Search - Beethoven, Artemis Quartet :: Beethoven: String Quartets Op. 18/6 & Op. 130

Beethoven, Artemis Quartet
Beethoven: String Quartets Op. 18/6 & Op. 130
Genre: Classical

Track Listings (11) - Disc #1
1. String Quartet Op.18 No.6 In B Flat Major: I. Allegro Con Brio 8:37
2. String Quartet Op.18 No.6 In B Flat Major: II. Adagio Ma Non Troppo 7:43
3. String Quartet Op.18 No.6 In B Flat Major: III. Scherzo. Allegro - Trio 4:00
4. String Quartet Op.18 No.6 In B Flat Major: IV. La Malinconia. Adagio - Attacca 3:21
5. String Quartet Op.18 No.6 In B Flat Major: V. Allegretto Quasi Allegro 4:31
6. String Quartet Op.130 In B Flat Major: I. Adagio Ma Non Troppo - Allegro 13:07
7. String Quartet Op.130 In B Flat Major: II. Presto 1:51
8. String Quartet Op.130 In B Flat Major: III. Poco Scherzoso. Andante Con Moto Ma Non Troppo 6:48
9. String Quartet Op.130 In B Flat Major: IV. Alla Danza Tedesca. Allegro Assai 3:03
10. String Quartet Op.130 In B Flat Major: V. Cavatina. Adagio Molto Espressivo 6:16
11. String Quartet Op.130 In B Flat Major: VI. Grosse Fuge Op.133. Ouverture. Allegro - Meno Mosso E Moderato - Allegro 15:00

This fourth release in the Artemis Quartet's complete Beethoven cycle comes as the Berlin-based ensemble devotes its international performing schedule to this cornerstone of the repertoire. The 2009-10/2010-11 seasons s... more »ee the Artemis Quartet performing Beethoven in a succession of European and North American cities, including Berlin, Cologne, Frankfurt, Munich, Vienna, London, Paris, Brussels, Rome, Milan, Florence, New York, Philadelphia, Boston, Houston and Los Angeles. This release brings the completion of this Beethoven marathon. Eckart Runge, cellist of the Artemis Quartet, expresses the players' views on the composer's quartets: "... In relation to the time in which he lived, Beethoven is the most modern, provocative, experimental and boldest composer of all. Many have used the string quartet to experiment, to trial and develop their mode of composition ... but none of them was more extreme than Beethoven. Even today, the Grosse Fuge remains one of the most incredible and most modern pieces of music ever written ... No matter how complicated the form, one can always find essential human emotion in Beethoven, whether it is hopeful longing, apprehension, exuberant joy or shy affection." The Artemis's debut release on Virgin Classics in 2005 comprised Beethoven's op 59/1 and op 95, while the second release brought together op 59/2, the `Razumovsky' Quartet, and the Quartet op 18/4. In France, the release was named CHOC of the Year by Le Monde de la Musique and was also awarded a Diapason d'Or; in Germany it became Chamber Music Recording of the Year in the ECHO Klassik awards of the Deutsche Phono-Akademie. In the UK, the Sunday Times praised the "fresh, positive responses" of the Artemis Quartet, saying: " ... their colors are vivid and they are alert to the music's intent to push all sorts of boundaries to breaking point," while BBC Radio 3's CD Review suggested that the recording should go to the top of any list of recommendations High praise comes from a discriminating voice. In a review written about the string quartet, the daily newspaper Frankfurter Allgemeine Zeitung has stated that there are many good string quartets performing. However, among the very good quartets playing internationally, the "Artemis ensemble is the best." The reason: "Ranging from Beethoven to Ligeti, their performances overflow with fullness of sound, delineated structure and unparalleled drama." The Berlin-based Artemis Quartet was founded at the Lübeck Musikhochschule in 1989. Walter Levin, the Emerson Quartet, the Julliard Quartet and the Alban Berg Quartet have been and remain important teachers and mentors for the quartet. Since 1994 the four players have performed as a professional ensemble, quickly gaining a reputation as one of the leading ensembles of their generation. The ensemble's international stature was established by winning First Prizes at the ARD Competition in 1996 and soon thereafter First Prize at the Premio Borciani. Rather than pitch themselves into the tempting fast track of career success, the members of the Artemis Quartet instead immersed themselves in further study in 1998 the ensemble spent a year in residence with the Alban Berg Quartet in Vienna followed by a three month sabbatical at Berlin's Wissenschaftskolleg. Their debut at the Berlin Philharmonie in June of 1999 marked the formal start of their career. A new phase of the chamber group's life began in July 2007 with Gregor Sigl and Friedemann Weigle becoming members of the string quartet. Since 2004 the quartet's series of concerts at the Berlin Philharmonie has met with high praise from critics and audiences alike. In addition to their busy schedule of concerts at all the most important concert venues in Europe, the US, Japan, South America and Australia, and numerous appearances at international festivals, the Artemis Quartet is also committed to teaching. One example of this vocation is their joint professorship in chamber music at Berlin's Universität der Künste and their guest lectureship at the "Chapelle Reine Elisabeth" in Brussels. From the outset, the Artemis Quartet has highly valued sharing the concert podium with leading concert artists. Most recently they were on a concert tour with Juliane Banse, Truls Mørk and Leif Ove Andsnes. Intensive study of contemporary music is also an important focus within the quartet's repertoire. Composers such as Mauricio Sotelo (2004), Jörg Widmann (2006), and Thomas Larcher (2008) have composed works for the Artemis Quartet. The Artemis Quartet appeared in a motion picture early in its career, playing in an EMI production in 1996 as guests of the Alban Berg Quartet in Bruno Monsaingeon's feature-length documentary named after Schubert's quartet of the same name - Death and the Maiden. Five years later the Artemis Quartet once again performed in another film by the renowned director. Monsaingeon's 2001 documentary on Beethoven's Grosse Fuge op.133 - Strings Attached - is at the same time an impressive portrait of the Artemis Quartet. In recognition of the ensemble's contribution to the interpretation of Beethoven's music, the Verein des Beethoven-Hauses Bonn conferred honorary membership to the Artemis Quartet in 2003. In 2004 the quartet won the 23rd "Premio Internazionale Accademia Musicale Chigiana" in Siena, Italy.In 2005 the Artemis Quartet signed an exclusive recording contract with Virgin Classics/EMI which will ultimately result in at least ten recordings over a period five years. The first recording with the newest members of the ensemble, a CD of works by Schubert including the Quintet for Two Cellos with Truls Mørk, won the 'German Record Critics' Award (Deutscher Schallplattenpreis). A CD with Beethovens Quartets op. 59/2 und op. 18/4 will follow in autumn 2008. Recordings by the Artemis Quartet previously on the Ars Musici label and now on Virgin Classics/EMI have been awarded the 'German Record Critics' Award (Deutscher Schallplattenpreis) and Diapason d'Or de l'année . In October of 2006 the Artemis Quartet's recording of the String Quartets, op. 95 & 59/1, was awarded Germany's definitive Echo Klassik award for "Chamber Music Recording of the Year." At the 2008 prestigious Classic FM Gramophone Awards, the Artemis Quartet were awarded the Chamber Award for their recording of the Piano Quintets by Brahms and Schumann with Leif Ove Andsnes.

