String Quartets Op. 20, 1-3

Editorial Reviews
Amazon.com
Haydn's Op. 20 string quartets are widely considered to be works with which the mature classical style more or less came of age. That makes them critically important historically, but they are also no less worthy artistically. While the next set of quartets, Op. 33, would introduce a wholly new kind of humor to classical music, these pieces are much more serious. Two of the quartets are in minor keys, and one of them--Op. 20, No. 3--had a deep and lasting impact on Mozart especially, being written in his special "tragic" key of G minor. The Kodaly Quartet is slowly working its way through all 68-1/2 Haydn quartets, and at a budget price these excellent performances offer an ideal opportunity to get to know some of the greatest music in Western civilization. --David Hurwitz

Tracks:

I. Adagio - Allegro Vivace
II. Adagio Non Lento
III. Intermezzo: Allegretto Con Moto
IV. Presto
A Tempo Ordinario
I. Adaigo Non Troppo - Allegro Non Tardante
II. Canzonetta: Allegretto
III. Andante Espressivo
IV. Molto Allegro E Vivace

Tracks:

I. Allegro Assai Appassionato
II. Scherzo: Allegro Di Molto
III. Andante
IV. Presto Agitato
I. Allegro Vivace
II. Scherzo: Assai Leggiero Vivace
III. Adagio Non Troppo
IV. Molto Allegro Con Fuoco

Tracks:

I. Molto Allegro Vivace
II. Menuetto: Un Poco Allegretto
III. Andante Espressivo Ma Con Moto
IV. Presto Con Brio
Andante con Moto - Allegro Fugato, Assai Vivace
I. Allegro Vivace Assai
II. Allegro Assai
III. Adagio
IV. Finale: Allegro Molto
Andante Sostenuto
Allegro Leggiero

Tracks:

I. Allegro Moderato, Ma Con Fuoco
II. Andante
III. Scherzo: Allegro Leggierissimo
IV. Presto
I. Allegro Moderato
II. Adagio Non Troppo
III. Minuetto
IV. Fuga

Amazon.com

Trust the Emerson Quartet to do nothing by halves. This 4-CD set presents all of Mendelssohn's quartets, including one written at 14, the five pieces Op. 81, as well as the Octet. This set should disprove the assertion that Mendelssohn, a sensational prodigy, blossomed young and never developed further. The difference in compositional skill and emotional depth between the early and late quartets is unmistakable; the miracle is that he could write the Octet at 16. The quartets are of uneven quality: Op. 44 No. 3 is distinctly inferior to the more-familiar Nos. 1 and 2; of the two Fugues Op. 81, the later one is far better. The quartets Op. 12 and 13 (written in reverse order) pay homage to Beethoven in Mendelssohn's very own romantic voice. Op. 80 is masterful although perhaps less disciplined: written just after his beloved sister Fanny's death and shortly before his own, it is a turbulent, heart-rending outcry of anguish. Some of the most-magical moments occur in the inimitable Scherzi and Intermezzi. The performances are vintage Emerson: impeccable individually and together, beautiful in sound, clear, carefully worked out. Although generally a little cool, they can rise to considerable warmth and passion. Not surprisingly, the best pieces elicit the most involved, exciting playing. As always, the violinists switch parts, but the whole group also alternates old Italian and modern American instruments, for the players have a surprise in store: they give the Octet a new twist by "doubling" on all eight parts through a complicated process of over-dubbing (a documentary video of the recording process is included). Here, using the different instruments is intended to combine the old and the new and to give the voices more-distinct timbres. However, the differences throughout are imperceptible. The idea of playing the Octet with themselves, so to speak, is intriguing, but the result is disappointing. Hearing four rather than eight individual voices is disconcerting, and worse, the balance is completely awry, especially in the corner movements. The busy tremolo accompaniment makes the middle register thick and heavy, the tone gets rough, important lines are obscured, and the Quartet's customary admirable textural transparency is lost. And even a cellist as splendid as David Finckel cannot save the opening of the Fugue from sounding like a growl. This may be a triumph of recording technology, but it adds nothing to the music or the performance. --Edith Eisler

Customer Reviews:

First Rate Performances.......2006-09-18

This is a series of first rate performances by the outstanding Emerson String Quartet. They include all the Mendelssohn quartets, including rarely heard juvenile work, and as a bonus, the very enjoyable Octet. This is a good deal of lovely music. The Mendelssohn quartets, however, are generally excellent as opposed to outstanding chamber music. Well worth owning and listening to but a step below the pinnacles of the chamber literature.

Fantastic.......2006-07-01

I never have cared much for Mendelssohn, nor have I cared much for String Quartets, but after listening to the Emerson String Quartet's Shostakovich cycle and finding that I enjoyed it immensely, I undertook listening to the Mendelssohn cycle.

In the privacy of my living room, on several occasions I stood up and cheered! Absolutely magnificent. Enough said.

Highly recommended.

Beautiful Performances.......2005-09-10

Mendelssohn's string quartets are very appealing, tuneful works that engage the listener completely. Chamber music was an important part of Mendelssohn's output and one does not gain a full picture of his growth as a composer by only being familiar with his orchestral works. This 4-CD set by the Emerson String Quartet brilliantly explores not only the six numbered quartets but includes the shorter Op. 81 works (published after Mendelssohn's death), the student quartet (written when the composer was 14) and the stunning Octet for strings.

Naturally, the early quartets (written in 1827 and 1829 but published in reverse order in 1830) reflect the influence of other composers, most notably Beethoven. The movements of these quartets were linked by thematic ideas. The quartet in A minor uses Mendelssohn's song Frage (Question) as the musical link. The quartet in E-Flat (Op. 12) was composed during Mendelssohn's trip to the British Isles, which also inspired his Scottish Symphony and Hebrides Overture.

When Mendelssohn next turned to the form he was the director of the Gewandhaus and a famous composer. The composition of the three quartets Op. 44 (number 3, 4 and 5) occurred after his marriage to Cecile Jeanrenaud in 1837 and were composed during his two month long honeymoon. These quartets reflect the composer's maturity and accessible style. The sixth quartet was published after Mendelssohn's death and was written following the sudden death of his sister Fanny in May 1847. It follows that the quartet is darker than the others and is agitated and dissonant in tone; the first movement begins with dark tones from the cello then proceeds with a beautiful melody punctuated with tremolos. The scherzo is characterized by an unusual tempo that has a frantic quality to it. The Adagio allows Mendelssohn to fully express his grief and the Finale has the syncopated rhythm of the scherzo.

The five pieces collected as Op. 81 contain what probably are two movements for an unfinished quartet - a Theme and Variations in E major and Scherzo in A minor. It was reported by the composer Ignaz Moschelles that Mendelssohn was at work on a new string quartet before his death and of these two pieces the Theme and Variations is closest to the description of the work. The earliest of Mendelssohn's quartets appears last on the CDs and is a pleasant work written under the influence of Mozart and Haydn.
The Octet receives a marvelous performance with the Emerson playing all of the parts with each member playing different instruments and seated in different positions during the recording sessions.

The performances are impeccable with beautiful and clear sound. I purchased the set anticipating a performance of three of the quartets by the Emerson. As I have listened to the set the warmth and sensitivity of the playing makes this the Mendelssohn quartets to own. I have only become interested in chamber music in recent years and Mendelssohn was a natural choice for me because of his gift of melody. I think this music would appeal to someone getting to know chamber music.

LIKE WATER FROM A PUBLIC FOUNTAIN.......2005-05-12

That was Wagner's dismissive description of the music of Mendelssohn. In the later 19th century there was a critical reaction against both of the great Germans who had dominated English music for a century and a half overall, Handel and Mendelssohn. As is usual with such debunking, much of it was trivial and petulant. However Handel has recovered strongly over the last 50 years and by now is probably almost as familiar as Bach is, whereas Mendelssohn has not. The popular favourites among his compositions have never ceased to be that, but opportunities to hear most of his chamber music and songs are still rare. I am myself in the happy position of having attended two years ago a festival dedicated to those sides of his output, and consequently I know the works on this distinguished set fairly well.

The performers are the Emerson Quartet, and the quality of their work is well known. In every imaginable respect it is superlatively good. Technically these accounts are flawless, and in terms of comprehension of the music and insight into the spirit of the composer I prefer to learn from them rather than to pass otiose comment. There are 7 complete quartets here, plus 5 isolated movements. Being moderately familiar with the music I would advise newcomers that the approach taken throughout is `normal' in the best sense and free from idiosyncrasies - if you are looking for `model' performances of these works this would be where to look. Mendelssohn's tempo markings, unlike those of greater composers such as Beethoven Schubert and Brahms, are almost invariably clear and unambiguous. In the one case where a bit of interpretation is called for, the central two movements of the D major quartet op44/1, I am convinced and delighted by the solution adopted. The Emersons take the minuet slowly and the following `andante con moto' at a very flowing pace, almost like an andante in Handel, so that the minuet seems like the slow movement and the andante like an intermezzo in moderate tempo.

I love Mendelssohn and I love these quartets. However I can't get it out of my mind that Wagner had a bit of a point. Shaw complains of Mendelssohn's `kid-glove gentility' and he is uncomfortably near the bone. Mendelssohn is truly unique, and what he does best he does better than anybody. At the age of 16 or 17 he turned out the octet, the rondo capriccioso for piano and the Midsummer Night's Dream overture, all of them truly astounding. However by age 20 he was only one precocious prodigy among a larger number who had caught up by then and went on to surpass him. There is a definite sense of development as between the quartet he wrote at age 14 (contemporary with the string symphonies, which I commend strongly to those unfamiliar with them) where the unmistakable personal idiom has not yet quite emerged and the op12/13 quartets and then the op44's and later in which it has. However it's development within a narrow range of expression, and his early death means we can never know whether he had it in him to raise his game drastically, as Wagner and Verdi so spectacularly did when older than Mendelssohn lived to be.

The Emersons have also taken it into their heads to record the octet played by themselves only. People with their amount of talent must be tempted to such brilliant but completely dotty schemes at times. There is an enthusiastic contribution to the liner-note by Eugene Drucker, and the disc will run on a pc to show the process of recording. I can confirm that it actually does this, but I have no sound-card nor any wish for one, so all I can attest is the visual aspect, and only a little of that. I must also warn that I had difficulty in getting the exit-button to obey me. As a performance it is really very good, with the finale fully up to speed as I like it, and I would never have known what nonsense they were getting up to. However something goes wrong with the recording, which is very bottom-heavy in the first movement in particular.

Otherwise the recording is excellent. The main liner-note is fine if a little lengthy. When I began to think it didn't really say a lot, that brought me back to the question - how much, really, is there to say?

Average customer rating:

A superb Haydn benchmark
Perfect Dinner Music
Delightful Background Music
He truly is the father of string quartets!
A matter of taste?

