Beethoven The Late Quartets Quartetto Italiano


the late quartets
no.12, op.127
no.13, op.130
no.14, op.131
no.15, op.132
no.16, op.135
grosse fuge, op.133
Quartetto Italiano
Int. Release 03 Sep. 2007
3 CDs / Download
0289 475 8685 2

Track List

CD 1: Beethoven: The Late String Quartets

Ludwig van Beethoven (1770 - 1827)
String Quartet No.12 In E Flat Major, Op.127

String Quartet In C Sharp Minor, Op.131

Quartetto Italiano

Total Playing Time: 1:20:36

CD 2: Beethoven: The Late String Quartets

Ludwig van Beethoven (1770 - 1827)
String Quartet In B Flat, Op.130

String Quartet No.16 In F Major, Op. 135

Quartetto Italiano

Total Playing Time: 1:08:10

CD 3: Beethoven: The Late String Quartets

Ludwig van Beethoven (1770 - 1827)
String Quartet No.15 in A Minor, Op.132

Grosse Fuge In B Flat, Op.133

Quartetto Italiano

Total Playing Time: 1:05:59

. . . [this lauded interpretation] still lives up to its classic status. "Let me say at once that this is the most impressive account of Op 132 that I have heard since the famous Hollywood Quartet version appeared in the mid-fifties. The Italian Quartet have intonation and ensemble of a high order and their reading is totally free of any perfumed expressiveness or agogic distortions that sometimes pass muster as "interpretation". The Italians seem to have something of the measure of the astonishing "Heiliger Dankgesang" movement and their performance gives a much better idea of its depth and range . . . This is a performance of stature that makes one realise the extraordinary human achievement this music represents. The Italians are exceptionally well served by the engineers. The recording has splendid body and presence and the stereo definition is no less impressive." (Robert Layton, Gramophone, September 1968) . . . [Rob Cowan's review]: All of it supremely natural in the way the quartet ebbs and flows, not to mention the hush at the onset of the development section . . . Quartetto Italiano promotes an admirably pure option, never courting excessive vibrato or overheated dynamics. Theirs is a Beethoven poised in exactly the right position along the 'golden mean', Apollonian in its beauty as opposed to the powerful but dry 'Old Testament' style. . . Quartetto Italiano's unsullied approach is, on its own terms, irresistible . . . [Caroline Gill's review]: One of the things I love so much about this recording is the sense of reservation they keep all the way through . . . they keep their egos so far removed that you can be left to marvel with impunity at music that is wonderfully unfathomable. You can certainly tell that it's going to work almost immediately in this recording . . . there are many instances of perfectly crafted harmony that appear like little oases. That creates a piece that is so imbued with a sense of inhibition that without the Quartetto Italiano's sensitivity, and their resulting careful footsteps, this is music as difficult to listen to as any abstract contemporary work. Yet they are able to draw the listener through the music with such care . . . the Italianos are better with the movements more shrouded in mystery because of the overall reverence of their approach, but I am willing to take it on wholesale for the perfection I feel they achieve in so much of the quartet . . . They are all in it together from the start, with no dissent, disquiet or lack of agreement.

SÚduction, c'est le premier mot qui vient Ó l'esprit en Úcoutant le Quartetto Italiano: rarement cette musique faite de chocs et de ruptures aura coulÚ de source Ó ce point, portÚe par un souffle lyrique et un cantabile instrumental inÚpuisables.