this is an excellent performance of an outstanding composition. many thanks to you Mr. Hertzberg and i hope that 2015 goes well for you. muchas gracias y saludos desde Tokio.
This is the work that opened my eyes to the beauty of atonal music when I was around 16. It came as a sort of revelation. Then Schoenberg and Webern started to make sense. But I still think that, along with the Violin Concerto, Berg achieved something more personal and moving than Schoenberg and Webern. I return to this work many times. The Quartet op 3 is lovely too.
+Stephen Churley: That is, of course because, though Berg was a student of Schoenberg, he never severed his love and devotion for late Romanticism. He achieved a kind of hybrid between these two form, which makes his music much more approachable to many listeners.
Nearly complete ! See above. I don't suppose it's possible to clean the record and remove that grit or gunge that makes the needle jump a couple of grooves, so that we can hear the Julliards' full performance ? A bit of a cheek to ask !
como siempre, su musica sera intensa, profunda, quiza este tipo de musica, el serialista es el que mas se aproxima a la realidad humana, mi punto de vista me dice que es la mas terrenal, por eso para muchos, es la mas dificil de oir e interpretar, la humanidad es absurda, loca, obscura, pero con sus breves ratos llenos de lucidez... eso es la musica dodecafónica y serialista, una de las que mas me gusta junto a la impresionista, la romantica, y la barroca
One of the landmarks of string quartet repertoire in a mind-blowing performance. Of interest in a similarly daring repertoire also the Keller quartet performing Bartok's 5th, not to mention La Scala string quartet playing Verdigo by di Gesu
Very intense performance... my only quibble is that they don't pay as much attention to the tempo markings as the LaSalle quartet... each fast movement is supposed to be faster than the last, and each slow movement slower than the last, in keeping with the growing extremity of the emotions.
A pop in the record causes it to jump a couple of beats in bar 26 of fourth movement, from near start of 1st violin's F# to part-way through the Bb at end of bar. In any other genre of music, this would be a calamity, but I'll bet only those who've performed it, analysed it or are following with a score would be aware that over a dozen notes are missing. I salute any quartet that has the technical proficiency to perform this fiendishly difficult work, but can't help thinking that atonalism is an intellectual diversion for people more interested in maths than music, and the visual rather than the aural experience. Having said that, I can hear many phrases that are reminiscent of late-Romantics' writing, including the Schoenberg of works such as Verklarte nacht, i.e. pre-12-tone, so it can at least be said to be 'of its time'. However rhythmically complex or diffuse music becomes, I think our brains will always require some form of harmonic/melodic structure which is developed and then returns, whether or not it can be called sonata form, to give a satisfying 'journey', though this does undeniably have an emotional, as well as a rigorous compositional structure. I find Szymanowski's 2nd violin Concerto so much more listenable than his tuneless, rambling 1st, because there are hints of folk melody to relieve the austerity. I think Bartok strikes the right balance, but his string quartets are also a difficult listen. Of course, neither of these Eastern European composers wrote strict atonalism along the lines of the Second Viennese School. This is no doubt a very fine and faithful performance, and historically-important, so thank you David Hertzberg for making it available. I wonder why you put up a caption for the sixth movement towards the end, when with all the others it was at the beginning; you could have put it ahead of the interesting sleeve notes, surely ?
Atonal music is far more "aural" than tonal music. Its more delightful in the sense that there are far more tone combinations in any atonal work than in any classical work, there is a harmonic melodic assault which demands more attention from the listener to each phrase, each line. It is in no way mathematical and has nothing to do with math, a composer is required to be more intuitive, fluid and clear in the presentation of his material to make up for the loss of classical methods of structure, it leads to "simpler" music. Twelve tone music by its very nature is developmental and Berg uses recapitualtive forms a lot in this work, its all very clear. Everything that was appealing from tonal music is there, the harmonies, the melodies, the development, just in a richer sonical context.
Really modern interpretation with thoroughly precise performance. Thanks for the precious upload!
this is an excellent performance of an outstanding composition. many thanks to you Mr. Hertzberg and i hope that 2015 goes well for you. muchas gracias y saludos desde Tokio.
Thanks very much for your message, greatly appreciated.
The Juilliard's Bartók complete string quartets, the one from the early 60s, are one of those recordings that are very very near to perfection.
thank`s davidhertzberg , for info and share, i love this compositer since i was 17yrs old, (i have 36).
This is the work that opened my eyes to the beauty of atonal music when I was around 16. It came as a sort of revelation. Then Schoenberg and Webern started to make sense. But I still think that, along with the Violin Concerto, Berg achieved something more personal and moving than Schoenberg and Webern. I return to this work many times. The Quartet op 3 is lovely too.