Haydn: Complete String Quartets
Angeles String Quartet
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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General | Classical | Styles | Music

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ASIN: B0000501PC
Release Date: 2001-05-22

Tracks:

Str Qt in E flat, Op.0: I. Presto
Str Qt in E flat, Op.0: II. Menuetto
Str Qt in E flat, Op.0: III. Adagio
Str Qt in E flat, Op.0: IV. Menuetto
Str Qt in E flat, Op.0: V. Finale: Presto
Str Qt in B flat, Op.1 No.1: I. Presto
Str Qt in B flat, Op.1 No.1: II. Menuetto
Str Qt in B flat, Op.1 No.1: III. Adagio
Str Qt in B flat, Op.1 No.1: IV. Menuetto
Str Qt in B flat, Op.1 No.1: V. Presto
Str Qt in E flat, Op.1 No.2: I. Allegro
Str Qt in E flat, Op.1 No.2: II. Menuetto
Str Qt in E flat, Op.1 No.2: III. Adagio
Str Qt in E flat, Op.1 No.2: IV. Menuetto
Str Qt in E flat, Op.1 No.2: V. Presto
Str Qt in D, Op.1 No.3: I. Adagio
Str Qt in D, Op.1 No.3: II. Menuetto
Str Qt in D, Op.1 No.3: III. Presto
Str Qt in D, Op.1 No.3: IV. Menuetto
Str Qt in D, Op.1 No.3: V. Finale: Presto

Tracks:

Str Qt in G, Op.1 No.4: I. Presto
Str Qt in G, Op.1 No.4: II. Menuetto
Str Qt in G, Op.1 No.4: III. Adagio Ma Non Tanto
Str Qt in G, Op.1 No.4: IV. Menuetto
Str Qt in G, Op.1 No.4: V. Presto
Str Qt in C, Op.1 No.6: I. Presto Assai
Str Qt in C, Op.1 No.6: II. Menuetto
Str Qt in C, Op.1 No.6: III. Adagio
Str Qt in C, Op.1 No.6: IV. Menuetto
Str Qt in C, Op.1 No.6: V. Finale: Presto
Str Qt in A, Op.2 No.1: I. Allegro
Str Qt in A, Op.2 No.1: II. Menuetto
Str Qt in A, Op.2 No.1: III. Adagio
Str Qt in A, Op.2 No.1: IV. Menuetto
Str Qt in A, Op.2 No.1: V. Allegro Molto

Tracks:

Str Qt in E, Op.2 No.2: I. Allegro Molto
Str Qt in E, Op.2 No.2: II. Menuetto
Str Qt in E, Op.2 No.2: III. Adagio
Str Qt in E, Op.2 No.2: IV. Menuetto
Str Qt in E, Op.2 No.2: V. Finale: Presto
Str Qt in F, Op.2 No.4: I. Presto
Str Qt in F, Op.2 No.4: II. Menuetto
Str Qt in F, Op.2 No.4: III. Adagio
Str Qt in F, Op.2 No.4: IV Menuetto: Allegretto
Str Qt in F, Op.2 No.4: V. Allegro
Str Qt in B flat, Op.2 No.6: I. Adagio
Str Qt in B flat, Op.2 No.6: II. Menuetto
Str Qt in B flat, Op.2 No.6: III. Presto: Scherzo
Str Qt in B flat, Op.2 No.6: IV. Menuetto
Str Qt in B flat, Op.2 No.6: V. Presto

Tracks:

Str Qt in C, Op.9 No.1: I. Moderato
Str Qt in C, Op.9 No.1: II. Menuetto: Un Poco Allegretto
Str Qt in C, Op.9 No.1: III. Adagio
Str Qt in C, Op.9 No.1: IV. Finale: Presto
Str Qt in E flat, Op.9 No.2: I. Moderato
Str Qt in E flat, Op.9 No.2: II. Menuetto
Str Qt in E flat, Op.9 No.2: III. Adagio
Str Qt in E flat, Op.9 No.2: IV. Finale: Allegro Molto
Str Qt in G, Op.9 No.3: I. Allegro Moderato
Str Qt in G, Op.9 No.3: II. Menuetto
Str Qt in G, Op.9 No.3: III. Largo
Str Qt in G, Op.9 No.3: IV. Finale: Presto
Str Qt in d, Op.9 No.4: I. Moderato
Str Qt in d, Op.9 No.4: II. Menuetto
Str Qt in d, Op.9 No.4: III. Adagio Cantabile
Str Qt in d, Op.9 No.4: IV. Finale: Presto

Tracks:

Str Qt in B flat, Op.9 No.5: I. Poco Adagio: Theme And Vars
Str Qt in B flat, Op.9 No.5: II. Menuet: Allegretto
Str Qt in B flat, Op.9 No.5: III. Largo Cantabile
Str Qt in B flat, Op.9 No.5: IV. Finale: Presto
Str Qt in A, Op.9 No.6: I. Presto
Str Qt in A, Op.9 No.6: II. Menuetto
Str Qt in A, Op.9 No.6: III. Adagio
Str Qt in A, Op.9 No.6: IV. Finale: Presto
Str Qt in E, Op.17 No.1: I. Moderato
Str Qt in E, Op.17 No.1: II. Menuet
Str Qt in E, Op.17 No.1: III. Adagio
Str Qt in E, Op.17 No.1: IV. Finale: Presto
Str Qt in F, Op.17 No.2: I. Moderato
Str Qt in F, Op.17 No.2: II. Menuet: Poco Allegretto
Str Qt in F, Op.17 No.2: III. Adagio
Str Qt in F, Op.17 No.2: IV. Finale: Allegro Di Molto

Tracks:

Str Qt in E flat, Op.17 No.3: I. Andante Grazioso
Str Qt in E flat, Op.17 No.3: II. Menuet: Allegretto
Str Qt in E flat, Op.17 No.3: III. Adagio
Str Qt in E flat, Op.17 No.3: IV. Allegro Di Molto
Str Qt in c, Op.17 No.4: I. Moderato
Str Qt in c, Op.17 No.4: II. Menuet: Allegretto
Str Qt in c, Op.17 No.4: III. Adagio Cantabile
Str Qt in c, Op.17 No.4: IV. Finale: Allegro
Str Qt in G, Op.17 No.5: I. Moderato
Str Qt in G, Op.17 No.5: II. Menuet: Allegretto
Str Qt in G, Op.17 No.5: III. Adagio
Str Qt in G, Op.17 No.5: IV. Finale: Presto
Str Qt in D, Op.17 No.6: I. Presto
Str Qt in D, Op.17 No.6: II. Menuet
Str Qt in D, Op.17 No.6: III. Largo
Str Qt in D, Op.17 No.6: IV. Finale: Allegro

Tracks:

Str Qt in E flat, Op.20 No.1: I. Allegro Moderato
Str Qt in E flat, Op.20 No.1: II. Menuet: Un Poco Allegretto
Str Qt in E flat, Op.20 No.1: III. Affettuoso E Sostenuto
Str Qt in E flat, Op.20 No.1: IV. Finale: Presto
Str Qt in C, Op.20 No.2: I. Moderato
Str Qt in C, Op.20 No.2: II. Capriccio: Adagio
Str Qt in C, Op.20 No.2: III. Menuet: Allegretto
Str Qt in C, Op.20 No.2: IV. Fuga A Quattro Soggeti: Allegro
Str Qt in g, Op.20 No.3: I. Allegro Con Spirito
Str Qt in g, Op.20 No.3: II. Menuet: Allegretto
Str Qt in g, Op.20 No.3: III. Poco Adagio
Str Qt in g, Op.20 No.3: IV. Allegro Di Molto

Tracks:

Str Qt in D, Op.20 No.4: I. Allegro Di Molto
Str Qt in D, Op.20 No.4: II. Un Poco Adagio E Affettuoso
Str Qt in D, Op.20 No.4: II. Menuet Alla Zingarese
Str Qt in D, Op.20 No.4: IV. Presto E Scherzando
Str Qt in f, Op.20 No.5: I. Moderato
Str Qt in f, Op.20 No.5: II. Menuet
Str Qt in f, Op.20 No.5: III. Adagio
Str Qt in f, Op.20 No.5: IV. Fuga A Due Soggetti
Str Qt in A, Op.20 No.6: I. Allegro Di Molto E Scherzando
Str Qt in A, Op.20 No.6: II. Adagio
Str Qt in A, Op.20 No.6: III. Menuetto
Str Qt in A, Op.20 No.6: IV. Fuga A Tre Soggetti: Allegro

Tracks:

Str Qt in b, Op.33 No.1: I. Allegro Moderato
Str Qt in b, Op.33 No.1: II. Scherzo: Allegro
Str Qt in b, Op.33 No.1: III. Andante
Str Qt in b, Op.33 No.1: IV. Presto
Str Qt in E flat, Op.33 No.2 'The Joke': I. Allegro Moderato, Cantabile
Str Qt in E flat, Op.33 No.2 'The Joke': II. Scherzo: Allegro
Str Qt in E flat, Op.33 No.2 'The Joke': III. Largo Sostenuto
Str Qt in E flat, Op.33 No.2 'The Joke': IV. Finale: Presto
Str Qt in C, Op.33 No.3 'The Bird': I. Allegro Moderato
Str Qt in C, Op.33 No.3 'The Bird': II. Scherzo: Allegretto
Str Qt in C, Op.33 No.3 'The Bird': III. Adagio
Str Qt in C, Op.33 No.3 'The Bird': IV. Rondo: Presto

Tracks:

Str Qt in B flat, Op.33 No.4: I. Allegro Moderato
Str Qt in B flat, Op.33 No.4: II. Scherzo: Allegretto
Str Qt in B flat, Op.33 No.4: III. Largo
Str Qt in B flat, Op.33 No.4: IV. Presto
Str Qt in G, Op.33 No.5: I. Vivace Assai
Str Qt in G, Op.33 No.5: II. Largo E Cantabile
Str Qt in G, Op.33 No.5: III. Scherzo: Allegro
Str Qt in G, Op.33 No.5: IV. Finale: Allegretto
Str Qt in D, Op.33 No.6: I. Vivace Assai
Str Qt in D, Op.33 No.6: II. Andante
Str Qt in D, Op.33 No.6: III. Scherzo: Allegretto
Str Qt in D, Op.33 No.6: IV. Finale: Allegretto
Str Qt in d, Op.42: I. Andante Ed Innocentemente
Str Qt in d, Op.42: II. Menuet
Str Qt in d, Op.42: III. Adagio E Cantabile
Str Qt in d, Op.42: IV. Finale: Presto

Tracks:

Str Qt in B flat, Op.50 No.1: I. Allegro
Str Qt in B flat, Op.50 No.1: II. Adagio Non Lento
Str Qt in B flat, Op.50 No.1: III. Poco Allegretto
Str Qt in B flat, Op.50 No.1: IV. Finale: Vivace
Str Qt in C, Op.50 No.2: I. Vivace
Str Qt in C, Op.50 No.2: II. Adagio Cantabile
Str Qt in C, Op.50 No.2: III. Menuetto: Allegretto
Str Qt in C, Op.50 No.2: IV. Finale: Vivace Assai
Str Qt in E flat, Op.50 No.3: I. Allegro Con Brio
Str Qt in E flat, Op.50 No.3: II. Andante Piu Tosto Allegretto
Str Qt in E flat, Op.50 No.3: III. Menuetto: Allegretto
Str Qt in E flat, Op.50 No.3: IV. Finale: Presto

