I won't go as far as the violinist who said the 499 is "the dud in the bunch", but it is one of the less adventurous mature Mozart quartets. It doesn't have that harmonic nervousness, for instance. But still, it's Mozart.
https://m.youtube.com/watch?v=araTN124lao&feature=emb_logo
I’ve become really addicted to this performance -
I just find it thrilling to hear - must check out the
Dvorak and Bartok on the same disc.
On Sunday, October 9, 2022 at 9:53:03 AM UTC-7, Mandryka wrote:
https://m.youtube.com/watch?v=araTN124lao&feature=emb_logo
I’ve become really addicted to this performance -Very heavy handed. Mozart was not Juilliard's best
I just find it thrilling to hear - must check out the
Dvorak and Bartok on the same disc.
stylistic match. They were primarily a (post) LvB
ensemble. If one is looking for 1950s Mozart
stringtets Amadeus would be a closer choice.
Yes, the Juilliards were great in Mozart. Their sixties 387 - 465 recording presented a nervous, angsty urban Mozart that was revolutionary and classic at the same time. After the Juilliards everything sounds sedate, and the early ABQ focuses very muchon the first violin's beautiful lyrical tone. It's completely justified, but maybe just a tad less interesting.
Interesting your comment on nervousness. There are other ways to be nervous than harmonically. I just happened to listen to Alban Berg (Teldec) and I’d say that they find no nervousness in it - it’s their phrasing which makes it seem sedate, andfor me it spoils the music slightly.
Juilliard, in that live performance, I think by means of phrasing, make it sound quite intense and in that sense, nervous.
I seem to recall that the Juilliards' recording of the Prussians + 499 was by a later incarnation, with Krosnick on cello and Rhodes on viola, instead of the wonderful Earl Carlyss on viola and Adams on cello. Not the same band. They should havechanged the name.
On Sunday, October 9, 2022 at 9:31:36 PM UTC+2, Herman wrote:
Yes, the Juilliards were great in Mozart. Their sixties 387 - 465
recording presented a nervous, angsty urban Mozart that was
revolutionary and classic at the same time. After the Juilliards
everything sounds sedate, and the early ABQ focuses very much
on the first violin's beautiful lyrical tone. It's completely justified, but maybe just a tad less interesting.
I seem to recall that the Juilliards' recording of the Prussians + 499
was by a later incarnation, with Krosnick on cello and Rhodes on
viola, instead of the wonderful Earl Carlyss on viola and Adams
on cello. Not the same band.
They should have changed the name.
Yes, the Juilliards were great in Mozart.
Their sixties 387 - 465 recording presented
a nervous, angsty urban Mozart that was
revolutionary and classic at the same time.
After the Juilliards everything sounds sedate,
and the early ABQ focuses very much on the
first violin's beautiful lyrical tone. It's completely
justified, but maybe just a tad less interesting.
The ABQ was a fashion product, pure and simple.
Technically polished, musically devoid of meaning.
dk
I won't go as far as the violinist who said the 499 is "the dud in the bunch", but it is one of the less adventurous mature Mozart quartets. It doesn't have that harmonic nervousness, for instance. But still, it's Mozart.
On Sunday, October 9, 2022 at 11:11:34 PM UTC+2, dan....@gmail.com wrote:
The ABQ was a fashion product, pure and simple.
Technically polished, musically devoid of meaning.
Everything you say about music and musical performance
is irrelevant and ignorant; particularly in the case of string
music you know nothing and have deplorable bad taste.
So yes, the ABQ for you was "a fashion product".
Pretty much every young string quartet after
1990 has studied with ABQ members, but what
do they know, compared to the nr 1 ignoramus?
On Sunday, October 9, 2022 at 8:03:05 PM UTC+2, Mandryka wrote:
We once stayed in the Hotel Colon, Barcelona, where people (old people) used to dance on the cathedral steps across the street Sunday mornings. However, my favorite memory is a string trio playing the hushed 6/8 Andante on those same steps, just forsome pennies.
