God I love String quartets and sextets, I love the way the instruments responds to each other. Eyes closed it's like their sounds are dancing together. I'd like to be a talented writer to describe how I feel listening to your masterpieces but I can just say : Thank you Beethoven you'll never be forgotten.
Indeed, KaNaTroX, Ludwig Van Beethoven will never be forgotten as long as humanity survives and musicians like this perform his masterpieces for they are for the ages. I like the description of the players dancing to the music for they are in union with its majesty. Thank you for your enlightening comment. Keep listening to LVB's quartets, he has a whole world of expression in their composition, his incredible late quartets, which this is one, when he wrote them while deaf.
Very nice, taking a little time at 13:27. I'm noticing quite a few such moments...just little moments of rhythmic flexibility. Beethoven played with a touch of rubato. Maybe it takes a French group to attempt that. 17:02 so good. I was moved by that for the first time in years. Someone once wrote that if he had to take one bar of Beethoven and dispense with the rest, it would be 22:21. In the Scherzo they play at a different tempo when it should be the same (25:32) and the same tempo when it should be different (26:47 is marked Allegro, which in Beethoven is slower than the movement marking of "vivace"). Fun ending to the movement, though! Interesting handling of the trills as 38:26. Just a characteristic Beethovenian moment at 39:32 with a dominant-seventh chord in 2nd inversion (the cellist saws away on an F which is not the root of the chord). Listened to the first movement last. I've always loved 5:17 where the second theme reappears in the major. Intensified at 5:30. Fantastic players, and they seem to enjoy making music together. I might play this video for my organ teacher...he is 90 and his tastes were formed at Juilliard in the 1950s...for whatever reason he does not seem conversant with the late Beethoven quartets. Credit to him that, at a late age, he's still willing to grapple with things less familiar.
I'm probably missing something but I enjoy early to mid Beethoven piano and chamber music more than late Beethoven. I'll give it another try after years of following how I felt at 14 years old.
Una hermosa mujer en los cuartetos para cuerdas o en los quintetos para piano y cuerdas siempre destaca sobre los demás componentes del grupo. En este caso, sobre ella se centra toda la atención de los escuchas.
Pierre Colombet, violin Gabriel Le Magadure, violin Marie Chilemme, viola, since 2017 Raphaël Merlin, cello, 2002-2024 Pierre Colombet is playing two violins: a 1717 Antonio Stradivari violin, the « Piatti », kindly loaned by a generous sponsor through the Beare’s International Violin Society, and a 1736 Matteo Goffriller violin generously loaned by Gabriele Forberg-Schneider, as well as a bow by Charles Tourte (Paris, 19th century) also loaned by Gabriele Forberg-Schneider. Gabriel Le Magadure is playing two violins: the ex-Baron Rothschild Peter Guarneri of Venice kindly loaned by the Miller-Porter Collection through the Beare’s International Violin Society, and a violin from around 1740 with a Guarneri label loaned by Gabriele Forberg-Schneider. He plays a bow by Dominique Pecatte (ca.1845) loaned by Gabriele Forberg-Schneider. Marie Chilemme is playing two violas : a 1734 Stradivari, the « Gibson », generously loaned by the « Stradivari Foundation Habisreutinger », and a viola by Marcellus Hollmayr, Füssen (1625) loaned by Gabriele Forberg-Schneider.
The 2nd Movement (Theme and Variations) was beautiful. The 1st and 3rd Movements were too fast. The Scherzo sounds like they were making mincemeat out of the Music. The playing was extremely aggressive in the faster Movements. What a shame when the 2nd Movement was so very beautiful!
Beethoven, in ill health, had just completed two massive public works - his Missa Solemnis and 9th Symphony. He could have just retired or saved his energy for more such "big pieces" (perhaps making more money with such works) but instead he gave us these wonderful late quartets beginning with this great masterpiece 127.
Ludwig van Beethoven reached with this masterful quartet an unprecedented profoundness in musical expression, marvelous performed by the Quator Ebène ! Thank you very much i
Beethovens Musik hat mir schon immer sehr gut gefallen. Durch seine Symphonie Nr. 5, die wir in der Oberprima (gab‘s damals noch) durchnahmen, wurde meine Begeisterung für klassische Musik erst so richtig geweckt, durch Beethovens Streichquartett Nr. 12 wurde ich Jahrzehnte später von de Kammermusik angezogen. Insofern habe ich Beethoven so einiges zu verdanken.
The late quartets were quickly accepted by a small group of Beethoven admirers. There were no public concerts with string quartets until later in the 19th century, so performances were very rare, and only in salons for a small number of people. There were also people around Beethoven who thought these pieces were unlistenable, but the number was as small as the nr of admirers. Only in the course of the 20th century, when recitals by string quartets became normal, this music began to spread, also helped by excellent recordings.
Un des sommets de la métaphysique occidentale ( en est-il d’autres?), écrasant de grandeur et de profondeur. On ne peut qu’approcher sans jamais l’atteindre un tel vertige.
A fuir , si on veut découvrir cette oeuvre !!! Si on la connait déjà , évidemment les interprètes sont respectables , mais comme cette interprétation sent l impreparation ! Les deux premières variations de l adagio sont intolérables a entendre !
They are born to play Beethoven quartet music. They are an excellent group for right now. Please come to My great country India and I love to hear them live. Regards Sekar
Great Communication in the Viola players Eyes she is so Beautiful and she sets the Tone of her Group and Musicians need to Play Like a Girl great Balance and this is a Group that will bring Quartet Playing to a New Level .
Actually it’s a bit low to equal temperament, but is correct for the chord. The dissonance you hear is because it was a suspension, C# holds over as everyone else changes chords. Gorgeous moment in this piece. Beautifully played interpretation!
@@danielspink532 It's a suspension tone indeed, but compared with any other interpretation of this piece, that C# is never pitched that high (have a look at Pierre Colombet's face (1st violin): he knows what I mean…;-) )