Tracks:

Str Qt in f#, Op.50 No.4: I. Allegro Spirito
Str Qt in f#, Op.50 No.4: II. Andante
Str Qt in f#, Op.50 No.4: III. Menuetto
Str Qt in f#, Op.50 No.4: IV. Fuga: Allegro Moderato
Str Qt in F, Op.50 No.5: I. Allegro Moderato
Str Qt in F, Op.50 No.5: II. Poco Adagio
Str Qt in F, Op.50 No.5: III. Menuetto
Str Qt in F, Op.50 No.5: IV. Finale: Vivace
Str Qt in D, Op.50 No.6 'The Frog': I. Allegro
Str Qt in D, Op.50 No.6 'The Frog': II. Poco Adagio
Str Qt in D, Op.50 No.6 'The Frog': III. Menuetto: Allegretto
Str Qt in D, Op.50 No.6 'The Frog': IV. Finale: Allegro Con Spirito

Tracks:

Str Qt inG, Op.54 No.1: I. Vivace Assai
Str Qt inG, Op.54 No.1: II. Allegretto
Str Qt inG, Op.54 No.1: III. Menuet
Str Qt inG, Op.54 No.1: IV. Vivace
Str Qt in C, Op.54 No.2: I. Vivace
Str Qt in C, Op.54 No.2: II. Adagio -
Str Qt in C, Op.54 No.2: III. Menuetto: Allegretto
Str Qt in C, Op.54 No.2: IV. Adagio
Str Qt in E, Op.54 No.3: I. Allegretto
Str Qt in E, Op.54 No.3: II. Largo
Str Qt in E, Op.54 No.3: III. Menuetto: Allegretto
Str Qt in E, Op.54 No.3: IV. Finale: Presto

Tracks:

Str Qt in A, Op.55 No.1: I. Allegro
Str Qt in A, Op.55 No.1: II. Adagio Cantabile
Str Qt in A, Op.55 No.1: III. Menuet
Str Qt in A, Op.55 No.1: IV. Finale: Vivace
Str Qt in f, Op.55 No.2 'The Razor': I. Andante
Str Qt in f, Op.55 No.2 'The Razor': II. Allegro
Str Qt in f, Op.55 No.2 'The Razor': III. Menuetto: Allegretto
Str Qt in f, Op.55 No.2 'The Razor': IV. Presto
Str Qt in B flat, Op.55 No.3: I. Vivace Assai
Str Qt in B flat, Op.55 No.3: II. Adagio Ma Non Troppo
Str Qt in B flat, Op.55 No.3: III. Menuetto
Str Qt in B flat, Op.55 No.3: IV. Presto

Tracks:

Str Qt in C, Op.64 No.1: I. Allegro Moderato
Str Qt in C, Op.64 No.1: II. Menuet: Allegro Ma Non Troppo
Str Qt in C, Op.64 No.1: III. Allegretto Scherzando
Str Qt in C, Op.64 No.1: IV. Finale: Presto
Str Qt in b, Op.64 No.3: I. Allegro Spirito
Str Qt in b, Op.64 No.3: II. Adagio Ma Non Troppo
Str Qt in b, Op.64 No.3: III. Menuet: Allegretto -

Amazon.com's Best of 2001

A massive set--67 string quartets on 21 discs in a budget-priced, shelf-friendly, compact box. So the obvious question is: do you need it? The equally obvious answer is a resounding "yes" if you love these endlessly inventive quartets and if you appreciate superbly played performances that capture both the letter and the spirit of Haydn's genius. The Angeles String Quartet isn't as well known as some ensembles that have recorded complete Haydn sets, but they are superior to all, with the arguable exception of the Tatrai Quartet. They demonstrate technical polish and rich, warm sound that's never cloying. And they give these works the forward-moving impetus they need within a classical framework, eschewing both anachronistic Romanticism and the mechanical astringency of period specialists.

The Angeles Quartet is unique in its mastery of early as well as late works, in tune with Haydn's stylistic development and sensitive to the attractions of each of these remarkable pieces. So they infuse the visionary slow movements of the late quartets with the appropriate depth and at the same time revel in the muscularity of the Opus 76 No.2's catchy Menuetto, the humor of the "Joke" Quartet, Opus 33 No.2, and the power of the Allegro con spirito of Opus 76 No.1. Most impressive is their way with the early quartets--no small matter when you consider that the contents of the first six discs precede the Opus 20 set generally considered as signaling the maturity of the form. The Angeles make even the earliest quartets, five-movement divertimentos for four strings, a habit-forming delight. Their playing here is full of exuberance, wittily playful and rough, peasantlike by turns. The sonics are outstanding, too, well-balanced, warm, and lifelike. An indispensable recording. --Dan Davis

Customer Reviews:

A superb Haydn benchmark.......2007-06-28

It takes a lot of time to grasp Haydn's music, because there's much of everything: symphonies, piano sonatas, operas, piano trios, string quartets, choral works, songs, etc. - in sum, more than one thousand individual works. It will probably take more than a year listening to it all, and comprehend it as well (i.e., not as "background music"). Few, if any person, can have a complete grasp of everything he wrote.

But there are nonetheless good reasons trying to grasp Haydn's music, at least partly. This bargain set - 68 string quartets on 21 CDs - is a perfectly good reason. Haydn's string quartets contain some of his finest music. And the present recordings with Angeles Quartet are simply superb. Unlike many period instrument performers, Angeles Quartet avoids meticulous mannerism and plays this music with energy and passion, without loosing structural control. Furthermore, the recordings are excellent, with a rich, creamy and spacious sound. In short, great performances and excellent engineering. A benchmark recording, no less.

There are some rival complete sets: Aeolian Quartet (Decca), Festetics Quartet (period instrument performances, Arcana), Tátrai (Hungaroton), and Kodaly Quartet (Naxos). In terms of sound, the present set is clearly preferable. In terms of performances, the only serious rival is Tátrai Quartet's classic collection from the sixties. But Angeles Quartet is not a second choice. If you hesitate, you need both. Budget and shelf space minded collectors need not hesitate.

Perfect Dinner Music.......2007-05-14

Some might be offended at the idea that music be played in the background to accompany a fine meal, but in fact most of us listen to music in the background. This entire set of 15-CDs is (to my ears) the perfect music to accompany a delicious meal with someone you love. I have owned this CD set for years and never tire of it.

I have found that after listening to it hundreds of times that using iTunes in shuffle mode keeps it fresh.

Delightful Background Music.......2006-03-04

This music is a great buy, and wonderful to listen to while doing desk work or reading.

The Angeles String Quartet does an excellent job, and all of the works are so tuneful that I frequently found myself walking around the house humming the tunes after hearing a quartet for the first time.

He truly is the father of string quartets!.......2005-09-27

This may not be true as far as the instrumentation is concerned, but Haydn is one of the first to explore them as more than a solo violin with a trio accompaniment (second violin, viola and cello), thus giving the chamber music a new dimension.

If you've already explored Haydn's universe through some of his glorious symphonies, these string quartets are an excellent way of further expanding your appreciation of Haydn's music. There are very few dull moments in this lot (and almost all of them are to be found in his early quartets, while there are a few in his very latest works, where he seems to have lost the energy and brio that had established him as one of the best composers of his time). His first works have five movements and ressemble the divertimenti or serenatas. Later on, his quartets took a form which was to become standard, both for Haydn and other composers: four movements - a fast one, a slow one, a minuet and trio and a fast finale.

If one listens to Haydn's string quartes in chronological order, one can feel and appreciate his growth and maturity as a composer. The motives introduced during the first movement are developed over the entire work entity, the increasing use of first movements that are monothematic, the expansion of harmonic usage, the combination of serious with funny, intellectual with ridicule, etc.

Both Mozart and Beethoven wrote famous series of string quartets, but I've always liked Haydn's quartets the most. My personal favorites are op. 76 (especially no 3, which later on became the German National Anthem), op. 64 (especially no 5 called "The lark") and op. 33 (where Haydn introduced special effects, like a birdcall, which gave the third quartet its name).

A matter of taste?.......2005-05-31

It is something unpleasant about the sound here; it is resonant, yes, but not like the Takacs quartet. Comparing to the Takacs' take on op.76/1, 2 & 3, which I love, the Angeles' makes me think of a grey substance, sterile, antiseptic, of no life. Is it the sound quality? Or is it the way the quartet is playing? I think the latter, but it is difficult to figure out what is wrong; in fact I don't find any serious miscalculations. The problem is that the playing feels calculated; it is some kind of contrived perfection, it all feels too concious; I feel something wrong about the accent, the stress of the phrasings... but I give up: Suffice it to say that I regret I bought this collection of boring performances. Three stars for professional playing. If you like some human touch, go for the Aeolian quartet, less perfection, more life.

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The "Clinker" of the bunch

Brahms: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
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Binding: Audio CD

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ASIN: B00062FLIS
Release Date: 2004-11-30

Customer Reviews:

The "Clinker" of the bunch.......2006-12-19

Having collected the entire "The Masterworks" series (including the Bach and Mozart Complete Works) this set is the 'clinker' of the bunch. First off... 6 CD's of Lieder 'historic' (pre-historic) recordings. No Overtures, No Orchestral Seranades, No Haydn Variations?? The performances of the Symphonies and the Concertos are shakey and not very well recorded. Brilliant Classics, who has done such a wonderful job with the Hadyn Complete Symphonies (licensed from Nimbus), the Mozart and Bach Complete sets, has stumbled a bit with this release.

