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There was a problem filtering reviews right now. Please try again later. Verified Purchase. The Lindsays were one of the greatest quartets, especially in their interpretations of Beethoven and Schubert, but also Haydn and Mozart. This is a reproduction of the original ASV recordings from England. They are worth every cent, and can often be found at a bargain price. They are definitely worth investigating. Do not miss out.
Peter Cropper and the Lindsay String Quintet, a British ensemble that stayed together from to always get Schubert right. They play with intensity and concentration second to none while preserving all the lyricism and singing quality of Schubert. They are four Franz Schubert - The String Quartets (Vinyl individuals who play as a team.
The sound recording quality from ASV is outstanding. Quartet No. One memorable melody after another, moodily shifting from key to key or between minor and major.
The highpoint of the quartet for me, however, is the 2nd theme of that 2nd movement, barely a melody, just the simple but most beautifully imaginable sequences of notes. I have always associated it with idyllic mountain scenery and I Album) it will also mean something special to you. The harmonic daring continues in the development, which also has some wonderful counterpoint. To remind you that we are listening to the Lindsays, Bernard Gregor-Smith plays it with his wonderfully mellow but slightly raspy cello tone.
You will find in it every conceivable emotion plus a moment of drama when the cello, with a long melody in the alto register, suddenly drops to a low D.
It is not a tragic work; like almost all Schubert, it has moments of tragedy, but also plenty of joy, triumph, and serenity. Brown] Throughout this quartet Schubert moodily shifts between major and minor even more than in his other works. Frequent tremolos give it a big, Franz Schubert - The String Quartets (Vinyl, orchestral Franz Schubert - The String Quartets (Vinyl. The Lindsays play all four movements superbly; other world-class string quartets e. The Lindsays with Douglas Cummings, cello play with intensity and concentration, as in all of their Schubert, but in this Quintet they place extra emphasis on lyricism and the beauty of the melodies.
Specifically, the stormy interlude of the 2nd movement, which some other ensembles play with an angry or even ugly tone, is song-like here, yet retaining a strong sense of rhythm, somewhat like a barcarole rowing song or berceuse cradle-rocking song.
The emotional impact is even more shattering than if they had played it harshly. Here, at least in his instrumental music, Schubert at 17 is still just an extremely talented teenager and not yet one of the all-time great composers. But the 2nd theme of the slow movement starting at 2. These by The Lindsays are very fine, distinguished by emotiveness and intensity. These might be the best versions of the Late Quartets out there.
However, these aren't easy to find cheap. Scour the Internet! Update: Trying to find their Beethoven Late Quartets set--same thing.
Not cheap. Why is all their stuff OOP? Maybe there's a few releases out there. You really want to search for and buy a copy of this Schubert set. It's worlds apart from the others I've heard.
See all reviews. Top reviews from other countries. Translate all reviews to English. Some of the finest music ever written, great performance. Ah, Away! I am still young. Go, instead. And do not touch me! Be of good courage; I am not cruel You shall sleep gently in my arms. This bowing is not marked in the urtext editionbut appears almost universally in all edited versions. See for example, the Peters edition, edited by Carl Herrmann. Chamber music by Franz Schubert.
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Problems playing these files? See media help. In the measure introduction, Schubert establishes the elements that will carry through the entire movement. The quartet begins with a unison D, played fortissimo, and a triplet figure, that establishes the triplet motif. Three and a half measures of fortissimo break off into a sudden, pianissimo choralethe first of the many violent shifts of mood that occur throughout.
Opening of the quartet . After the introduction, Schubert presents the first theme : a continuation of the chorale motif, but with the triplet motif rippling through the lower voices, in a restless, unremitting stream. Main theme of the movement. The triplet motif is transmuted into a connecting theme of its own, leading to the second theme in F major.
Second theme. The second theme is repeated, with an accompaniment of sixteenth notes. Second theme, with 16th notes accompaniment. The sixteenth note passage modulates through a range of keysfinally settling on A majorwhere it continues as an accompaniment to a restatement of the second theme in the second violin.
The exposition ends with a transformation of the second theme, this time wrenched into a violent outburst in A minor. End of the exposition. The development concentrates on the two forms of the second theme: the lilting, quiet version, and the violent inverted form. The section fluctuates between a fading relaxation and fortissimo. Toward the end of the development, Schubert reintroduces the triplet motif of the first theme, leading to the recapitulation.
The maiden remonstrates against Death, Death wheedles and cajoles. Here the opening themes return, with variants. The music moves to D majorfor a relaxed recapitulation of the second theme, then returns to D minor.
A chorale reminiscent of the introduction leads to the coda. But even in the chorale, the tension does not relax, with a sudden fortepiano interrupting the quiet. The opening theme returns, played at a rushed tempo, like a sudden resurgence of life, growing to a climax that suddenly breaks off and the triplet motif, played at the original slower tempo, dies away to the end of the movement.
End of the first movement. The maiden is close to death. Suddenly a spurt of life, hope, the music rushes and moves to major. But then, a return to minor, and the music pulses to its death.
The second movement is a theme and five variations, based on the theme from the Schubert Lied. The theme is like a death march in G minor, ending on a G major chord.
Throughout the movement, Schubert does not deviate from the basic harmonic and sentence structure of the measure theme. But each variation expresses a profoundly different emotion. Theme of the second movement. In the first variation, a lilting violin descant floats above the theme, played in pulsing triplets in the second violin and viola that recall the triplets of the first movement. First variation.
In the second variation, the cello carries the theme, with the first violin playing the pulsating role — this time in sixteenth notes. Second variation. After two relaxed variations, the third variation returns to the Sturm und Drang character of the overall piece: a galloping fortissimo figure breaks off suddenly into piano ; the violin plays a variant of the theme in a high register, while the inner voices continue the gallop.
Third variation. The fourth variation is again lyrical, with the second violin and cello carrying the melody under a long violin line in triplets. This is the only variation in a major key — G major. Fourth variation. In the fifth variation, the second violin takes up the theme, while the first violin plays a sixteenth-note arpeggiated motif, with the cello playing the triplets in the bass.
The variation grows from pianissimo to fortissimothen again fades and slows in pace, finally returning to a restatement of the theme — this time in G major. Fifth variation. The movement opens with the main section of the rondo in unison, with a theme based on a dotted figure. The theme is traditionally bowed in the reverse direction from the usual bowing of dotted passages. Theme of the last movement. The theme develops characteristically, with sudden lurches from loud to soft and running triplets, leading to the second section of the rondo: a broad, chorale-like theme.
The terrified child turns to his father for protection, but his father does not see the spirit, and ignores the child's pleas until the child is dead in his arms.
This leads to a restatement of the main theme. Second section: a chorale melody, with triplets accompanying.
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