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CD Details

All Artists: Beethoven, Artemis Quartet
Title: Beethoven: String Quartets Op. 18/6 & Op. 130
Members Wishing: 1
Total Copies: 0
Label: Virgin Records
Original Release Date: 1/1/2010
Re-Release Date: 5/4/2010
Genre: Classical
Style:
Number of Discs: 1
SwapaCD Credits: 1
UPC: 5099969458408

Synopsis

Product Description

This fourth release in the Artemis Quartet's complete Beethoven cycle comes as the Berlin-based ensemble devotes its international performing schedule to this cornerstone of the repertoire. The 2009-10/2010-11 seasons see the Artemis Quartet performing Beethoven in a succession of European and North American cities, including Berlin, Cologne, Frankfurt, Munich, Vienna, London, Paris, Brussels, Rome, Milan, Florence, New York, Philadelphia, Boston, Houston and Los Angeles. This release brings the completion of this Beethoven marathon. Eckart Runge, cellist of the Artemis Quartet, expresses the players' views on the composer's quartets: "... In relation to the time in which he lived, Beethoven is the most modern, provocative, experimental and boldest composer of all. Many have used the string quartet to experiment, to trial and develop their mode of composition ... but none of them was more extreme than Beethoven. Even today, the Grosse Fuge remains one of the most incredible and most modern pieces of music ever written ... No matter how complicated the form, one can always find essential human emotion in Beethoven, whether it is hopeful longing, apprehension, exuberant joy or shy affection." The Artemis's debut release on Virgin Classics in 2005 comprised Beethoven's op 59/1 and op 95, while the second release brought together op 59/2, the `Razumovsky' Quartet, and the Quartet op 18/4. In France, the release was named CHOC of the Year by Le Monde de la Musique and was also awarded a Diapason d'Or; in Germany it became Chamber Music Recording of the Year in the ECHO Klassik awards of the Deutsche Phono-Akademie. In the UK, the Sunday Times praised the "fresh, positive responses" of the Artemis Quartet, saying: " ... their colors are vivid and they are alert to the music's intent to push all sorts of boundaries to breaking point," while BBC Radio 3's CD Review suggested that the recording should go to the top of any list of recommendations High praise comes from a discriminating voice. In a review written about the string quartet, the daily newspaper Frankfurter Allgemeine Zeitung has stated that there are many good string quartets performing. However, among the very good quartets playing internationally, the "Artemis ensemble is the best." The reason: "Ranging from Beethoven to Ligeti, their performances overflow with fullness of sound, delineated structure and unparalleled drama." The Berlin-based Artemis Quartet was founded at the Lübeck Musikhochschule in 1989. Walter Levin, the Emerson Quartet, the Julliard Quartet and the Alban Berg Quartet have been and remain important teachers and mentors for the quartet. Since 1994 the four players have performed as a professional ensemble, quickly gaining a reputation as one of the leading ensembles of their generation. The ensemble's international stature was established by winning First Prizes at the ARD Competition in 1996 and soon thereafter First Prize at the Premio Borciani. Rather than pitch themselves into the tempting fast track of career success, the members of the Artemis Quartet instead immersed themselves in further study in 1998 the ensemble spent a year in residence with the Alban Berg Quartet in Vienna followed by a three month sabbatical at Berlin's Wissenschaftskolleg. Their debut at the Berlin Philharmonie in June of 1999 marked the formal start of their career. A new phase of the chamber group's life began in July 2007 with Gregor Sigl and Friedemann Weigle becoming members of the string quartet. Since 2004 the quartet's series of concerts at the Berlin Philharmonie has met with high praise from critics and audiences alike. In addition to their busy schedule of concerts at all the most important concert venues in Europe, the US, Japan, South America and Australia, and numerous appearances at international festivals, the Artemis Quartet is also committed to teaching. One example of this vocation is their joint professorship in chamber music at