Average customer rating:

Understated music of the gods
Discovering the Haydn Quartets on Naxos
Outstanding

String Quartets Op. 20, 1-3

Manufacturer: Naxos
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Binding: Audio CD

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Haydn: String Quartets, Op. 20 "Sun", Nos. 4-6
Haydn: String Quartets, Op. 33 "Russian", No. 3 "The Bird", 4 and 6
Haydn: String Quartets, Op. 33 "Russian", No. 1, No. 2 "The Joke", No. 5 "How do you do?"
Haydn: String Quartets, Op. 71, Nos. 1-3 "Apponyi Quartets"
Haydn: String Quartets Op. 76, Nos. 1-3

ASIN: B0000013WM
Release Date: 1994-02-15

Tracks:

Allegro Moderato
Minuet: Un Poco Allegretto
Affetuoso E Sostenuto
Finale: Presto
Moderato
Capriccio: Adagio
Minuet: Allegretto
Fuga A Quattro Soggetti
Allegro Con Spirito
Minuet: Allegretto
Poco Adagio
Finale: Allegro Di Molto

Amazon.com

Haydn's Op. 20 string quartets are widely considered to be works with which the mature classical style more or less came of age. That makes them critically important historically, but they are also no less worthy artistically. While the next set of quartets, Op. 33, would introduce a wholly new kind of humor to classical music, these pieces are much more serious. Two of the quartets are in minor keys, and one of them--Op. 20, No. 3--had a deep and lasting impact on Mozart especially, being written in his special "tragic" key of G minor. The Kodaly Quartet is slowly working its way through all 68-1/2 Haydn quartets, and at a budget price these excellent performances offer an ideal opportunity to get to know some of the greatest music in Western civilization. --David Hurwitz

Customer Reviews:

Understated music of the gods.......2006-12-27

Surely the string quartet is the King of Musical Art Forms, and Haydn's achievements in this form that he nutured and pioneered has never been surpassed, and obviously never can be. Though I'm not aware of the circumstances under which his so-called "Thirty Famous Quartets" were selected, the fact that the first three quartets of op. 20, which are recorded here by the Kodalys, weren't included in the bunch seems to be evidence that the selection process was arbitrary and perhaps even fatuous, for Opus 20 contains some of Haydn's very greatest music. Was the Famous Thirty, I wonder, little more than a publisher's grab bag from the embarrassment of riches of Haydn's compositions? The first quartet of the opus (E flat major) for example, is one of the most sublime, artless, and achingly beautiful creations not only in Haydn's output, but in all of music. How can it be that something so great could have been relegated to the status of a second-class citizen for so many years? Every one of Mozart's ten great string quartets (he also wrote 13 clunkers) are performed and recorded with awesome regularly; Ditto Beethoven's 16 great ones. Why not Haydn's?

Well, one reason is that Haydn produced so many more great works than his compatriots in the "First Viennese School" in this sublime, arduous form that it confused people. The other reason can be found in the fact that for many if not most classical music listeners, Haydn has never quite been given his due regard as one of the three or four greatest composers in history (and quite possibly, along with Bach, one of the two greatest). This is a shame that I think should be rectified, and the only way to do that, really, is to LISTEN.

Anyway, the six masterpieces that comprise the so-called Sun Quartets are a revolutionary attainment, at least as important as Beethoven's five "late" quartets, where Haydn finally throws off the vestigial artistic shackles of the divertimento and therefore, after much hard work, devises the classical string quartet in its undying glory. In comparison composers such as Schubert, Brahms, Schumann, Debussy, Ravel, Shostakovich, Bartok, Berg, and Schoenberg, though all undeniably great quartet writers, are second-tier next to Haydn. As a listener, I'm no conservative, and it took me about twenty years of obsessive listening to classical music to realize this, but I'm glad I finally did.

For those uncertain about Haydn as a quartet composer, short of venturing to the library, the Kodalys on Naxos is as painless and inexpensive a way to start, and features some very fine performances. I would suggest by starting out with the two CDs that constitute Opus 20, and the two that constitute Opus 76. That's twelve works of sublime, profoundly moving, deathless music for under forty bucks! Or heck, pick one or two of the four CDs! Listen with open ears and it's quite possible you will want to acquire all of the recordings of the Kodalys of Haydn's unsurpassable masterpieces.

Discovering the Haydn Quartets on Naxos.......2004-02-07

Joseph Haydn (1732-1809)probably did more than any other composer to shape the symphony and the string quartet into the forms that became essential to subsequent Western music. In his more than 80 quartets, Haydn developed the form from various forms of light musical diversions to the most weighty form of chamber music -- or of all art music. In Haydn's quartets, the instruments speak to and with each other, sometimes seriously sometimes humorously, in an intimate conversation of part-writing that both shows the string quartet in full development and also prepares the way for quartets by later composers.

The Kodaly quartet, the performers here, are Hungarian musicians who have been playing as a unit since 1970. They have recorded all the Haydn quartets for the budget-priced Naxos label. They do an outstanding job on this music, and the low price should encourage listeners to explore these quartets. Haydn remains an undervalued composer and has unjustifiably remained in the shadow of Mozart and his great pupil, Beethoven.

The quartets are available in one large collection or on a disk-by-disk basis. I much prefer the later approach as I find it encourages me to spend more time with each individual work. In addition, it allows for the anticipation of fresh discovery as I get the opportunity to explore additional quartets.

This disk includes the first three of the quartets that Haydn published as a set of six in 1772. They are known as the "Sun" quartets because of the sun that appeared on the fronticepage of the first edition.

These three quartets are all serious and elevated in tone -- with little of the humor that is sometimes a Haydn feature. Each of the quartets has as a highpoint a long, expressive slow movement. Those unfamiliar with Haydn may be surprised at the depth he shows in his adagios.

The third quartet in particular, the quartet in G. minor, is unusual in that the slow movement, the third movement marked "poco adagio" is over ten minutes in length, far in excess of the opening allegro (six minutes). The movement opens with the four voices playing together a slow theme in the major, followed by a statement in the violins over a countertheme in the cello The theme ultimately broadens out with solo passages for each instrument, with the main theme stated finally by the violin and cello. The thematic development of this movement is stated twice in its entirety.

The remaining three movements of the third quartet are predominantly in the minor, although the quartet closes quietly in G major. The first movement features a brusque minor theme and a trilled figure in the upper strings. The second movement minuet also features a minor opening and contrasting themes for the first violin in the movement proper and in the trio. The final movement is a rondo with a minor theme and episodes in the major key.

The first two quartets of opus 20 are in E-flat major and C major. I found these quartets marked by their tranquil, serene, and intimate character. The E-flat quartet creates this mood at the outset with an opening, moderately fast theme followed by a slower second theme. There is close and intricate part-writing and voice leading throughout this fine quartet. The minuet features solo passages for the first violin and thematic material that alternates between the major and minor key. The third movement marked "affetuoso e sostenudo" is another beautiful slow movement. The final movement is lively with contrasting writing for the violins and the lower strings.

The second quartet, in C-major also conveys a feeling of serenity. Its opening movement features a theme first stated in the cello. The second movement is marked "Cappricio:adagio". It is in two sections, with the second much slower than the first. The passages for solo instruments in this movement are juxtaposed against passages in which the quartet plays together, and there is much solo writing for the cello. The third movement is a minuet, much faster than the second movement with a slower, smoother trio. There are passages for the upper register of the violin and for the solo cello in the trio. The final movement is a spirited but hardly boisterous fugue which shows Haydn's great skill in contrapuntal writing.

In listening to this disk, I imagined myself in a music room or intimate hall sharing in the joy of music-making. Although these quartets were written relatively early in Haydn's quartet-writing career, they show an awareness of the potentialities of the string quartet. These quartets are wonderful and accessible. The listener wishing to explore Haydn's quartets will enjoy this disk and other disk's in the Kodaly's cycle of Haydn quartets.

Outstanding.......2002-04-24

Don't agree with the other reviewer (SJT). These are beautiful works beautifully performed, my favorite Haydn: serious and quiet music. The melody of the 2nd movement of No. 25 is genius, in my view. I have Op. 76 too, which I also like, though not quite as much as these. In this vein, allow me also to recommend the Boccherini quintets played by Ensemble 415 on Harmonia Mundi: one disc of quintets with two violas, the other of quintets with double bass, both at near-Naxos price.

Franz Joseph Haydn: Complete String Quartets (Box Set)

Average customer rating:

Many Hours of Magnificent Listening Pleasure

Franz Joseph Haydn: Complete String Quartets (Box Set)
Kodly Quartet
Manufacturer: Naxos
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ASIN: B00004SSJF
Release Date: 2000-08-15

Tracks:

String Quartet In G Major, Op. 76, No. 1, Hob. III: 75: Allegro con spirito
String Quartet In G Major, Op. 76, No. 1, Hob. III: 75: Adagio sostenuto
String Quartet In G Major, Op. 76, No. 1, Hob. III: 75: Menuetto: Presto
String Quartet In G Major, Op. 76, No. 1, Hob. III: 75: Finale: Allegro ma non troppo
String Quartet In D Minor, Op. 76, No. 2, Hob. III: 76: Allegro
String Quartet In D Minor, Op. 76, No. 2, Hob. III: 76: Andante o piu tosto allegretto
String Quartet In D Minor, Op. 76, No. 2, Hob. III: 76: Menuetto: Allegro ma non troppo
String Quartet In D Minor, Op. 76, No. 2, Hob. III: 76: Vivace assai
String Quartet In C Major, Op. 76, No. 3, Hob. III: 77: Allegro
String Quartet In C Major, Op. 76, No. 3, Hob. III: 77: Poco adagio, cantabile
String Quartet In C Major, Op. 76, No. 3, Hob. III: 77: Menuetto: Allegro
String Quartet In C Major, Op. 76, No. 3, Hob. III: 77: Finale: Presto

Tracks:

String Quartet In B Flat Major, Op. 76, No. 4, Hob. III: 78: Allegro con spirito
String Quartet In B Flat Major, Op. 76, No. 4, Hob. III: 78: Adagio
String Quartet In B Flat Major, Op. 76, No. 4, Hob. III: 78: Menuetto: Allegro
String Quartet In B Flat Major, Op. 76, No. 4, Hob. III: 78: Finale: Allegro ma non troppo
String Quartet In D Major, Op. 76, No. 5, Hob. III: 79: Allegretto - Allegro
String Quartet In D Major, Op. 76, No. 5, Hob. III: 79: Largo cantabile e mesto
String Quartet In D Major, Op. 76, No. 5, Hob. III: 79: Menuetto: Allegro
String Quartet In D Major, Op. 76, No. 5, Hob. III: 79: Finale: Presto
String Quartet In E Flat Major, Op. 76, No. 6, Hob. III: 80: Allegretto - Allegro
String Quartet In E Flat Major, Op. 76, No. 6, Hob. III: 80: Fantasia: Adagio
String Quartet In E Flat Major, Op. 76, No. 6, Hob. III: 80: Menuetto: Presto
String Quartet In E Flat Major, Op. 76, No. 6, Hob. III: 80: Finale: Allegro spirituoso

Tracks:

The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: L'Introduzione: Maestoso ed adagio
The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: Sonata I: Pater, dimitte illis, non enim sciunt, quid faciunt (Largo)
The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: Sonata II: Amen dico tibi: hodie mecum eris in paradiso (Grave e cantabile)
The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: Sonata III: Mullier, ecce fillus tuus, et tu, ecce mater tua! (Grave)
The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: Sonata IV: Eli, Eli, lama asabthani? (Largo)
The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: Sonata V: Sitio (Adagio)
The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: Sonata VI: Consummatum est! (Lento)
The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: Sonata VII: Peter! in manus tuas commendo spiritum meum - (Largo)
The Seven Last Words Of Jesus Christ - Op. 51, Hob. III: 50-56: Il terrmoto (Presto e con tutta la forza)
String Quartet No. 68 In D Minor, Op. 103 Hob. III: 83: Andante graziso
String Quartet No. 68 In D Minor, Op. 103 Hob. III: 83: Menuetto ma non troppo presto

Tracks:

