~ Emerson String Quartet
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~ Dietrich Fischer-Dieskau
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~ Emerson String Quartet
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~ Franz Joseph Haydn
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Track Listings
| Disc: 1 |
|---|
| 1. Quartet in F minor, op. 20 no. 5 |
| 2. Quartet in E flat major, op. 33 no. 2 "The Joke" |
| 3. Quartet in G major, op. 54 no. 1 |
| 4. Quartet in D major, op. 64 no. 5 "The Lark" |
| Disc: 2 |
| 1. Quartet in G minor, op. 74 no. 3 "The Rider" |
| 2. Quartet in D minor, op. 76 no. 2 "Fifths" |
| 3. Quartet in G major, op. 77 no. 1 |
On this CD:
-
(6) String Quartets (Divertimentos), 'Sun'
Composed by Joseph Haydn
Performed by Emerson Quartet
-
(6) String Quartets
Composed by Joseph Haydn
Performed by Emerson Quartet
-
(3) String Quartets, 'Tost I'
Composed by Joseph Haydn
Performed by Emerson Quartet
-
(6) String Quartets, 'Tost III'
Composed by Joseph Haydn
Performed by Emerson Quartet
-
(3) String Quartets, 'Apponyi II'
Composed by Joseph Haydn
Performed by Emerson Quartet
-
Six String Quartets, 'Erdödy'
Composed by Joseph Haydn
Performed by Emerson Quartet
-
(2) String Quartets, 'Lobkowitz'
Composed by Joseph Haydn
Performed by Emerson Quartet
Product Description
Amazon.co.uk Review
To celebrate its 25th anniversary, the Emerson Quartet has made its first all-Haydn recording featuring seven of the composer's most famous quartets on two CDs. Presented chronologically, the programme is arranged for utmost contrast of tonality, atmosphere and character. The prevailing mood is joyous, as befits the occasion, though three quartets are in minor keys. The opening work, Op.20 No.5, is dark, brooding and achingly beautiful; its inner tension is released in passionate climaxes, its slow movement is serenely pastoral and its finale a double fugue. This is followed by Op.33 No.2, nicknamed "The Joke" for its finale, whose coda is punctuated by several "fake" endings--general pauses of increasing length designed to tempt the audience into premature applause. To make its full effect, this "joke" depends on watching the players sit in frozen silence. Also in minor keys are the dramatic Op.76 No.2, nicknamed "Fifths" for its opening theme, which contains the famous "Witches' Minuet", a fierce two-part canon between the upper and lower instruments; and Op.74 No.3, nicknamed "The Rider" for its galloping finale. Op.64 No.5 is called "The Lark" for its soaring beginning; the finale is a brilliant perpetual-motion marathon. Op.54 No.1 and Op.77 No.1 radiate good cheer and sunshine. The Emersons, whose violinists alternate, play all this with their customary meticulousness, polish and ease; some of the fast movements are surprisingly leisurely and at times one could wish for more inwardness or abandon. A third, bonus disc taken from earlier Emerson recordings contains movements of eight quartets from Mozart to Ives. --Edith Eisler
To celebrate its 25th anniversary, the Emerson Quartet has made its first all-Haydn recording featuring seven of the composer's most famous quartets on two CDs. Presented chronologically, the programme is arranged for utmost contrast of tonality, atmosphere and character. The prevailing mood is joyous, as befits the occasion, though three quartets are in minor keys. The opening work, Op.20 No.5, is dark, brooding and achingly beautiful; its inner tension is released in passionate climaxes, its slow movement is serenely pastoral and its finale a double fugue. This is followed by Op.33 No.2, nicknamed "The Joke" for its finale, whose coda is punctuated by several "fake" endings--general pauses of increasing length designed to tempt the audience into premature applause. To make its full effect, this "joke" depends on watching the players sit in frozen silence. Also in minor keys are the dramatic Op.76 No.2, nicknamed "Fifths" for its opening theme, which contains the famous "Witches' Minuet", a fierce two-part canon between the upper and lower instruments; and Op.74 No.3, nicknamed "The Rider" for its galloping finale. Op.64 No.5 is called "The Lark" for its soaring beginning; the finale is a brilliant perpetual-motion marathon. Op.54 No.1 and Op.77 No.1 radiate good cheer and sunshine. The Emersons, whose violinists alternate, play all this with their customary meticulousness, polish and ease; some of the fast movements are surprisingly leisurely and at times one could wish for more inwardness or abandon. A third, bonus disc taken from earlier Emerson recordings contains movements of eight quartets from Mozart to Ives. --Edith Eisler
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