Beethoven – String Quartets Op. 59; Quintet Op. 29
Kuijken Quartet
Формат записи/Источник записи: [DSD][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2011
Жанр: Classical/Chamber/Strings
Издатель (лейбл): Challenge Records
Продолжительность: 02:16:52
Наличие сканов в содержимом раздачи: Буклет PDFТреклист:
DISC 2
String Quartet in F major op. 59 no. 1 (1806)
[1] Allegro 9:25
[2] Allegretto vivace e sempre scherzando 8:41
[3] Adagio molto e mesto 10:17
[4] Allegro 9:05
String Quartet in e minor op. 59 no. 2 (1806)
[5] Allegro 10:13
[6] Molto Adagio 11:39
[7] Allegretto 6:57
[8] Finale: Presto 5:35
DISC 2
String Quartet in C major op. 59 no. 3 (1806) “Razumovsky”
[1] Introduzione: Andante con moto. Allegro vivace 11:02
[2] Andante con moto quasi Allegretto 8:10
[3] Menuetto 4:54
[4] Allegretto molto 6:31
String Quintet in C major op. 29 (1801)
[5] Allegro moderato 10:13
[6] Adagio molto espressivo 10:37
[7] Scherzo. Allegro 3:56
[8] Finale. Presto 9:37Kuijken Quartet:
Veronica Kuijken, violin 1st
Sigiswald Kuijken, violin 2nd
Sara Kuijken, viola 1st
Wieland Kuijken, violoncello
& Marleen Thiers, viola 2nd (in op. 29)Контейнер: DSF (*.dsf)
Тип рипа: tracks
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0Доп. информация: Challenge Records CC72362|DSF 2ch DSD64 2.82MHz (5.81GB)
Cables: Siltech
Digital Converters: DCS
Microphones: Sonodore
Producer: Bert van der Wolf
Recording Engineer: Bert van der Wolf
Recording location: Galaxy Studios, Mol Belgium
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64
Источник (релизер): gio2k (PS³SACD) https://challengerecords.nativedsd.com/albums/string-quartets-op-59-string-quintet-op-29
Лог DR
foobar2000 1.4.6 / Dynamic Range Meter 1.1.1
log date: 2019-08-15 09:40:58
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Analyzed: Veronica Kuijken, Sigiswald Kuijken, Sara Kuijken, Wieland Kuijken, Marleen Thiers / Beethoven: String Quartets Op. 59 & Quintet Op. 29 (1-4)
Veronica Kuijken, Sigiswald Kuijken, Sara Kuijken, Wieland Kuijken / Beethoven: String Quartets Op. 59 & Quintet Op. 29 (5-16)
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DR Peak RMS Duration Track
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DR16 -5.72 dB -27.41 dB 10:14 05-String Quintet in C major Op. 29: I. Allegro moderato
DR17 -6.93 dB -31.02 dB 10:37 06-String Quintet in C major Op. 29: II. Adagio molto espressivo
DR14 -7.82 dB -26.38 dB 3:55 07-String Quintet in C major Op. 29: III. Scherzo: Allegro
DR16 -5.86 dB -27.81 dB 9:40 08-String Quintet in C major Op. 29: VI. Finale: Presto
DR16 -6.13 dB -27.76 dB 9:25 01-String Quartet in F major Op. 59 No. 1: I. Allegro
DR15 -6.12 dB -27.03 dB 8:41 02-String Quartet in F major Op. 59 No. 1: II. Allegretto vivace e sempre scherzando
DR17 -6.12 dB -31.00 dB 10:17 03-String Quartet in F major Op. 59 No. 1: III. Adagio molto e mesto
DR15 -6.11 dB -26.48 dB 9:06 04-String Quartet in F major Op. 59 No. 1: IV. Allegro
DR15 -6.09 dB -26.73 dB 10:13 05-String Quartet in E minor Op. 59 No. 2: I. Allegro
DR15 -11.21 dB -32.26 dB 11:39 06-String Quartet in E minor Op. 59 No. 2: II. Molto Adagio
DR13 -8.46 dB -28.05 dB 6:57 07-String Quartet in E minor Op. 59 No. 2: III. Allegretto
DR15 -8.33 dB -27.05 dB 5:35 08-String Quartet in E minor Op. 59 No. 2: IV. Finale: Presto
DR15 -6.36 dB -27.62 dB 11:04 01-String Quartet in C major Op. 59 No. 3 'Razumovsky': I. Introduzione: Andante con moto. Allegro vivace
DR16 -7.52 dB -31.04 dB 8:09 02-String Quartet in C major Op. 59 No. 3 'Razumovsky': II. Andante con moto quasi Allegretto
DR14 -9.38 dB -28.00 dB 4:54 03-String Quartet in C major Op. 59 No. 3 'Razumovsky': III. Menuetto
DR15 -5.21 dB -25.66 dB 6:41 04-String Quartet in C major Op. 59 No. 3 'Razumovsky': IV. Allegretto molto
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Number of tracks: 16
Official DR value: DR15
Samplerate: 2822400 Hz / PCM Samplerate: 44100 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
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Об альбоме (сборнике)
Around the time the Rasumovski Quartet’s were written, Beethovens favorite violinist, Ignaz von Schuppanzigh had begun the very first professional string quartet, thus providing Beethoven with an ideal laboratory for testing new string quartet ideas. Before this, string quartet playing was more something that happened in living rooms. Amateurs of, grantedly, good musical quality would entertain themselves among friends by playing string quartets. By writing for the Schuppanzigh quartet, which moreover would perform in public concert series, Beethoven became involved with a wholly new setting. ¬Naturally, he turned the prospect entirely to his advantage; from then on he could do as he wished in his string quartets.
