo Quartet, the imperfection of other quartets becomes unbearable. Quartetto Italiano is more sensual and dramatic, but I cannot get used to the slow feeling of their tempos. A more icy, daring approach is the one of the Takacs. I got the Talich quartet too, and Alban Berg Quartet, but when it comes to late Beethoven, Tokyo is and remains my first choice. (I think the Emerson quartet sounds wonderful, the atmosphere of that quartet's sheer sound - but their high speed ruins my listening.)
13 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0x9e066810) étoiles sur 5 The Tokyo Quartet is a Machine . . . 11 mars 2001
Par Un client - Publié sur Amazon.com
Format: CD
. . . but WHAT a machine! Some listeners may find this set less emotionally engaging than others. Personally, my favorite set is the Quartetto Italiano's on Philips, which keeps me from giving this set five stars: the QI plays with more sympathy and feeling, I think, than Tokyo. And any number of comparisons are possible. But if perfection is what you are looking for (and some days, we want polish more than we want elusive emotional qualities) this is perhaps the recording of the late quartets you will want. Tokyo's precision is sometimes breathtaking, and nowhere more so than in the opening of the Grosse Fuge (here played in its original position, as the final movement of the Quartett Op 130; don't worry, the later ending is there also).
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9e0769a8) étoiles sur 5 One of the best 26 septembre 2006
Par David A. Beamer - Publié sur Amazon.com
Format: CD Achat vérifié
There are so many recordings of the Late Beethoven quartet set that picking a favorite, I believe, just comes down to personal preferences. For years my favorite had been the Quartetto Italiano, with its warmth and control. Then just recently, I heard the Tokyo Quartet version.

What a difference! More fire and vigor (when required), on the whole, than QI. (Or LaSalle, the other late Beethoven set I have) And there's reverence when required -- a good example of this is the first movement of the Op 132 (A minor), which is frequently played with plenty of Sturm und Drang. The Tokyo version rises above forte in only a few places (like the last few bars), and the rest is *played* relatively calmly, in contrast to the underlying tension of the movement. And the slow movement of the Op 131 (c# minor) is a lovely, long, tranquil afternoon in the park.

But getting back to the fiery part, there is plenty to mention. I'll limit myself to two of the highlights. One is the first section of the massive Grosse Fuge movement. Once they get past the intro, and get to the fugue subject, they turn the intensity to HIGH and leave it there for a full five minutes. You can almost hear the resin flying off of the bows as they dig into each note of the subject. And once all the fugue voices have entered, they maintain that intensity all the way to the contrasting calm F-sharp section. Think of trying to pound on a large nail, with a large hammer, for a full five minutes. Plenty of strength, both physical and mental, is required, and the Tokyo group pulls it off.

I also want to comment on one movement in the rendition of Op 131 that is extremely special, namely the Presto (it's the fifth section, and takes the place of a Scherzo). It is played at a VERY fast tempo, and alternates between an almost-out-of-control fortissimo, and a pianissimo with immense underlying energy.

Right near the end of the movement they achieve a tone I have never heard on ANY recording of any chamber music. I have not seen the score of the quartets, so I do not know whether Beethoven asked for a "sur ponticello" (playing with the bow near the bridge) in the pianissimo passage just before the end of the section. Some quartets merely play the passage pianissimo, some venture their bowings down toward the bridge to give a little bit of an edge. The Tokyo Quartet, however, REALLY pushes the envelope! They play that passage so close to the bridge that it takes on an ethereal, other-wordly air. For that short passage, the instruments simply do not sound like a string quartet. It is impossible to adequately describe in words -- you have to hear it. If you don't get goosebumps, pinch yourself -- you're not really listening. I would buy (actually, have already bought) this box set just for that 15 seconds of unbelievable transcendence.

On the whole, the slow movements are played with a calm, understaded reverence -- and frequently, very little vibrato (e.g. Op. 132). The faster movements are played with a controlled fire, settling down at times to achieve the requisite tension that builds up to the next forte section; at other times bursting into flames.

One last note: I think the "star" of the group (or at least this recording), is Harada, the cellist. He plays with a big, open tone, providing a little more support to the group than the average cellist. But he also knows when to back off and become a perfectly matched equal to the other three.

Highly recommended.
HASH(0x9e076f18) étoiles sur 5 Splendid Rendition! 19 novembre 2013
Par Mountain to Sound - Publié sur Amazon.com
Format: CD Achat vérifié
Much of what I would say has been duly noted by my fellow reviewers. I was opting to get the Emerson Quartet version at first, but chose not to based on their "cut-and-paste" recording method the EQ employed when they recorded their version of these quartets. I don't think Beethoven would have approved of a Protools rendition of one of his favorite bodies of work.

A friend recommended the Tokyo String Quartet, and I, like others, find this CD to be a work of amazing precision and balance throughout. Frankly, I was initially looking to find the magic in Opus 131, as it is one of the more challenging pieces to reproduce...even at the hands of the best musicians, but to my surprise, Opus 130 is where the TSQ really hit their creative stride. It is in Opus 130 that I discover those moments of pure magic. Lyrical, and at times delicously whimsical, but ever suffused with passion and precision, unmoored from the written page.

In contrast, Opus 131 feels almost laconic in execution, and less narrative, both in melodic shape and tone, but this could very well explain the mixed reviews, many of which point to the same issue...too precise, too stilted, too technical for its own good, and some measure of emotion is lost in the translation. Not true of the entire set of quartets, and not true of this recording (with exceptions noted above).

All in all, this is an amazing album, with splendid renditions of all of Beethoven's Late Quartets.
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