Quatuor Ebène : Joseph Haydn String quartet f-minor Op.20/5
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- เผยแพร่เมื่อ 6 ต.ค. 2013
- Quatuor Ebène :
Pierre Colombet, violin (I)
Gabriel Le Magadure, violin (II)
Mathieu Herzog, viola
Raphaël Merlin, cello
Festival Wissembourg - August 27th 2013
Quatuor Ebène appears Courtesy of Erato/Warner Classics
www.warnerclassics.com/releas... - เพลง
This is such a musical and sensitive performance. The four players react off one another, and create a magical sense of unity. The fugue finale is played at some speed, but the clarity is never lost. The soft dynamics lead suddenly into an electrifying fortissimo. Bravi!
The beauty of this music is just amazing!
Beautiful interpretation ; of one of my favorite string quatuors.
Haydn with quatuor ebene is such a delight.
Well constructed and well played. Players integrated into a united entity in their performance.
Ausgezeichnetes Werk in hervorragender Interpretation!
Very Beautiful!!! Thanks for uploading this video!!!
This is my first experience of Quatuor Ebene, and what a joy! Just the first few bars and I was spellbound by the delicacy and absolute unity of tone. In my early quartet playing days as cellist, our wise violist said that we must never be four instruments, we must produce just one sound that rises from the centre of the music stands. And these people have found it! Wonderful. But I am puzzled at their choice of name: “Ébène” means ebony, a wood which is unbelievably hard, black, and heavy!
Il y a la dimension de la tendresse sans fièvre , d'une douce présence d'une musique qui vous aide à vous sortir de vous même sans exacerber vos pensées . Non vous ne voulez pas devenir un être inconsolé parmi les dieux mais un homme à l'écoute de ce qui déjà palpite dans les choses simples et belles du quotidien. C'est , me semble t-il de cela dont nous entretient Joseph Haydn dans cet oeuvre qui semble composée pour travailler en nous par l'introspection point excessive , et pour nous encourager à découvrir la beauté quotidienne ainsi que celle des extérieurs de la nature...
merci pour ce merveilleux commentaire
How extraordinarily good these guys are. I've listened to several of their concert recordings, I'm really amazed and touched by their delicacy and deeply involved interpretations.
Also, the recorded sound from the Wissembourg festival is magnificent. Video quality in 480p is so-so but sound captured consistently great. Interesting to manage that with the different sets of microphones used.
To honour their efforts, may I point out that the quartet's name is actually Quatuor Ébène.
A French Quatuor ... I'm ashamed of my current President , this bastard of Macron ... but so proud of this wonderful strings quartet ... like a healing for my tormented soul ...
Thank you. I really enjoyed this.
Fine performance.
The Haydn's op. 20 quartets are among his first period compositions. Howaver, how serious are these quartets! Most of the final movements are in a fugato form, a feature that Haydn will avoid in his "mature" quartets. These "sun" quartets deserve to be best know and more often interpretated. (The "sun" was a drawing illlustrating the score cover).
Браво!)
20:52 the surprise quartet
bravissimi
Doctor Doom's favourite Hayden piece. According to his nemesis, Dr. Reed Richards, it was among "the most introspective of his compositions."
Dæmon Visigoth
Haydn used f minor as a key rather more than other composers of the time; it was to Haydn what g minor was Mozart, or c minor to Beethoven; f minor is very rare in Mozart for example.
f minor is invariably a key into which Haydn poured some of his most profound thoughts - Symphony 49, the Andante con variazioni Hob. XVII:6, part of the Scena di Berenice Hob. XXIVa:10, The Spirit Song Hob. XXVIa:41, et cetera.
It’s interesting that of the three piano sonatas Opus 2 that Beethoven dedicated to Haydn, Opus 2 No 1 is in f minor; outside the counterpoint lessons Beethoven took from Haydn, is it too fanciful to speculate that he picked up from Haydn that f minor was special to him, and acknowledged that rather touchingly in the first sonata of the set ?
Haydn = God
Sorry Sir, who says that Haydn doesn't need any help ? You may prefer for you a cold and inexpressive Haydn, but you haven't the right to decide for the universe ...
I'm always struck by the finale's closeness to the opening (and closing) movement of Mozart's Requiem. It would be a fascinating few weeks to really closely compare the Haydn original with Mozart's more than respectful and respectable parody thereof.
The first subject of the fugue is not an original by Haydn nor by anyone else, it’s an eighteenth century commonplace, and typical of the sort of theme all composers of both the Baroque and Classical period used.
As another example, listen to the chorus ‘And with his stripes’ from Messiah; you will find that JS Bach used it in the ‘48’ as well.
@@elaineblackhurst1509 I was aware of that, thanks.
@@timothyj.bowlby5524 The countersubject in this fugue is used in the Reuiqem as the second subject
I ain't a fan of the idea that music should be played only with the restrictions and standards of the period. What does adding greater dynamic variety take away from the music? So what if the music doesn't line up with a list describing the characteristics of classical music?
18:55
Very fine performance. I'm particularly impressed with the violist but I notice he's been replaced in later recordings with a younger man who lavishes glances at the cellist.
And now, they have Marie Chilemme as their violist who rounds them out as the most good looking quartet right now xD
LOL +
Gosh Haydn always writes difficult 1st violin part.
handelviola
The 1st violin parts in the earlier quartets- including Opus 20 - would originally have been played by the Eszterhaza orchestra leader or Konzertmeister, Luigi Tomasini.
Tomasini was a very fine violinist, and Haydn wrote for him accordingly: Haydn himself would have played 2nd violin.
Haydn’s best violin concerto - that in C major Hob. VIIa: 1 - bears a note from the composer in his catalogue of works:
‘fatto per il luigi’ (ie Tomasini).
(Written for Luigi).
The pair would also have been the last two to leave the room at the end of the ‘Farewell’ symphony after playing the last section of the symphony when the orchestra was down to just the last two violins; they played the final 22 bars, and the last pianissimo notes together.
Комплименты, ребята.
Tout beau que ce soit, et c'est magnifique, on se rend compte tout de même comme l'élève (Beethoven) a rapidement dépassé le maître (Haydn). Mais merci au maître pour tout ce qu'il a fait !
Pardon, das sehe ich anders: Beethoven hat die Größe Haydns nie erreicht! Haydns Quartette sind für mich einfach die weit besseren!
Чё так неровно?
Piuttosto infedeli al testo ed allo spirito
Nulle
12:59
I ain't a fan of the idea that music should be played only with the restrictions and standards of the period. What does adding greater dynamic variety take away from the music? So what if the music doesn't line up with a list describing the characteristics of classical music?
You can play it any way you like it