+Stephen Churley: That is, of course because, though Berg was a student of Schoenberg, he never severed his love and devotion for late Romanticism. He achieved a kind of hybrid between these two form, which makes his music much more approachable to many listeners.
Echt moderne Interpretation mit gründlich präziser Aufführung. Danke fürs wertvolle Hochladen!
Sublime
Berg / Juilliard String Quartet, 1950: Lyric Suite for String Quartet - Complete
Nearly complete ! See above. I don't suppose it's possible to clean the record and remove that grit or gunge that makes the needle jump a couple of grooves, so that we can hear the Julliards' full performance ? A bit of a cheek to ask !
@@nickconbrio5310 There is a cleaned up version on another upload here and it sounds horrible. The high end is rolled off.
Thank you so much, for sharing this excellent LP!
Breathtaking!
..awesome.. just the thing for switerland in nyc morning coffee.. thanks keep up the supererogate historiography..
como siempre, su musica sera intensa, profunda, quiza este tipo de musica, el serialista es el que mas se aproxima a la realidad humana, mi punto de vista me dice que es la mas terrenal, por eso para muchos, es la mas dificil de oir e interpretar, la humanidad es absurda, loca, obscura, pero con sus breves ratos llenos de lucidez... eso es la musica dodecafónica y serialista, una de las que mas me gusta junto a la impresionista, la romantica, y la barroca
sounds fantastic, thanks.
One of the landmarks of string quartet repertoire in a mind-blowing performance.
Of interest in a similarly daring repertoire also the Keller quartet performing Bartok's 5th, not to mention La Scala string quartet playing Verdigo by di Gesu
I tried dancing to this and almost ended up in the hospital.
+43nostromo lol
Very intense performance... my only quibble is that they don't pay as much attention to the tempo markings as the LaSalle quartet... each fast movement is supposed to be faster than the last, and each slow movement slower than the last, in keeping with the growing extremity of the emotions.
TWELVE TONE MUSIC ? never herd any before , sound pretty cool to me
Alban Berg composer, I like but I know this will not get you into my bed.....
A pop in the record causes it to jump a couple of beats in bar 26 of fourth movement, from near start of 1st violin's F# to part-way through the Bb at end of bar. In any other genre of music, this would be a calamity, but I'll bet only those who've performed it, analysed it or are following with a score would be aware that over a dozen notes are missing.
I salute any quartet that has the technical proficiency to perform this fiendishly difficult work, but can't help thinking that atonalism is an intellectual diversion for people more interested in maths than music, and the visual rather than the aural experience. Having said that, I can hear many phrases that are reminiscent of late-Romantics' writing, including the Schoenberg of works such as Verklarte nacht, i.e. pre-12-tone, so it can at least be said to be 'of its time'. However rhythmically complex or diffuse music becomes, I think our brains will always require some form of harmonic/melodic structure which is developed and then returns, whether or not it can be called sonata form, to give a satisfying 'journey', though this does undeniably have an emotional, as well as a rigorous compositional structure. I find Szymanowski's 2nd violin Concerto so much more listenable than his tuneless, rambling 1st, because there are hints of folk melody to relieve the austerity. I think Bartok strikes the right balance, but his string quartets are also a difficult listen. Of course, neither of these Eastern European composers wrote strict atonalism along the lines of the Second Viennese School.
This is no doubt a very fine and faithful performance, and historically-important, so thank you David Hertzberg for making it available. I wonder why you put up a caption for the sixth movement towards the end, when with all the others it was at the beginning; you could have put it ahead of the interesting sleeve notes, surely ?
Atonal music is far more "aural" than tonal music. Its more delightful in the sense that there are far more tone combinations in any atonal work than in any classical work, there is a harmonic melodic assault which demands more attention from the listener to each phrase, each line. It is in no way mathematical and has nothing to do with math, a composer is required to be more intuitive, fluid and clear in the presentation of his material to make up for the loss of classical methods of structure, it leads to "simpler" music.
Twelve tone music by its very nature is developmental and Berg uses recapitualtive forms a lot in this work, its all very clear. Everything that was appealing from tonal music is there, the harmonies, the melodies, the development, just in a richer sonical context.
I'm glad all these folk like it, but all I can get just now is the B side
20:07 is the best part
you are right
25:46 sooooooooo Tristan
microsillon incassable, 17,78 cm, 1950
I thought I might like this, but it sounds like children improvising.
relax mate....why so angry..? you can disagree with the music, without acting like a child...:)
they are prodigies with astounding creative powers.