String Quartet In B Flat Major, Op. 71, No. 1, Hob. III: 69: Allegro
String Quartet In B Flat Major, Op. 71, No. 1, Hob. III: 69: Adagio
String Quartet In B Flat Major, Op. 71, No. 1, Hob. III: 69: Menuetto: Allegretto
String Quartet In B Flat Major, Op. 71, No. 1, Hob. III: 69: (Finale): Vivace
String Quartet In D Major, Op. 71, No. 2, Hob. III: 70: Adagio-Allegro
String Quartet In D Major, Op. 71, No. 2, Hob. III: 70: Adagio (cantobile)
String Quartet In D Major, Op. 71, No. 2, Hob. III: 70: Menuetto: Allegretto
String Quartet In D Major, Op. 71, No. 2, Hob. III: 70: Finale: Allegretto
String Quartet In E Flat Major, Op. 71, No. 3, Hob. III: 71: Vivace
String Quartet In E Flat Major, Op. 71, No. 3, Hob. III: 71: Andante con moto
String Quartet In E Flat Major, Op. 71, No. 3, Hob. III: 71: Menuetto
String Quartet In E Flat Major, Op. 71, No. 3, Hob. III: 71: Finale: Vivace

Tracks:

String Quartet In C Major, Op. 54, No. 2, Hob. III: 57: Vivace
String Quartet In C Major, Op. 54, No. 2, Hob. III: 57: Adagio
String Quartet In C Major, Op. 54, No. 2, Hob. III: 57: Menuetto: Allegretto
String Quartet In C Major, Op. 54, No. 2, Hob. III: 57: Finale: Adagio-Presto-Adagio
String Quartet In G Major, Op. 54, No. 2, Hob. III: 58: Allegro con brio
String Quartet In G Major, Op. 54, No. 2, Hob. III: 58: Allegretto
String Quartet In G Major, Op. 54, No. 2, Hob. III: 58: Menuetto: Allegretto
String Quartet In G Major, Op. 54, No. 2, Hob. III: 58: Finale: Presto
String Quartet In E Major, Op. 54, No. 3, Hob. III: 59: Allegro
String Quartet In E Major, Op. 54, No. 3, Hob. III: 59: Largo cantobile
String Quartet In E Major, Op. 54, No. 3, Hob. III: 59: Menuetto: Allegretto
String Quartet In E Major, Op. 54, No. 3, Hob. III: 59: Finale: Presto

Tracks:

String Quartet In C Major, Op. 74, No. 1, Hob. III: 72: Allegro (moderato)
String Quartet In C Major, Op. 74, No. 1, Hob. III: 72: Andantino (grazioso)
String Quartet In C Major, Op. 74, No. 1, Hob. III: 72: Menuetto: Allegro
String Quartet In C Major, Op. 74, No. 1, Hob. III: 72: Finale: Vivace
String Quartet In F Major, Op. 74, No. 2, Hob. III: 73: Allegro spiritoso
String Quartet In F Major, Op. 74, No. 2, Hob. III: 73: Andadnte grazioso
String Quartet In F Major, Op. 74, No. 2, Hob. III: 73: Menuetto
String Quartet In F Major, Op. 74, No. 2, Hob. III: 73: Finale: Presto
String Quartet In G Major, Op. 74, No. 3, Hob. III: 74: Allegro
String Quartet In G Major, Op. 74, No. 3, Hob. III: 74: Largo assai
String Quartet In G Major, Op. 74, No. 3, Hob. III: 74: Menuetto: (Allegretto)
String Quartet In G Major, Op. 74, No. 3, Hob. III: 74: Finbale: Allegro con brio

Tracks:

String Quartet No. 45 In A Major, Op. 55, No. 1, Hob. III: 60: Allegro
String Quartet No. 45 In A Major, Op. 55, No. 1, Hob. III: 60: Adagio cantabile
String Quartet No. 45 In A Major, Op. 55, No. 1, Hob. III: 60: Menuetto
String Quartet No. 45 In A Major, Op. 55, No. 1, Hob. III: 60: Finale: Vivace
String Quartet No. 46 In A Major, Op. 55, No. 2, Hob. III: 61 'The Razor': Andante o piu tosto allegretto
String Quartet No. 46 In A Major, Op. 55, No. 2, Hob. III: 61 'The Razor': Allegro
String Quartet No. 46 In A Major, Op. 55, No. 2, Hob. III: 61 'The Razor': Menuetto: Allegretto
String Quartet No. 46 In A Major, Op. 55, No. 2, Hob. III: 61 'The Razor': Finale: Presto
String Quartet No. 47 In A Major, Op. 55, No. 3, Hob. III: 62: Vivace assai
String Quartet No. 47 In A Major, Op. 55, No. 3, Hob. III: 62: Adagio ma non troppo
String Quartet No. 47 In A Major, Op. 55, No. 3, Hob. III: 62: Menuetto
String Quartet No. 47 In A Major, Op. 55, No. 3, Hob. III: 62: Finale: Presto

Tracks:

String Quartet In B Flat Major Op. 1, No. 1: Presto
String Quartet In B Flat Major Op. 1, No. 1: Minuet
String Quartet In B Flat Major Op. 1, No. 1: Adagio
String Quartet In B Flat Major Op. 1, No. 1: Minuet
String Quartet In B Flat Major Op. 1, No. 1: Finale: Presto
String Quartet In E Flat Major Op. 1, No. 2: Allegro molto
String Quartet In E Flat Major Op. 1, No. 2: Minuet
String Quartet In E Flat Major Op. 1, No. 2: Adagio
String Quartet In E Flat Major Op. 1, No. 2: Minuet
String Quartet In E Flat Major Op. 1, No. 2: Finale: Presto
String Quartet In D Flat Major Op. 1, No. 3: Adagio
String Quartet In D Flat Major Op. 1, No. 3: Minuet
String Quartet In D Flat Major Op. 1, No. 3: Scherzo: Presto
String Quartet In D Flat Major Op. 1, No. 3: Menuet
String Quartet In D Flat Major Op. 1, No. 3: Finale: Presto
String Quartet In G Flat Major Op. 1, No. 4: Presto
String Quartet In G Flat Major Op. 1, No. 4: Minuet
String Quartet In G Flat Major Op. 1, No. 4: Adagio ma non tanto
String Quartet In G Flat Major Op. 1, No. 4: Minuet
String Quartet In G Flat Major Op. 1, No. 4: Finale: Presto

Tracks:

String Quartet In E Flat Major Op. 1, No. 0: Presto
String Quartet In E Flat Major Op. 1, No. 0: Minuet
String Quartet In E Flat Major Op. 1, No. 0: Adagio
String Quartet In E Flat Major Op. 1, No. 0: Minuet
String Quartet In E Flat Major Op. 1, No. 0: Finale: Presto
String Quartet In C Major Op. 2, No. 6: Presto assai
String Quartet In C Major Op. 2, No. 6: Minuet
String Quartet In C Major Op. 2, No. 6: Adagio
String Quartet In C Major Op. 2, No. 6: Minuet
String Quartet In C Major Op. 2, No. 6: Finale: Allegro
String Quartet In D Major Op. 2, No. 1: Allegro
String Quartet In D Major Op. 2, No. 1: Minuet
String Quartet In D Major Op. 2, No. 1: Adagio
String Quartet In D Major Op. 2, No. 1: Minuet
String Quartet In D Major Op. 2, No. 1: Finale: Allegro molto
String Quartet In G Major Op. 2, No. 2: Allegro molto
String Quartet In G Major Op. 2, No. 2: Minuet
String Quartet In G Major Op. 2, No. 2: Adagio
String Quartet In G Major Op. 2, No. 2: Minuetto
String Quartet In G Major Op. 2, No. 2: Finale: Presto

Tracks:

String Quartet In C Major, Op. 64, No. 1, Hob. III: 65: Allegro moderato
String Quartet In C Major, Op. 64, No. 1, Hob. III: 65: Menuetto: Allegretto ma non troppo
String Quartet In C Major, Op. 64, No. 1, Hob. III: 65: Allegretto scherzando
String Quartet In C Major, Op. 64, No. 1, Hob. III: 65: Finale: Presto
String Quartet In B Minor, Op. 64, No. 2, Hob. III: 68: Allegro spiritoso
String Quartet In B Minor, Op. 64, No. 2, Hob. III: 68: Adagio ma non troppo
String Quartet In B Minor, Op. 64, No. 2, Hob. III: 68: Menuetto: Allegretto
String Quartet In B Minor, Op. 64, No. 2, Hob. III: 68: Finale: Presto
String Quartet In B Flat Major, Op. 64, No. 3, Hob. III: 67: Vivace assai
String Quartet In B Flat Major, Op. 64, No. 3, Hob. III: 67: Adagio
String Quartet In B Flat Major, Op. 64, No. 3, Hob. III: 67: Menuetto: Allegretto
String Quartet In B Flat Major, Op. 64, No. 3, Hob. III: 67: Finale: Allegro con spirito

Tracks:

String Quartet In G Major, Op. 64, No. 4, Hob. III: 66: Allegro con brio
String Quartet In G Major, Op. 64, No. 4, Hob. III: 66: Menuetto: Allegretto
String Quartet In G Major, Op. 64, No. 4, Hob. III: 66: Adagio - Cantabile e sostenuto
String Quartet In G Major, Op. 64, No. 4, Hob. III: 66: Finale: Presto
String Quartet In D Major, Op. 64, No. 5, Hob. III: 63: Allegro moderato
String Quartet In D Major, Op. 64, No. 5, Hob. III: 63: Adagio - Cantabile
String Quartet In D Major, Op. 64, No. 5, Hob. III: 63: Menuetto: Allegretto
String Quartet In D Major, Op. 64, No. 5, Hob. III: 63: Finale: Vivace
String Quartet In E Flat Major, Op. 64, No. 6, Hob. III: 64: Allegro
String Quartet In E Flat Major, Op. 64, No. 6, Hob. III: 64: Andante
String Quartet In E Flat Major, Op. 64, No. 6, Hob. III: 64: Menuetto: Allegretto
String Quartet In E Flat Major, Op. 64, No. 6, Hob. III: 64: Finale: Presto

Tracks:

Quartet No. 28 In E Flat Major, Op. 20, No. 1: Allegro moderato
Quartet No. 28 In E Flat Major, Op. 20, No. 1: Minuet: Un poco allegretto
Quartet No. 28 In E Flat Major, Op. 20, No. 1: Affetuoso e sostenuto
Quartet No. 28 In E Flat Major, Op. 20, No. 1: Finale: Presto
Quartet No. 25 In C Major, Op. 20, No. 2: Moderato
Quartet No. 25 In C Major, Op. 20, No. 2: Capriccio: Adagio
Quartet No. 25 In C Major, Op. 20, No. 2: Minuet: Allegretto
Quartet No. 25 In C Major, Op. 20, No. 2: Fuga a quattro soggetti
Quartet No. 26 In G Minor, Op. 20, No. 3: Allegro con spirito
Quartet No. 26 In G Minor, Op. 20, No. 3: Minuet: Allegretto
Quartet No. 26 In G Minor, Op. 20, No. 3: Poco adagio
Quartet No. 26 In G Minor, Op. 20, No. 3: Finale: Allegro di molto