“It is really almost unimaginable that the six opus 18 and the Rasumovsky quartets were a mere 5 years apart. You feel that when Beethoven wrote his opus 59 it was really ‘boiling over’ in his head. In relation to opus 18, which still leaned heavily on Haydn’s way of writing, this music is much more abstract. The string quartet must be the most abstractive apparatus in existence. That instrumental setting asks as it were that the composer dive into the essence of tonality and start making abstractions. With four entirely equal voices and the scarcest of means, Beethoven builds nearly exalted constructions. Everything that happens in this music is absolutely essential. Beethoven announces in this opus 59 an entirely new era in music.”
“In Beethoven’s later music it gets less and less necessary to play on early instruments. This music is not merely less connected to specific instruments than Beethoven’s earlier works, it is outright futuristic. The question brings to mind Beethoven’s rather testy retort when Schuppanzigh commented that his music seemed at times unplayable: “Do you actually believe that I am thinking of your miserable violin when I compose?” (Sigiswald, Sara and Veronica Kuijken speaking about Beethoven’s opus 59)
The Kuijken String Quartet has already exists almost twenty years . , make up an ensemble, which can play these recordings in a way that practically no other can.
TWO GENERATIONS KUIJKEN
Since 1999, two generations of Kuijkens have regularly recorded, using modern instruments, chamber music programmes that are very dear to them: after Debussy (Sonatas and String Quartet - CD Arcana) and Schumann (String Quartets – CD Arcana), now it is Beethoven’s turn.
first generation: WIELAND KUIJKEN
Wieland Kuijken (1938) obtained a Higher Certificate in cello at the Royal Conservatory of Brussels in 1959. Even while studying, he began to teach himself to play viola da gamba and 17th and 18th century performance practice. As a cellist, he was involved in the “Musiques Nouvelles” Ensemble in Brussels around P. Bartholomée and H. Pousseur until the late seventies, performing avantgarde music”. He was a gambist with the Alarius-Ensemble (Brussels) from 1959 to 1972; starting in the late 1960s he often worked together with other well-known Baroque specialists (among them Gustav Leonhardt, Frans Bru?ggen, Alfred Deller) – but especially with his two brothers Barthold and Sigiswald and harpsichordist Robert Kohnen. Wieland Kuijken is much sought after as a teacher (Conservatories of The Hague and Brussels from the 1970s till 2003; many years of teaching masterclasses in Innsbruck, as well as the USA and Japan). As a cellist, he is known for his interpretation of Bach’s solo suites. He also occasionally works as a conductor in various projects both in Europe and abroad.
SIGISWALD KUIJKEN
Sigiswald Kuijken was born near Brussels in 1944. He studied violin at the Conservatories of Bruges and Brussels, completing his studies with Maurice Raskin in 1964. He first came in touch with early music at a very young age, together with his brother Wieland; he used self-study to familiarise himself with the specific 17th and 18th century performing techniques and interpretation conventions. As a result, in 1969 he introduced the more authentic Baroque style of playing violin in which the instrument is not held under the chin, but merely rests against the neck; this has a decisive influence on the approach to violin music, and the technique has indeed been adopted by many musicians since the early 1970s. From 1964 to 1972 Sigiswald Kuijken was a member of the Alarius-Ensemble of Brussels (with Wieland Kuijken, Robert Kohnen and Janine Rubinlicht), which performed all over Europe and the USA; as a member of the “Musiques Nouvelles”- Ensemble like his brother Wieland, he performed a lot of avantgarde music and a choice of 20th century repertory (from Schönbergs “Pierrot Lunaire” to Boulez’ “Le Marteau sans Maître”) between approximately 1965 and the late seventies
Marleen Thiers
(born in 1945) studied with Arthur Grumiaux and Maurice Raskin at the Conservatory of Brussels. Just like her husband, Sigiswald Kuijken, she immediately showed a special penchant for period instruments and performance practice. She plays first viola in La Petite Bande and is a cofounder and viola player with the two generations Kuijken.
second generation:
Sara Kuijken
Sara Kuijken (1968) studied viola at the Royal Conservatory of Music in Brussels under Professor E. Schiffer, where she obtained a 1st prize in 1989 and in 1992 the Higher Certificate magna cum laude. She then continued her studies at the Sweelinck Conservatory in Amsterdam with Professor J. Kussmaul, where she obtained a degree as a performing musician in 1995. In 1993 she was laureate of the Juventus festival in Arcet- Senans (France) and she followed master classes with Professor A.S. Dogadin at the State Conservatory of St. Petersburg (Russia). In that year, together with seven other musicians, she founded the Oxalys chamber music ensemble, in which she played viola and served as artistic director until 1998. This ensemble released two CDs, the first with impressionist, the second with contemporary Russian chamber music. Her father Sigiswald Kuijken gave her some baroque violin instruction in 1994. She is a regular participant in La Petite Bande.
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发表于 2020-12-8 15:03:56
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