Interesting your comment on nervousness. There are other ways to be nervous than harmonically. I just happened to listen to Alban Berg (Teldec) and I’d say that they find no nervousness in it - it’s their phrasing which makes it seem sedate, andfor me it spoils the music slightly.
On Sunday, October 9, 2022 at 12:41:37 PM UTC-7, Herman wrote:
On Sunday, October 9, 2022 at 9:31:36 PM UTC+2, Herman wrote:
Yes, the Juilliards were great in Mozart. Their sixties 387 - 465
recording presented a nervous, angsty urban Mozart that was
revolutionary and classic at the same time. After the Juilliards
everything sounds sedate, and the early ABQ focuses very much
on the first violin's beautiful lyrical tone. It's completely justified, >>> but maybe just a tad less interesting.
I seem to recall that the Juilliards' recording of the Prussians + 499
was by a later incarnation, with Krosnick on cello and Rhodes on
viola, instead of the wonderful Earl Carlyss on viola and Adams
on cello. Not the same band.
The commonly held view is that the best Juilliard ensemble was
1958-1966 with Isidore Cohen as 2nd violin and Claus Adam on
cello. Earl Carlyss replaced Cohen in 1966, however the death
knell came in 1974 when Joel Krosnick replaced Adam on cello.
I could never figure out why they couldn't find a better cellist.
They should have changed the name.
Impossible considering how the ensemble is chartered and
funded. It is the official string quartet of the Juilliard School,
not an independent band.
dk
On 10/9/22 1:56 PM, Dan Koren wrote:
On Sunday, October 9, 2022 at 12:41:37 PM UTC-7, Herman wrote:
On Sunday, October 9, 2022 at 9:31:36 PM UTC+2, Herman wrote:
Yes, the Juilliards were great in Mozart. Their sixties 387 - 465
recording presented a nervous, angsty urban Mozart that was
revolutionary and classic at the same time. After the Juilliards
everything sounds sedate, and the early ABQ focuses very much
on the first violin's beautiful lyrical tone. It's completely justified, >>> but maybe just a tad less interesting.
I seem to recall that the Juilliards' recording of the Prussians + 499
was by a later incarnation, with Krosnick on cello and Rhodes on
viola, instead of the wonderful Earl Carlyss on viola and Adams
on cello. Not the same band.
The commonly held view is that the best Juilliard ensemble was
1958-1966 with Isidore Cohen as 2nd violin and Claus Adam on
cello. Earl Carlyss replaced Cohen in 1966, however the death
knell came in 1974 when Joel Krosnick replaced Adam on cello.
I could never figure out why they couldn't find a better cellist.
Perhaps the fact that Krosnick was a pupil of Claus
Adam had something to do with it. I agree that the
quartet was never the same after Adam retired.
On Tuesday, October 11, 2022 at 7:02:53 AM UTC+2, dan....@gmail.com wrote:
IIRC he tended to
sound darker and rougher than Adam, and it
stood out.
That's just yr typical pseudo-connoisseurly nonsense.
The Julliard SQ in its good years consisted of folks who
were born in the twenties (Mann, Winograd, Hillyer) or
late nineteen tens (Koff and Cohen). They were fully
aware of the war and its impact, for instance.
Krosnick and Rhodes were a generation younger (1941),
they were toddlers when the JSQ started, just after the
war. In every small band, that totally changes the coherence,
and the incredible tightness of the original sound was lost
when Hillyer and Adams left, to be replaced by much younger
performers.
IIRC he tended to
sound darker and rougher than Adam, and it
stood out.
| Sysop: | Keyop |
|---|---|
| Location: | Huddersfield, West Yorkshire, UK |
| Users: | 376 |
| Nodes: | 16 (2 / 14) |
| Uptime: | 94:28:34 |
| Calls: | 8,047 |
| Calls today: | 3 |
| Files: | 13,045 |
| Messages: | 5,835,541 |