Tracks:

Quartet No. 27 In D Major, Op. 20, No. 4: Allegro di molto
Quartet No. 27 In D Major, Op. 20, No. 4: Un poco adagio e affettuoso
Quartet No. 27 In D Major, Op. 20, No. 4: Menuet alla Zingarese: Allegretto
Quartet No. 27 In D Major, Op. 20, No. 4: Presto e scherzando
Quartet No. 23 In F Minor, Op. 20, No. 5: Moderato
Quartet No. 23 In F Minor, Op. 20, No. 5: Menuet
Quartet No. 23 In F Minor, Op. 20, No. 5: Adagio
Quartet No. 23 In F Minor, Op. 20, No. 5: Finale: Fuga a due soggetti
Quartet No. 24 In A Major, Op. 20, No. 6: Allegro di molto e scherzando
Quartet No. 24 In A Major, Op. 20, No. 6: Adagio
Quartet No. 24 In A Major, Op. 20, No. 6: Menuet
Quartet No. 24 In A Major, Op. 20, No. 6: Fuga con tre soggetti

Tracks:

Quartet No. 35 In D Minor, Op. 42: Andante ed Innocentemente
Quartet No. 35 In D Minor, Op. 42: Menuetto: Allegretto
Quartet No. 35 In D Minor, Op. 42: Adagio e cantabile
Quartet No. 35 In D Minor, Op. 42: Finale: Presto
Quartet No. 9 In F Major, Op. 2, No. 4: Presto
Quartet No. 9 In F Major, Op. 2, No. 4: Menuet
Quartet No. 9 In F Major, Op. 2, No. 4: Adagio
Quartet No. 9 In F Major, Op. 2, No. 4: Menuet: Allegretto
Quartet No. 9 In F Major, Op. 2, No. 4: Finale: Allegro
Quartet No. 10 In B Flat Major, Op. 2, No. 6: Adagio With Variations
Quartet No. 10 In B Flat Major, Op. 2, No. 6: Menuet
Quartet No. 10 In B Flat Major, Op. 2, No. 6: Scherzo: Presto
Quartet No. 10 In B Flat Major, Op. 2, No. 6: Menuet
Quartet No. 10 In B Flat Major, Op. 2, No. 6: Finale: Presto

Tracks:

Quartet No. 11 In D Minor, Op. 9, No. 4: Moderato
Quartet No. 11 In D Minor, Op. 9, No. 4: Menuet
Quartet No. 11 In D Minor, Op. 9, No. 4: Adagio - Cantabile
Quartet No. 11 In D Minor, Op. 9, No. 4: Finale: Presto
Quartet No. 12 In C Major, Op. 9, No. 1: Moderato
Quartet No. 12 In C Major, Op. 9, No. 1: Menuet: Un poco allegretto
Quartet No. 12 In C Major, Op. 9, No. 1: Adagio
Quartet No. 12 In C Major, Op. 9, No. 1: Finale: Presto
Quartet No. 13 In G Major, Op. 9, No. 3: Moderato
Quartet No. 13 In G Major, Op. 9, No. 3: Menuet: Allegretto
Quartet No. 13 In G Major, Op. 9, No. 3: Largo
Quartet No. 13 In G Major, Op. 9, No. 3: Finale: Presto

Tracks:

Quartet No. 14 In E Flat Major, Op. 9, No. 2: Moderato
Quartet No. 14 In E Flat Major, Op. 9, No. 2: Menuet
Quartet No. 14 In E Flat Major, Op. 9, No. 2: Adagio
Quartet No. 14 In E Flat Major, Op. 9, No. 2: Finale: Allegro di molto
Quartet No. 15 In B Flat Major, Op. 9, No. 5: Poco adagio
Quartet No. 15 In B Flat Major, Op. 9, No. 5: Menuet: Allegretto
Quartet No. 15 In B Flat Major, Op. 9, No. 5: Largo: Cantabile
Quartet No. 15 In B Flat Major, Op. 9, No. 5: Finale: Presto
Quartet No. 16 In A Major, Op. 9, No. 6: Presto
Quartet No. 16 In A Major, Op. 9, No. 6: Menuet
Quartet No. 16 In A Major, Op. 9, No. 6: Adagio
Quartet No. 16 In A Major, Op. 9, No. 6: Finale: Presto

Tracks:

Quartet No. 29 In G Major, Op. 33, No. 5 'How Do You Do?': Vivace assai
Quartet No. 29 In G Major, Op. 33, No. 5 'How Do You Do?': Largo e cantabile
Quartet No. 29 In G Major, Op. 33, No. 5 'How Do You Do?': Scherzo
Quartet No. 29 In G Major, Op. 33, No. 5 'How Do You Do?': Finale
Quartet No. 30 In E Flat Major, Op. 33, No. 2 'The Joke': Allegro moderato
Quartet No. 30 In E Flat Major, Op. 33, No. 2 'The Joke': Scherzo
Quartet No. 30 In E Flat Major, Op. 33, No. 2 'The Joke': Largo e sostenuto
Quartet No. 30 In E Flat Major, Op. 33, No. 2 'The Joke': Finale
Quartet No. 31 In B Minor, Op. 33, No. 1: Allegro moderato
Quartet No. 31 In B Minor, Op. 33, No. 1: Scherzo
Quartet No. 31 In B Minor, Op. 33, No. 1: Andante
Quartet No. 31 In B Minor, Op. 33, No. 1: Finale

Tracks:

Quartet No. 32 In C Major, Op. 33, No. 3 'The Bird': Allegro moderato
Quartet No. 32 In C Major, Op. 33, No. 3 'The Bird': Scherzo: Allegretto
Quartet No. 32 In C Major, Op. 33, No. 3 'The Bird': Adagio ma non troppo
Quartet No. 32 In C Major, Op. 33, No. 3 'The Bird': Finale: Rondo - Presto
Quartet No. 33 In D Major, Op. 33, No. 6: Vivace assai
Quartet No. 33 In D Major, Op. 33, No. 6: Andante
Quartet No. 33 In D Major, Op. 33, No. 6: Scherzo: Allegretto
Quartet No. 33 In D Major, Op. 33, No. 6: Finale: Rondo - Presto
Quartet No. 34 In B Flat Major, Op. 33, No. 4: Allegro moderato
Quartet No. 34 In B Flat Major, Op. 33, No. 4: Scherzo: Allegretto
Quartet No. 34 In B Flat Major, Op. 33, No. 4: Largo
Quartet No. 34 In B Flat Major, Op. 33, No. 4: Finale: Presto

Tracks:

String Quartet Op. 17 No. 2 In F Major: Moderato
String Quartet Op. 17 No. 2 In F Major: Menuetto: Allegretto
String Quartet Op. 17 No. 2 In F Major: Adagio
String Quartet Op. 17 No. 2 In F Major: Finale: Allegro di molto
String Quartet Op. 17 No. 1 In E Major: Moderato
String Quartet Op. 17 No. 1 In E Major: Menuetto: Allegretto
String Quartet Op. 17 No. 1 In E Major: Adagio
String Quartet Op. 17 No. 1 In E Major: Finale: Presto
String Quartet Op. 17 No. 4 In C Minor: Moderato
String Quartet Op. 17 No. 4 In C Minor: Menuetto
String Quartet Op. 17 No. 4 In C Minor: Adagio cantabile
String Quartet Op. 17 No. 4 In C Minor: Finale: Allegro

Tracks:

String Quartet In D Major, Op. 17, No. 6: Presto
String Quartet In D Major, Op. 17, No. 6: Menuetto
String Quartet In D Major, Op. 17, No. 6: Largo
String Quartet In D Major, Op. 17, No. 6: Presto
String Quartet In E Flat Major, Op. 17, No. 3: Andate grazioso
String Quartet In E Flat Major, Op. 17, No. 3: Menuetto: Allegretto
String Quartet In E Flat Major, Op. 17, No. 3: Adagio
String Quartet In E Flat Major, Op. 17, No. 3: Allegro molto
String Quartet In G Major, Op. 17, No. 5: Moderato
String Quartet In G Major, Op. 17, No. 5: Menuetto
String Quartet In G Major, Op. 17, No. 5: Adagio
String Quartet In G Major, Op. 17, No. 5: Presto

Tracks:

Quartet No. 66 In G Major, Op. 77, No. 1: Allegro moderato
Quartet No. 66 In G Major, Op. 77, No. 1: Adagio
Quartet No. 66 In G Major, Op. 77, No. 1: Menuetto: Presto
Quartet No. 66 In G Major, Op. 77, No. 1: Finale: Presto
Quartet No. 67 In F Major, Op. 77, No. 2: Allegro moderato
Quartet No. 67 In F Major, Op. 77, No. 2: Menuet: Presto
Quartet No. 67 In F Major, Op. 77, No. 2: Andante
Quartet No. 67 In F Major, Op. 77, No. 2: Finale: Vivace assai

Tracks:

String Quartet In B Flat Major, Op. 50, No. 1: Allegro
String Quartet In B Flat Major, Op. 50, No. 1: Adagio non lento
String Quartet In B Flat Major, Op. 50, No. 1: Menuetto: Poco allegretto
String Quartet In B Flat Major, Op. 50, No. 1: Finale: Vivace
String Quartet In C Major, Op. 50, No. 2: Vivace
String Quartet In C Major, Op. 50, No. 2: Adagio: Cantabile
String Quartet In C Major, Op. 50, No. 2: Menuetto: Allegretto
String Quartet In C Major, Op. 50, No. 2: Finale: Vivace assai
String Quartet In E Flat Major, Op. 50, No. 3: Allegro con brio
String Quartet In E Flat Major, Op. 50, No. 3: Andante piu tosto Allegretto
String Quartet In E Flat Major, Op. 50, No. 3: Menuetto: Allegretto
String Quartet In E Flat Major, Op. 50, No. 3: Finale: Presto

Tracks:

String Quartet Op. 50 No. 4 In F Sharp Minor: Allegro spirituoso
String Quartet Op. 50 No. 4 In F Sharp Minor: Andante
String Quartet Op. 50 No. 4 In F Sharp Minor: Menuetto: Poco allegretto
String Quartet Op. 50 No. 4 In F Sharp Minor: Finale: Fuga: Allegro moderato
String Quartet Op. 50 No. 5 In F Major: Allegro moderato
String Quartet Op. 50 No. 5 In F Major: Poco adagio
String Quartet Op. 50 No. 5 In F Major: Menuetto: Allegretto
String Quartet Op. 50 No. 5 In F Major: Finale: Vivace
String Quartet Op. 50 No. 6 In D Major: Allegro
String Quartet Op. 50 No. 6 In D Major: Poco adagio
String Quartet Op. 50 No. 6 In D Major: Menuetto: Allegretto
String Quartet Op. 50 No. 6 In D Major: Finale: Allegro con spirito

Customer Reviews:

Many Hours of Magnificent Listening Pleasure.......2007-02-20

When these quartets were recorded, in the 1990's and early 2000's, the Kodaly Quartet ("KQ") had been playing together for more than a quarter century. It shows. What is evident on these recordings is the perfect cohesion of these highly talented musicians; they clearly have an intimate knowledge of the score of each quartet and thoroughly enjoy playing together. The KQ's performance is fresh, truly conveys their love for this music, and fully brings to life the range of emotions contained in this musical microcosm - playfulness, elegance, sunny joy, and gentle reverie - with every movement of these quartets having a quality of refinement and graciousness that allows the listener to savor every note.

