Jerusalem Quartet plays Shostakovich String Quartet No. 13 in B-flat Minor, Op. 138
ฝัง
- เผยแพร่เมื่อ 17 ต.ค. 2024
- Dmitri Shostakovich - Quartet No. 13 in B flat Minor for Strings, Op. 138
Adagio - Doppio movimento - Tempo primo
Jerusalem Quartet
Alexander Pavlovsky, violin
Sergei Bresler, violin
Ori Kam, viola
Kyril Zlotnikov, cello
Chamber Music Society of Lincoln Center 2013
Mesmerizing composition and performance!! Pure Gold!!!
So beautiful, thanks gentlemen of the quartet!
Wonderful performance! They caught a sense of the uncanny - I caught a shiver of dread that I might be starting to understand this work. Thank you. I think.
This is one of the most profound classical compositions of all time. Chilling. Doom laden.
Like the end of the original Planet of the Apes.
Espetacular!!! BRAVO!!!
Bravo!
I may not be remembering accurately, but is this the first time in the series for bow tapping--on the wood? I like the confidence of this quartet; they press their tempo, and it gives them power. I notice the Borodin takes nearly three more minutes on the same piece.
Shostakovich's originality is astounding. I love how he breaks down his main theme into those slow, looming segments, like dark clouds, toward the end. Especially from around the 12-minute mark.
@Luis Muñoz isn't it in 10 very briefly?
בסיום 1 עם סוף מפחיד. Larghssimo ורחב יריעה.
One hears clashing parts like that in Monteverdi madrigals, due to the independence of the parts.
It's written clearly in the score, that the players should tap on the bodies of their instruments with their bows, not with palms. Wtf.
DSCH indeed required tapping the bow on the body of the violin, for a kind of skeletal danse macabre. Many fiddlers have stopped doing this. Violins are fragile and expensive. In many cases those instruments are on loan. Nowadays many tap their bows on the music stand. Unfortunately most bows are just as expensive, and even more fragile. Which is why Kam, the alto player here, slaps his hand on the body of his instrument. It's not the same sound. But anyway, the Jerusalem, a great quartet, performs this piece rather, shall I say, conservative. Without great risk taking.