Beethoven: String Quartets (豆瓣)

表演者: Borodin String Quartet
介质: Audio CD
发行时间: 2003-02-10
出版者: EMI Classics
唱片数: 4
条形码: 0724356225824

豆瓣评分

暂无评分

想听在听听过

评价:

简介 · · · · · ·

　　Virgin’s box set presents a different Borodin Quartet than that heard in Chandos’s new Beethoven cycle, currently in process. The Chandos recordings, begun in 2003 and recorded in the Small Hall of the Moscow Conservatory, introduce the superb Ruben Aharonian as the Borodin’s new first violinist. Additionally, it sadly chronicles the continuing decline of the single remaining... (展开全部) 　　Virgin’s box set presents a different Borodin Quartet than that heard in Chandos’s new Beethoven cycle, currently in process. The Chandos recordings, begun in 2003 and recorded in the Small Hall of the Moscow Conservatory, introduce the superb Ruben Aharonian as the Borodin’s new first violinist. Additionally, it sadly chronicles the continuing decline of the single remaining player from the quartet’s glory days, cellist Valentin Berlinsky.
　　The recordings under consideration here stem from the late 1980s and were recorded in two British churches by a group of first-class producers including Nicholas Parker, Andrew Keener, and Tim Handley. They and Virgin offer a more satisfying representation of the famed quartet. Despite Aharonian on Chandos or perhaps because of him, the present configuration of the Borodins sounds less balanced than in their earlier incarnation as heard on Virgin, where they are heard to better advantage with their previous first violinist, Mikhail Kopelman. Berlinsky, violist Dmitri Shebalin (it’s Igor Naidin for Chandos), and second violin Andrei Abramenkov complete this version of the Borodin Quartet. Although Kopelman’s playing is more vulnerable than the technically unassailable Aharonian, the quartet sounds more cohesive with him occupying the first chair. That, coupled with Virgin’s superior production, makes this box a better souvenir of the Borodin’s Beethoven.
　　Stylistically, this and the Chandos recordings are not dissimilar. The Borodin Quartet’s playing in both configurations is stylish and assured. Their liabilities, including the occasionally frail playing of Berlinsky, rarely detract. The Borodins, especially for Virgin Classics, focus on the music’s architecture without ignoring its moments; they do so with a unified and polished sound.
　　The great F-Major Quartet, op. 59/1, is a highlight on the Virgin set: the Borodins take a lyrical, symphonic view with moderate tempos throughout the opening movement. Sforzandos and accents are never harsh; the dolce moments have memorable sweetness. In the Allegretto vivace, the Russian quartet realizes this somewhat unusual tempo marking without artifice or exaggeration, as 16th notes nimbly chase each other around the ensemble, perfectly matched and effortless.
　　The third movement—Adagio molto e mesto—is played slightly faster and less mesto than many versions. In the bel canto-like section accompanied by pizzicatos, the Borodins achieve a shimmering, translucent sound while the transition to the Thème russe is particularly well judged.
　　The third Rasumovsky, op. 59/3, receives a good performance, though not on the same level of inspiration as the F Major. An unsettled and appropriately unsettling Introduzione—Andante con moto—resolves into a too matter-of-fact performance of the Allegro vivace. The first pizzicato from the cello in the second movement sounds badly out of context both in terms of tone quality and dynamic. Although this movement is generally well done, it lacks the hypnotic quality the Budapest Quartet, and more recently and in a completely different way, the Hagens achieved. Though the Borodins’s playing in the C-Major Quartet is never less than very good, an occasional sense of blandness creeps in. On the positive side, the Menuetto is always pleasing and grazioso; the Trio gets off to an excellent start with finely etched rhythms and well-placed accents. The Minuet’s repeat is somewhat more urgent than when first heard, but never loses its essential grazioso quality. Typical of the Borodin Quartet, the concluding Allegro molto is quick without ever becoming frantic.
　　The op. 95 “Quartetto serioso” finds the Borodins in top form again. They attack the opening Allegro con brio with urgency and energy, expressed vividly through a rich and full-bodied sound. The Borodins are well balanced here; cellist Berlinsky’s playing somewhat more consistent than elsewhere. Transitions between raging 16th notes and the lyrical sections are impressively focused and well integrated. In the Allegretto, Berlinsky’s poised mezza voce perfectly sets up the movement. The Allegro assai is powerful but not heavy handed or strenuous, though I wasn’t quite convinced by the transition from the key change to the Piu allegro, the first violinist’s eighth notes not quite adding up. The Borodins are completely convincing in the final Allegro as they approach Beethoven’s nearly impossible marking of molto leggieremente.
　　One disc of the Virgin set is devoted to two of the early quartets, No. 4 and No. 5. These both benefit from the Borodins’s warm and lyrical approach. Their sound is impressively rich and darker hued than one might expect, especially in the Menuetto of the C-Minor Quartet and in the beautifully shaped Andante cantabile of the A-Major. The quick final movements of both quartets have an easy virtuosity that makes for very enjoyable listening. Some listeners might prefer to be left breathless, but there is something to be said for the more comfortable playing of the Borodin Quartet.
　　The late Quartets are represented by op. 132 and op. 130 with the Grosse Fuge inserted before the Finale. Both are strong performances with a heartfelt performance of the A-Minor Quartet’s central molto adagio. The moderate tempo chosen by the Borodins for the succeeding Alla marcia helps it not jar after the sublime beauty of the Molto adagio.
　　In the B-Major Quartet, Beethoven’s ma non troppo marking is honored, though truth be told, the section is rather too straightforward and lacks sufficient mystery and gravity to set up the succeeding Allegro. Berlinksy is weak in his sotto voce solos and his intonation less than perfect later on. The Borodins are ever serious: the Haydnesque finale might have benefited from a lighter touch. The elusive Grosse Fuge receives a performance where tonal quality is paramount even in passages that tend in other hands to be strident. (I’m very impressed by the new Pražák Quartet’s recording of Ops. 130 and 133, part of their impressive cycle, and will be writing about it in a forthcoming review.)
　　In sum, I might characterize this group of Borodins by using Beethoven’s frequent ma non troppo marking. Their playing is serious, centered, thoughtful, and tonally beautiful; they never play for effect. In a crowded field, they happily occupy a solid middle ground.
　　Michael Fine, FANFARE