The allegro movements on these CDs have a wonderful rhythmic vitality.
While listening to them, one can imagine elegantly dressed men and women in the 18th century, with the women in long, flowing silk dresses, moving across the dance floor to the sounds of this wonderful music. Although this chamber music was originally composed for small private gatherings, the fast movements have a lively rhythm that evokes the image of dancing couples.

The slow movements are played with a beautiful tenderness that invites the listener to float upwards with closed eyes into a serene musical heaven, floating in the clouds like an albatross with its wings outspread, being lifted by air currents as it slowly glides through an azure sky on a warm summer day.

These digital recordings have an excellent crystal clear sound quality, capturing the KQ's precision and their sensitivity to every nuance of every note. The sound engineering is truly first-rate, giving a feeling of immediacy and physical presence to the instruments. It is only one step away from having the musicians actually performing in front of you, in your own living room.

I am absolutely delighted with this series of the complete Haydn string quartets by the KQ. As it turns out, every CD in the series has been a delight, including the ones with "spurious arrangements" and quartets that may very well not have been composed by Haydn at all, but by Romanus Hoffstetter (1742 - 1815).

Even the early string quartets are more than mere historical footnotes. They are also beautiful music, irrespective of who composed them, Haydn or Hoffstetter. They are delightful and very worthy compositions in their own right. As stated by Allan Badley in the booklet notes to one of the CD's of the earliest quartets: "There is much to admire in the Op. 3 Quartets, whoever the composer may have been. They are elegant, neatly composed works with lively outer movements, gentle, graceful slow movements, and the kind of lilting, intoxicating minuets that are an integral part of Austrian music of the period." The fact that these string quartets are less musically complex than Haydn's later masterpieces, such as the Opus 71, "Apponyi" quartets, does not detract from their beauty.

I would gladly have paid twice as much for this set of CDs and still felt it was an excellent value. The CD booklet notes are well-written, with historical information, musical analysis, and information on the Kodaly Quartet. Very highly recommended.

Complete Beethoven Edition, Vol. 14: Misc. Chamber Works

Average customer rating:

The "Unknown" Beethoven...
Simply Delightful!
Brilliant if sometimes odd rhythm and tempo

Complete Beethoven Edition, Vol. 14: Misc. Chamber Works

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

Sextets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Complete Beethoven Edition Vol. 6 - Piano Works / Demus, Alder, Gilels, Mustonen, Kempff, Barenboim
Complete Beethoven Edition, Vol. 7: Violin Sonatas
Complete Beethoven Edition, Vol. 2: Concertos
Complete Beethoven Edition, Vol. 9: Piano Trios
Complete Beethoven Edition, Vol. 10: String Trios

ASIN: B000001GZH
Release Date: 1997-12-09

Tracks:

No. 1 In E Flat Major: 1. Adagio assai - attacca - Ludwig Van Beethoven
No. 1 In E Flat Major: 2. Allegro con spirito - Ludwig Van Beethoven
No. 1 In E Flat Major: 3. Tema. Cantabile - Variazioni I-VI - Tema. Allegretto - Ludwig Van Beethoven
No. 2 In D Major: 1. Allegro moderato - Ludwig Van Beethoven
No. 2 In D Major: 2. Andante con moto - Ludwig Van Beethoven
No. 2 In D Major: 3. Rondo. Allegro - Ludwig Van Beethoven
No. 3 In C Major: 1. Allegro vivace - Ludwig Van Beethoven
No. 3 In C Major: 2. Adagio con expressione - Ludwig Van Beethoven
No. 3 In C Major: 3. Rondo. Allegro - Ludwig Van Beethoven

Tracks:

Trio For Piano, Flute, And Bassoon In G Major: 1. Allegro - Ludwig Van Beethoven
Trio For Piano, Flute, And Bassoon In G Major: 2. Adagio - Ludwig Van Beethoven
Trio For Piano, Flute, And Bassoon In G Major: 3. Tema andante con Variazioni - Ludwig Van Beethoven
Sonata For Piano And Horn In F Major: 1. Allegro moderato - Ludwig Van Beethoven
Sonata For Piano And Horn In F Major: 2. Poco Adagio, quasi Andante - Ludwig Van Beethoven
Sonata For Piano And Horn In F Major: 3. Rondo. Allegro moderato - Ludwig Van Beethoven
Sextet For 2 Horns, 2 Violins, Viola And Cello In E Flat Major: 1. Allegro con brio - Ludwig Van Beethoven
Sextet For 2 Horns, 2 Violins, Viola And Cello In E Flat Major: 2. Adagio - Ludwig Van Beethoven
Sextet For 2 Horns, 2 Violins, Viola And Cello In E Flat Major: 3. Rondo. Allegro - Ludwig Van Beethoven

Tracks:

Quintet For Piano, Oboe, Clarinet, Horn And Bassoon In E Flat Major: 1. Grave - Allegro, ma non troppo
Quintet For Piano, Oboe, Clarinet, Horn And Bassoon In E Flat Major: 2. Andante cantabile
Quintet For Piano, Oboe, Clarinet, Horn And Bassoon In E Flat Major: 3. Rondo. Allegro, ma non troppo
Serenade For Flute, Violin And Viola In D Major, Op. 25: 1. Entrada. Allegro
Serenade For Flute, Violin And Viola In D Major, Op. 25: 2. Tempo ordinario d'un Minuetto
Serenade For Flute, Violin And Viola In D Major, Op. 25: 3. Allegro molto
Serenade For Flute, Violin And Viola In D Major, Op. 25: 4. Andante con Variazioni
Serenade For Flute, Violin And Viola In D Major, Op. 25: 5. Allegro scherzando e vivace
Serenade For Flute, Violin And Viola In D Major, Op. 25: 6. Adagio - Allegro vivace e disinvolto
Sonatina In C Minor: Adagio
Adagio In E Flat Major: Adagio (ma non troppo)
Sonatine In C Major: Allegro
Variations In D Major

Tracks:

Trio For Piano Clarinet And Cello In B Flat Major: 1. Allegro con brio
Trio For Piano Clarinet And Cello In B Flat Major: 2. Adagio
Trio For Piano Clarinet And Cello In B Flat Major: 3.Tema. 'Pria ch'io l'impegno'. Allegretto - Allegro
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major: 1. Adagio - Allegro con brio
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major:: 2. Adagio cantabile
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major:: 3. Tempo di Menuetto
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major: 4. Tema. Andante con Variazioni
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major: 5. Scherzo. Allegro molto e vivace
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major: 6. Andante con moto alla Marcia - Presto
Fugue For String Quintet In D Major: Allegretto

Tracks:

Quintet For 2 Violins, 2 Violas And Cello In C Major: I. Allegro
Quintet For 2 Violins, 2 Violas And Cello In C Major: II. Adagio molto espressivo
Quintet For 2 Violins, 2 Violas And Cello In C Major: III. Scherzo. Allegro
Quintet For 2 Violins, 2 Violas And Cello In C Major: IV. Presto
Prelude And Fugue For 2 Violins And Cello In E Minor: Praeludium
Prelude And Fugue For 2 Violins And Cello In E Minor: Fuge
Six Minuets For Two Violins And Bass: No. 1 In E Flat Major
Six Minuets For Two Violins And Bass: No. 2 In G Major
Six Minuets For Two Violins And Bass: No. 3 In C Major
Six Minuets For Two Violins And Bass: No. 4 In F Major
Six Minuets For Two Violins And Bass: No. 5 In D Major
Six Minuets For Two Violins And Bass: No. 6 In G Major
Duet For Viola And Cello In E Flat Major: Allegro
Duet For Viola And Cello In E Flat Major: Allegretto
Six Landler For Two Violins And Bass: No. 1 In D Major
Six Landler For Two Violins And Bass: No. 2 In D Major
Six Landler For Two Violins And Bass: No. 3 In D Major
Six Landler For Two Violins And Bass: No. 4 In D Minor
Six Landler For Two Violins And Bass: No. 5 In D Major
Six Landler For Two Violins And Bass: No. 6 In D Major
Duet For Two Violins In A Major
Canon In A Major (Probably For Two Violins)

Tracks:

Six Themes With Variations For Piano And Flute: 1. Air ecossais: 'The Cottage Maid'. Tema. Andantino quasi Allegretto - Var. I-II - Var. III. Allegro - Tempo I
Six Themes With Variations For Piano And Flute: 2. Air ecossais: 'Von edlem Geschlect war Shinkin'. Tema. Allegretto scherzoso - Var. I-II - Var. III. Allegretto-Allegro
Six Themes With Variations For Piano And Flute: 3. Air autrichien: 'A Schusserl und a Reindl'. Tema. Andantino - Var. I-IV - Var. V. Adagio sostenuto, ma non troppo - Var. VI. Andante con moto
Six Themes With Variations For Piano And Flute: 4. Air ecossais: 'The Last Rose Of Summer'. Tema. Andante expressivo assai - Var. I-III
Six Themes With Variations For Piano And Flute: 5. Air ecossais: 'Chiling O'Guiry'. Tema. Allegretto spiritoso - Var. I-II - Var. III. Allegro assai
Six Themes With Variations For Piano And Flute: 6. Air ecossais: 'Paddy Whack'. Tema. Allegretto piu tosto vivace - Var. I-IV
Ten Themes With Variations For Piano And Flute: 1. Air tirolien: 'I bin a Tiroler Bua'. Tema. Moderato - Var. I-III - Var. IV. Allegro
Ten Themes With Variations For Piano And Flute: 2. Air ecossais: 'Bonnie Laddie, Highland Laddie'. Tema. Allegretto, quasi vivace - Var. I-III - Var. IV. Andante mosso, alla Siciliano - Allegro
Ten Themes With Variations For Piano And Flute: 3. Volkslied aus Kleinrussland. Tema. Vivace - Var. I-IV - Var. V. Adagio sostenuto - Tempo I
Ten Themes With Variations For Piano And Flute: Air ecossais: 'St .Patrick's Day'. Tema. Allegretto scherzoso - Var. I - Var. II. Poco adagio - Vivace - Moderato - Tempo I
Ten Themes With Variations For Piano And Flute: 5. Air tirolien: 'A Madel, ja a Madel'. Tema. Moderato - Var. I-II - Var. III. Maestoso - Allegro
Ten Themes With Variations For Piano And Flute: 6. Air ecossais: 'Peggy's Daughter'. Tema. Andante comodo - Var. I-III - Var. IV. Vivace
Ten Themes With Variations For Piano And Flute: 7. Air russe: 'Schone Minka'. Tema. Andante - Var. I-IV - Var. V. Andante moderato - Var. VI. Allegro - Adagio - Andante commodo - Poco vivace
Ten Themes With Variations For Piano And Flute: 8. Air ecossais: 'O Mary At Thy Window Be'. Tema. Andantino quasi Allegretto - Var. I-III - Var. IV. Un poco piu mosso - Allegro assai
Ten Themes With Variations For Piano And Flute: 9. Air ecossais: 'Oh, Thou Art The Lad Of My Heart'. Tema. Allegretto piu tosto vivace - Var. I - Var. II. Cantabile e legato - Var. III - Var. IV. Andante espressivo - Var. V. Vivace
Ten Themes With Variations For Piano And Flute: 10. Air ecossais: 'The Highland Watch'. Tema. Spiritoso e marziale - Var. I-II - Var. III. Piu moto - Var. IV. Adagio espressivo - Var. V. Allegro
Duo For Two Flute In G Major: Allegro con brio
Duo For Two Flute In G Major: Minuetto quasi Allegretto

