Takács Quartet – Beethoven: Complete String Quartets (7CD) (2004)
BAND/ARTIST: Takács Quartet
- Title: Beethoven: Complete String Quartets
- Year Of Release: 2004
- Label: Decca
- Genre: Classical
- Quality: APE (tracks)
- Total Time: 08:30:23
- Total Size: 2,36 Gb
- WebSite: Album Preview
Tracklist:
CD 1:
String Quartet No.1 in F, Op.18 No.1
1. 1. Allegro con brio 8:43
2. 2. Adagio affettuoso ed appassionato 9:03
3. 3. Scherzo (Allegro molto) 3:08
4. 4. Allegro 6:22
String Quartet No.2 in G, Op.18 No.2
5. 1. Allegro 6:58
6. 2. Adagio cantabile - Allegro - Tempo I 6:30
7. 3. Scherzo (Allegro) 4:14
8. 4. Allegro molto, quasi presto 5:06
String Quartet in D, Op.18 No.3
9. 1. Allegro 7:34
10. 2. Andante con moto 7:12
11. 3. Allegro 2:33
12. 4. Presto 6:14
CD 2:
String Quartet in C minor, Op.18 No.4
1. 1. Allegro ma non tanto 8:13
2. 2. Andante scherzoso, quasi allegretto 6:19
3. 3. Menuetto (Allegretto) 3:30
4. 4. Allegro 4:04
String Quartet in A, Op.18 No.5
5. 1. Allegro 6:38
6. 2. Menuetto 5:14
7. 3. Andante cantabile 9:13
8. 4. Allegro 6:25
String Quartet in B flat, Op.18 No.6
9. 1. Allegro con brio 6:01
10. 2. Adagio ma non troppo 6:43
11. 3. Scherzo (Allegro) 3:04
12. 4. La Malinconia (Adagio - Allegretto quasi allegro - Adagio - Allegretto - Poco adagio - Prestissimo) 8:20
CD 3:
String Quartet in F, Op.59 No.1 - "Rasumovsky"
1. 1. Allegro 10:14
2. 2. Allegretto vivace e sempre scherzando 8:18
3. 3. Adagio molto e mesto 13:20
4. 4. Thème russe (Allegro) 7:44
String Quartet No.10 in E flat, Op.74 - "Harp"
5. 1. Poco adagio - Allegro 9:49
6. 2. Adagio ma non troppo 10:55
7. 3. Presto - Più presto quasi prestissimo 4:51
8. 4. Allegretto con variazioni 6:15
CD 4:
String Quartet No.8 in E minor, Op.59 No.2 -"Rasumovsky No. 2"
1. 1. Allegro 13:29
2. 2. Molto adagio 14:59
3. 3. Allegretto 6:31
4. 4. Finale (Presto) 5:26
String Quartet in C, Op.59 No.3 - "Rasumovsky No. 3"
5. 1. Introduzione (Andante con moto) - Allegro vivace 10:49
6. 2. Andante con moto quasi allegretto 10:12
7. 3. Menuetto (Grazioso) 4:55
8. 4. Allegro molto 5:56
CD 5:
String Quartet No.12 in E flat, Op.127
1. 1. Maestoso - Allegro 6:46
2. 2. Adagio ma non troppo e molto cantabile 14:30
3. 3. Scherzando vivace 7:37
4. 4. Finale 6:25
String Quartet in C sharp minor, Op.131
5. 1. Adagio ma non troppo e molto espressivo 8:05
6. 2. Allegro molto vivace 2:57
7. 3. Allegro moderato 0:42
8. 4. Andante ma non troppo e molto cantabile - Più mosso - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e semplice - Allegretto 13:27
9. 5. Presto 5:02
10. 6. Adagio quasi un poco andante 2:17
11. 7. Allegro 6:30
CD 6:
String Quartet No.15 in A minor, Op.132
1. 1. Assai sostenuto - Allegro 8:55
2. 2. Allegro ma non tanto 8:33
3. 3. Heiliger Dankgesang e.Genesenden an die Gottheit, in der lydischen Tonart.Molto adagio -. Andante - Molto adagio - Andante - Molto adagio. 17:13
4. 4. Alla marcia, assai vivace - Più allegro - Presto 2:05
5. 5. Allegro appassionato 6:03
String Quartet in F, Op.135
6. 1. Allegretto 6:20
7. 2. Vivace 3:18
8. 3. Lento assai, cantante e tranquillo 7:52
9. 4. Der schwer gefaßte Entschluß (Grave - Allegro - Grave ma non troppo tratto - Allegro) 7:21
CD 7:
String Quartet No.11 in F minor, Op.95 - "Serioso"
1. 1. Allegro con brio 4:25
2. 2. Allegretto ma non troppo 7:02
3. 3. Allegro assai vivace ma serioso 4:13
4. 4. Larghetto espressivo - Allegretto agitato 4:54
String Quartet in B flat, Op.130
5. 1. Adagio ma non troppo - Allegro 14:00
6. 2. Presto 1:57
7. 3. Andante con moto ma non troppo. Poco scherzando 6:26
