Späte Streichquartette von Beethoven und Schubert (German Edition)

First edition of Beethoven's setting of Reissig's poem arranged for piano and voice. Schöne Sammlung von 11 seltenen Pariser Ausgaben für Streichquartett des und . First German Edition, early issue, without Paris address to imprint. Sechter wurde von Ludwig van Beethoven und Franz Schubert anerkannt;.
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Notes inserted in jacket. Program notes inserted in container.

Artemis Quartett - Brahms: Streichquartette 1 & 3 (Deutsch)

Program notes by Saul Novack on slipcase. Third of a series of 6 concerts of performances of Beethoven's string quartets. Title from disc labels. Issue date from Steven Barr's The almost complete 78 rpm record dating guide. Audio Recording Late string quartets nos. Recorded at the Supraphon Studios, Prague. Beethoven, Ludwig Van - Smetanovo Kvarteto. Audio Recording Streichquartett op.

Audio Recording Quartet in B flat op. Audio Recording Streichquartett Nr. Recorded live in Wigmore Hall, London, Jan. Sponsored by the Library's McKim Fund. McKim Fund - Library of Congress.

Beethoven: Die späten Streichquartette (The Late String Quartets)

Audio Recording String quartet in C major op. Recorded at the Maltings, Snape, Dec. Program notes by Geraint Lewis [8] p. Digital cassettes recorded at 48 kHz sampling frequency and 16 bit rate. Concert given under the auspices of the McKim Lener String Quartet of Budapest. Audio Recording Quartet in F, op.

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Library of Congress Magnetic Recording Laboratory, Audio Recording Quartet in E flat major after Quintet, op. Includes notes [6] p. Cataloged from printed program; actual tape contents Audio Recording String quartets early, op. Program notes and notes on performers in English [4] folded p. Audio Recording Lira panamericana. Distributed electrical transcription recordings. Recorded on May 1, Label and announcements in Spanish for broadcast to Spanish-speaking audience. Audio Recording The string quartets.

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Program notes by Richard Wigmore and biographical notes on the performers in English with French and German translations [16] p. Durations and program notes by L.

Original Format

Finscher, with English translation by F. Bishop and French translation by J. Contains the quartets, op. Works on disc 1 and 1st work on disc 2 recorded , Liederkranz Hall, New York Audio Recording Grand quatuor, op. Program notes in English by Tully Potter 11 p. Budapest String Quartet ; Gregor Piatigorsky, violoncello 1st and 3rd works. Program and biographical notes [6] p. Audio Recording Quartet in D major, opus 18, no. M Program notes on container. Audio Recording Quartet in F, opus 59, no. Program notes by Edward Applebaum on container. Audio Recording String quartets in G, op.

Issued with BBC music magazine, v.

Wilhelm Stenhammar - Streichquartett Nr. 4

Program notes 7 p. Recorded at the Maltings, Snape, Aldeburgh, June , Program notes in English by Geraint Lewis [5] p. Audio Recording Quartet in C-sharp minor, op. Program notes by Michael Steinberg on container. Audio Recording Quartet in C major op. Includes notes [12] p. Recorded June , , in Sofienberg kirke, Oslo.

Produced and edited by Vegard Landaas.

Super audio compact disc hybrid. Recorded in the monastery of St. Agnes of Bohemia, Prague: Audio Recording The early string quartets: Stenhammar had studied piano with the eminent teacher Richard Andersson, but in conducting and composition he was self-taught. As a conductor he would hold the posts of artistic director of the Stockholm Philharmonic Society — , of the New Philharmonic Society —6 and of the newly founded Gothenburg Symphony Orchestra — His compositions include two symphonies, two piano concertos, two operas, incidental music for plays, choral works and songs, and six string quartets.

He also had an intense interest in Renaissance polyphony and strict counterpoint. Traits of Swedish folk music are perceptible, but quotation of actual folk tunes is kept well reined in. The opening movement is remarkable for the balance of logic and spirit in its musical discourse.

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The energy of the development section spills into the recapitulation. A comparable wealth of inspiration informs the following Adagio. The potential of two themes is explored, the second of which is clearly folk-like, and curiously reminiscent of Dvorak. When this second theme is revisited later in the movement, Stenhammar creates a gloriously rich, polyphonic texture around it, accompanied by a correspondingly lush harmonic palette.

The large-scale Scherzo that forms the third movement is as vigorous as that of the Third Quartet but more daring in its tonal adventuring.