Customer Reviews:

The "Unknown" Beethoven..........2005-01-03

I think it would not be wrong to say that most casual listeners of classical music know Beethoven mostly by his orchestral works--the symphonies, piano concertos, violin concerto, and overtures. Those who go a little deeper might know him by the piano sonatas, violin sonatas, and string quartets; however, this misses a significant portion of his oeuvre--and a major facet of his ethos and art: specifically, the chamber works and lieder: this is the "unknown" Beethoven.

This collection is absolutely the best, finest, and most excellent presentation of Beethoven's chamber works: the Horn Sonata; the Piano-Wind Quintet; the Serenade for Flute, Violin, and Viola; the Clarinet Trio; the Septet for mixed strings & winds; and the String Quintet.

Plus, some really nice esoterica: the early piano quartets; trio for piano, flute & bassoon; pieces for mandolin & piano; and pieces for flute & piano.

All of these works fall into Beethoven's First Period; yet, they must not be considered "juvenalia": Beethoven was the greatest artist/poet who ever lived, and his genius was manifest from his teenage years.

Simply Delightful!.......2004-12-23

This is a wonderful collection of Beethoven chamber music. The recordings are intimate, the musicianship is superb...the music is timeless. The piano concerti are the real highlights here; I don't think they can be any better, and the other selections are very pleasant. If you like Beethoven chamber music (and I can't imagine NOT liking it), then this set is highly recommended. Every now and then you come across a boxed set of recordings that you can listen to over and over. This is one such set.

Brilliant if sometimes odd rhythm and tempo.......2001-01-10

This CD, part of the magnus opus of Beethoven's works committed to CD is wonderfully brilliant and evocative of the renditions of the early 1950's.

Although there are the rare rhythmic, and very rare tempo peculiarities this must remain as one of the finest renditions of Beethoven's Chamber Works. This is of course to be expected from works produced by DDG.

Customer Reviews:

Each movement is an event!.......2007-02-19

In comparison with The Lindsays who play beautifully but lack in recording quality and intimacy (especially on ASV), the Emerson Quartet who are recorded really well but for me play with too much self-regard, and the Amadeus Quartet who play excellently but who's recordings are older and analogue to digital transfers, the Mosaiques are as close to perfection as one could wish. Period instruments are not all that important perhaps but the intimacy of recording them and their acoustics is and both are technically very well accomplished here and on their Op 33, 64, 76, & 77 CDs. As far as musical interpretation goes they are sensitive and revealing artists who are most sympathetic to how my relationship with this music is. I own several CDs by all the above quartets but the Mosaiques are the ones I am drawn to first every time in any mood (closely followed by the Amadeus Quartet). The others provide valuable comparisons which may broaden one's understanding of Hadyn but for depth, drama, and lucidity the Mosaiques cannot be bettered.

One of the finest recordings in chamber music.......2005-03-22

This superb recording is one of the finest recordings of 18th-century chamber music and stands at the pinnacle of great quartet playing. The combination of Haydn's compositional innovations, the Mosaiques' stauresque period-musicianship and the cutting-edge DDD recording makes this two-CD set rise to the top of excellence. This recording won a 1993 Gramophone award and - with the Mosaiques' Op. 33, 76 and 77 - are Gramophone's top pick for Haydn's quartets among all available recordings. Additionally, Penguin Guide awarded this set the distinctive ROSETTE rating along with a "Key Recommended Recording" citing (ie: ideal for building a collection). One listen should reveal the reasons for such top accolades.

There is something about the Op.20 Haydn quartets performed by the Mosaiques that is ever-so-captivating. I stumbled upon the set at the library and was absolutely amazed at the unique and dramatic sound and style of this quartet. The tones and textures they create on their period (gut string) instruments are equisitely shaped and highly alluring. Additionally in these fine all-digital recordings, you can hear each of the four string's dramatic tonal colorations played in superb definition - a clarity not matched by any other recording I have listened to. The Penguin Guide confirmed such an impression: "This is playing of rare distinction which is immensely revealing and rewarding, helped by a state-of-the-art recording of complete realism and presence within an acoustic that provides the necessary intimacy of ambiance."

The Op.20 quartets are historic in many ways, the main one being that they were among the first true quartet compositions of any kind, with independent parts given to each instrument. Also, having been composed during Haydn's "Storm and Stress" phase in the 1770's, they exude a distinct (pre-Romantic-era) emotional uneasiness and dissonance - but new sounds still within the boundaries of the good Vienesse taste of Haydn. The sharp shifts in rhythm, dynamics, and tempos are part of this new expressiveness that makes Op. 20 fairly unique among Haydn's many quartets. And with their period instruments and stark yet attractive style of shaping notes (no vibrato), the Mosaiques bring out this "Storm & Stress" intensity with great effect and expression. Their bold and superbly precise starts and stops and cresendos bring great drama to the music as Haydn intended and better than modern insrument quartets in my opinion. Equally, the Mosaiques bring out Haydn's playful side in the "scherzo" movements with great bouyancy and charm but without going over into pretentiousness. Their slow movements are pure artistry and elegance and done with the most nuanced shades of tonal colour and dynamic.

If you could only splurge for one Mosaique's recording, Op. 20 is really most special and recommended. Their reading of this work is truly staturesque. Part of the reason is because their style and more robust, gutsy tone are ideally suited for this most dramatic composition of Haydn - which essentially launched the modern string quartet form. Most recommended.

Haydn with sense and sensibility.......2004-11-07

These performances of Haydn's opus 20 by the Mosaiques are widely considered to be a top recommendation by experts such as Grammophone and the Penguin guide. Why is that so? First, Haydn's opus 20 is a landwark of the string quartet literature: after initial efforts that are closer to a divertimento, Haydn succeeds in establishing the layout of the string quartet that would be followed in the centuries to come: first movement in ABA (sonata) form, a slow second movement, a light-hearted third (a menuetto) and a fast-paced finale. That said, the opus 20 quartets see Hadyn experimenting with alternatives: in three of the quartets, the second and third movement are switched. On other two quarterts, the finale is based on a fuge (antecipating Beethoven's famous opus 133). These experimentations are fascinating attempts at finding the right balance, and no chamber music lover can fail to have them in his collection. The performance do full justice to the importance of the piece: although the Mosaiques play with period instruments, theirs is not a strict "period performance". The Mosaiques are rather more faithful to Hadyn's spirit: their interpretation captures all different paces and structures of Haydn's opus 20. This is an "all period" recording which puts together skill, knowledge and sensibility to a extraordinary effect. Finally, the two sets are available at a very attractive price. I bought those for 50 pounds at a Mosaiques concert in England. You can have them for far less, and enjoy them as much as I do.

Excellent performance overall........2003-12-31

As a child, I remember sitting on the floor in front of the stereo transfixed by Haydn's Quartet op. 20 no. 4 in D. I simply couldn't believe what I was hearing. As soon as I had saved enough allowance, I bought the Juilliard Quartet recording of these "Sun" Quartets, an expansive and somewhat romantic recording which made the most of the high level of emotion in these works.

I'm always a bit reluctant to buy "period instrument" recordings, especially when I am so familiar with a particular sound and interpretation. It's not that I don't appreciate historical accuracy, but so often the interpretations are unmusical, meaning either deliberately "scholarly" or "faux bizarre", with all kinds of liberties taken (tempo, ornamentation, etc.) to make a performance more "interesting".

I'm happy to report that the Quatour Mosaiques plays with beauty, feeling, and best of all, allows Haydn's genius its due. These quartets are the first fully-developed, profound, and utterly mature works of their kind and QM does them absolute justice. The melodic passages aren't burdened by ego, the accompaniaments aren't ponderous, the tempi are darn near perfect (the Adagio variations of no. 4 are just a touch too slow, which detracts from the inexorable and tragic coda) and the most difficult of them, no. 3, is played with such a combination of fire and restraint (elegance) that it is easy to see where Mozart obtained inspiration for his String Quintet in the same key (although the Haydn quartet is much more daring in many respects). My only complaint is an occasional thinness of tone (some vibrato would help, particularly in the slow movement of no. 1) and a general lack of variation in sound (not only tone color, but also a lack of variation in volume). Other than that, I recommend this recording wholeheartedly, especially to those of you who aren't familiar with Haydn's earlier quartets. With their fugues, their frequent minor keys, sudden changes of mood, chromaticism, formal experiments, thematic links (especially no. 2), and their overall lyrical expression, these quartets plumb greater depths than many of their later counterparts.

Tracks:

String Quartet No. 1, op. 20: 1. Allegro violento ed agitato
String Quartet No. 1, op. 20: 2. Vivacissimo
String Quartet No. 1, op. 20: 3. Calmo e poetico... (see ext info)
String Quartet No. 1, op. 20: Allegramente rustico
String Quartet No. 2, op 26 (Revised Version): 1. Allegro rustico
String Quartet No. 2, op 26 (Revised Version): 2. Adagio angoscioso
String Quartet No. 2, op 26 (Revised Version): 3. Presto magico
String Quartet No. 2, op 26 (Revised Version): #2: 4. Libero e rapsodico
String Quartet No. 2, op 26 (Revised Version): 5. Furioso
String Quartet No. 3, op. 40: 1. Contemplativo
String Quartet No. 3, op. 40: 2. Fantastico
String Quartet No. 3, op. 40: 3. Amoroso
String Quartet No. 3, op. 40: 4. Drammatico
String Quartet No. 3, op. 40: 5. Di nuovo contemplativo

Franz Joseph Haydn: 6 String Quartets Op. 9 - Tátrai Quartet

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Franz Joseph Haydn: 6 String Quartets Op. 9 - Tátrai Quartet
Franz Joseph Haydn , and Tátrai Quartet
Manufacturer: Hungaroton
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000308V
Release Date: 1993-02-19

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