8. 4. Alla danza tedesca (Allegro assai) 3:08
9. 5. Cavatina (Adagio molto espressivo) 8:19
Grosse Fuge in B flat, Op.133
10. Overtura (Allegro) - Meno mosso e moderato - Allegro - Fuga 14:29
String Quartet in B flat, Op.130
11. 6. Finale (Allegro) 9:26
Performers:
Takács Quartet
Edward Dusinberre, first violin
Károly Schranz, second violin
Roger Tapping, viola
András Fejér, cello
CD 1:
String Quartet No.1 in F, Op.18 No.1
1. 1. Allegro con brio 8:43
2. 2. Adagio affettuoso ed appassionato 9:03
3. 3. Scherzo (Allegro molto) 3:08
4. 4. Allegro 6:22
String Quartet No.2 in G, Op.18 No.2
5. 1. Allegro 6:58
6. 2. Adagio cantabile - Allegro - Tempo I 6:30
7. 3. Scherzo (Allegro) 4:14
8. 4. Allegro molto, quasi presto 5:06
String Quartet in D, Op.18 No.3
9. 1. Allegro 7:34
10. 2. Andante con moto 7:12
11. 3. Allegro 2:33
12. 4. Presto 6:14
CD 2:
String Quartet in C minor, Op.18 No.4
1. 1. Allegro ma non tanto 8:13
2. 2. Andante scherzoso, quasi allegretto 6:19
3. 3. Menuetto (Allegretto) 3:30
4. 4. Allegro 4:04
String Quartet in A, Op.18 No.5
5. 1. Allegro 6:38
6. 2. Menuetto 5:14
7. 3. Andante cantabile 9:13
8. 4. Allegro 6:25
String Quartet in B flat, Op.18 No.6
9. 1. Allegro con brio 6:01
10. 2. Adagio ma non troppo 6:43
11. 3. Scherzo (Allegro) 3:04
12. 4. La Malinconia (Adagio - Allegretto quasi allegro - Adagio - Allegretto - Poco adagio - Prestissimo) 8:20
CD 3:
String Quartet in F, Op.59 No.1 - "Rasumovsky"
1. 1. Allegro 10:14
2. 2. Allegretto vivace e sempre scherzando 8:18
3. 3. Adagio molto e mesto 13:20
4. 4. Thème russe (Allegro) 7:44
String Quartet No.10 in E flat, Op.74 - "Harp"
5. 1. Poco adagio - Allegro 9:49
6. 2. Adagio ma non troppo 10:55
7. 3. Presto - Più presto quasi prestissimo 4:51
8. 4. Allegretto con variazioni 6:15
CD 4:
String Quartet No.8 in E minor, Op.59 No.2 -"Rasumovsky No. 2"
1. 1. Allegro 13:29
2. 2. Molto adagio 14:59
3. 3. Allegretto 6:31
4. 4. Finale (Presto) 5:26
String Quartet in C, Op.59 No.3 - "Rasumovsky No. 3"
5. 1. Introduzione (Andante con moto) - Allegro vivace 10:49
6. 2. Andante con moto quasi allegretto 10:12
7. 3. Menuetto (Grazioso) 4:55
8. 4. Allegro molto 5:56
CD 5:
String Quartet No.12 in E flat, Op.127
1. 1. Maestoso - Allegro 6:46
2. 2. Adagio ma non troppo e molto cantabile 14:30
3. 3. Scherzando vivace 7:37
4. 4. Finale 6:25
String Quartet in C sharp minor, Op.131
5. 1. Adagio ma non troppo e molto espressivo 8:05
6. 2. Allegro molto vivace 2:57
7. 3. Allegro moderato 0:42
8. 4. Andante ma non troppo e molto cantabile - Più mosso - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e semplice - Allegretto 13:27
9. 5. Presto 5:02
10. 6. Adagio quasi un poco andante 2:17
11. 7. Allegro 6:30
CD 6:
String Quartet No.15 in A minor, Op.132
1. 1. Assai sostenuto - Allegro 8:55
2. 2. Allegro ma non tanto 8:33
3. 3. Heiliger Dankgesang e.Genesenden an die Gottheit, in der lydischen Tonart.Molto adagio -. Andante - Molto adagio - Andante - Molto adagio. 17:13
4. 4. Alla marcia, assai vivace - Più allegro - Presto 2:05
5. 5. Allegro appassionato 6:03
String Quartet in F, Op.135
6. 1. Allegretto 6:20
7. 2. Vivace 3:18
8. 3. Lento assai, cantante e tranquillo 7:52
9. 4. Der schwer gefaßte Entschluß (Grave - Allegro - Grave ma non troppo tratto - Allegro) 7:21
CD 7:
String Quartet No.11 in F minor, Op.95 - "Serioso"
1. 1. Allegro con brio 4:25
2. 2. Allegretto ma non troppo 7:02
3. 3. Allegro assai vivace ma serioso 4:13
4. 4. Larghetto espressivo - Allegretto agitato 4:54
String Quartet in B flat, Op.130