曲目 · · · · · ·

I Allegro
II Allegretto Vivace E Sempre Scherzando
III Adagio Molto E Mesto
IV Theme Russe: Allegro
I Introduzione: Andante Con Moto - Allegro Vivace
II Andante Con Moto - Allegro Vivace
III Menuetto: Grazioso
IV Allegro Molto
I Allegro Con Brio
II Allegretto Ma Non Troppo
III Allegro Assai Ma Serioso - Piu Allegro
IV Larghetto Espressivo - Allegro Agitato - Allegro
I Assai Sostenuto - Allegro
II Allegro Ma Non Tanto
III Molto Adagio, Andante ('Heiliger Dankgesang Eines Genesenen An Die Gottheit, In Der Lydischen Tonart'
IV Alla Marcia, Assai Vivace - Piu Allegro
V Allegro Appassionato
I Allegro Ma Non Tanto
II Scherzo: Andante Scherzoso Quasi Allegretto
III Menuetto: Allegretto
IV Allegro - Prestissimo
I Allegro
II Menuetto
III Andante Cantabile
IV Allegro
I Adagio Ma Non Troppo - Allegro
II Presto
III Andante Con Moto, Ma Non Troppo
IV Alla Danza Tedesca (Allegro Assai)
V Cavatina (Adagio Molto Espressivo)
Grosse Fuge In B Flat Major, Op. 133
VI Finale (Allegro)