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2024-03-27
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2023-05-31 15:29:00
Wigmore Hall Mozart: String Quartet no.21 in D major, KV 575 Prokofiev: String Quartet no.2 in F major, Op.92 Brahms: String Quartet no.1 in C minor, op.51 no.1 Alexander Pavolvsky, Sergei Bressler (violins)Ori Kam (viola)Kyril Zlotnikov (cello) A wonderful concert from beginning to end. The Jerusalem Quartet treated Mozart as he should be treated: the players’ tone rich and cultivated. Opening tone would not have been taken for the Amadeus Quartet, yet would surely have been recognised by them. Fineness of tone was certainly no end in itself, though; it enlivened and enabled Mozart’s structures from the first movement onward in coming to life as form. There was rhetoric, where required, but this again was properly integrated, not as far too often a substitute for formal communication. For above all, every phrase was imbued with a sense of life and was formally directed. The cliché of the Classical string […]
2021-09-01 15:17:21
The German-based Auryn Quartet has played their last-ever concert at the Mondsee Musiktage on August 27, after four decades together. While the group was studying with the Amadeus Quartet in Cologne during the 1980s, they agreed that they too would aim for a 40-year career to match that of their mentors. They have now […] The post appeared first on The World's Leading Classical Music News Source. Est 2009..
Norman Lebrecht - Slipped disc
2021-06-19 07:01:45
From a 2005 interview with the late Norbert... The post What the Amadeus Quartet learned from Wilhelm Furtwängler appeared first on Slipped Disc.
2020-05-26 08:58:00
Southbank: a love letter
A view from the terrace of the biggest arts centre in the biggest city in Europe, which ought to be our pride and joy Dear Southbank Centre,You are my home-from-home. You have been for 40 years, possibly more. With yesterday's news that you may have to stay closed until April 2021 at least (which I must admit isn't wholly unexpected), there comes a sense of dismay and anxiety that's almost vertiginous even without being compounded by the same fears for the future of Shakespeare's Globe, the National Theatre, the Royal Opera House, the West End, and indeed every other theatre and concert hall in the land. Nobody has yet solved the conundrum of infectious disease versus mass audience versus economics of putting on a show. Trouble is inevitable. That doesn't mean we should just roll over and accept it.Britain without its arts would be...well, not a lot. We've always […]
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