5. 1. Adagio ma non troppo - Allegro 14:00
6. 2. Presto 1:57
7. 3. Andante con moto ma non troppo. Poco scherzando 6:26
8. 4. Alla danza tedesca (Allegro assai) 3:08
9. 5. Cavatina (Adagio molto espressivo) 8:19
Grosse Fuge in B flat, Op.133
10. Overtura (Allegro) - Meno mosso e moderato - Allegro - Fuga 14:29
String Quartet in B flat, Op.130
11. 6. Finale (Allegro) 9:26
Performers:
Takács Quartet
Edward Dusinberre, first violin
Károly Schranz, second violin
Roger Tapping, viola
András Fejér, cello
Since its formation in 1975, the Takács Quartet has been recognized as one of the world's leading string quartets. Their award-winning recordings include the complete Beethoven String Quartets for Decca, recorded between 2002 and 2004. Decca Classics celebrates the acclaimed quartet with this multi-media presentation of the Beethoven quartets on 7 CDs.
Interpreters of the late quartets have to convey what at times sounds like a stream of musical consciousness while respecting the many written markings. The Takács do better than most. For openers, they had access to the new Henle Edition and have made use of some textual changes – nothing too drastic but encouraging evidence of a good musical conscience. In Op 130 they take the long first-movement exposition repeat, using the Grosse Fuge as the rightful finale (Beet¬hoven’s original intention) which, in the context of their fiery reading of the fugue, works well. Contemporary incredulity at the sheer scale and complexity of the fugue caused Beet¬¬hoven to offer a simpler alternative finale, in which they again play the repeat, which helps balance the ‘alternative’ structure.
The Takács evidently appreciate this music both as musical argument and as sound. Try their glassy sul ponticello at the end of Op 131’s Scherzo, or the many instances where plucked and bowed passages are fastidiously balanced. Attenuated inflections are honoured virtually to the letter, textures carefully differentiated, musical pauses intuitively well-timed and inner voices nearly always transparent.
This set completes one of the best available Beet¬¬hoven quartet cycles, possibly the finest in an already rich digital market.
Interpreters of the late quartets have to convey what at times sounds like a stream of musical consciousness while respecting the many written markings. The Takács do better than most. For openers, they had access to the new Henle Edition and have made use of some textual changes – nothing too drastic but encouraging evidence of a good musical conscience. In Op 130 they take the long first-movement exposition repeat, using the Grosse Fuge as the rightful finale (Beet¬hoven’s original intention) which, in the context of their fiery reading of the fugue, works well. Contemporary incredulity at the sheer scale and complexity of the fugue caused Beet¬¬hoven to offer a simpler alternative finale, in which they again play the repeat, which helps balance the ‘alternative’ structure.
The Takács evidently appreciate this music both as musical argument and as sound. Try their glassy sul ponticello at the end of Op 131’s Scherzo, or the many instances where plucked and bowed passages are fastidiously balanced. Attenuated inflections are honoured virtually to the letter, textures carefully differentiated, musical pauses intuitively well-timed and inner voices nearly always transparent.
This set completes one of the best available Beet¬¬hoven quartet cycles, possibly the finest in an already rich digital market.
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