Berlin's Universität der Künste and their guest lectureship at the "Chapelle Reine Elisabeth" in Brussels. From the outset, the Artemis Quartet has highly valued sharing the concert podium with leading concert artists. Most recently they were on a concert tour with Juliane Banse, Truls Mørk and Leif Ove Andsnes. Intensive study of contemporary music is also an important focus within the quartet's repertoire. Composers such as Mauricio Sotelo (2004), Jörg Widmann (2006), and Thomas Larcher (2008) have composed works for the Artemis Quartet. The Artemis Quartet appeared in a motion picture early in its career, playing in an EMI production in 1996 as guests of the Alban Berg Quartet in Bruno Monsaingeon's feature-length documentary named after Schubert's quartet of the same name - Death and the Maiden. Five years later the Artemis Quartet once again performed in another film by the renowned director. Monsaingeon's 2001 documentary on Beethoven's Grosse Fuge op.133 - Strings Attached - is at the same time an impressive portrait of the Artemis Quartet. In recognition of the ensemble's contribution to the interpretation of Beethoven's music, the Verein des Beethoven-Hauses Bonn conferred honorary membership to the Artemis Quartet in 2003. In 2004 the quartet won the 23rd "Premio Internazionale Accademia Musicale Chigiana" in Siena, Italy.In 2005 the Artemis Quartet signed an exclusive recording contract with Virgin Classics/EMI which will ultimately result in at least ten recordings over a period five years. The first recording with the newest members of the ensemble, a CD of works by Schubert including the Quintet for Two Cellos with Truls Mørk, won the 'German Record Critics' Award (Deutscher Schallplattenpreis). A CD with Beethovens Quartets op. 59/2 und op. 18/4 will follow in autumn 2008. Recordings by the Artemis Quartet previously on the Ars Musici label and now on Virgin Classics/EMI have been awarded the 'German Record Critics' Award (Deutscher Schallplattenpreis) and Diapason d'Or de l'année . In October of 2006 the Artemis Quartet's recording of the String Quartets, op. 95 & 59/1, was awarded Germany's definitive Echo Klassik award for "Chamber Music Recording of the Year." At the 2008 prestigious Classic FM Gramophone Awards, the Artemis Quartet were awarded the Chamber Award for their recording of the Piano Quintets by Brahms and Schumann with Leif Ove Andsnes.

CD Reviews

Artemis Quartet

Zachary Rogg-Meltzer | NYC | 05/19/2010

(5 out of 5 stars)

"This is the other new release from Artemis Quartet, and it is every bit as good as the first (if not better). The Artemis String Quartet makes chamber music spectacular: the quartet's playing is polished and precise but at the same time spontaneous, fresh and explosive as though the music is being improvised on the spot. A fantastic CD, you have to buy this immediately or you will be missing out on some fantastic music."

Lovely, stylish readings that focus on Beethoven's lighter s

Santa Fe Listener | Santa Fe, NM USA | 05/04/2010

(5 out of 5 stars)

"I had admired the early releases in the ongoing Beethoven cycle by the Artemis Quartet. their kinship in tone and style to the great Alban Berg Qt. was a big plus, but they added more than a dash of the modernized approach heard from the Emerson and Takacs Qt. I must confess that I don't want more than a dash -- a full dose of the Takacs's aggressiveness and the Emerson's mechanized precision leaves me out in the cold. Here we have th Artemis combining early and late, with Op. 18 no. 6 representing the younger, classical Beethoven and Op. 1130 the late phase, although not as enigmatically as the late piano sonatas; in many ways it retains the heroic stamp of the middle period.

This group seems to bounce between two labels, Virgin and EMI, but in no way is this a lesser recording. The sound is sweet and natural. At long last the engineers seem able to give us lifelike reproductions of stringed instruments. We are also placed very close, which I also favor. A commenter points out that the Atemis has had significant personnel changes over the years, and I thought that this contributed to a stylistic change -- the latter group sounded harder and more efficient. Not here, though. Their version of the Op. 18 quartet is sweetly evoked and classically graceful. In fact, the whole approach may be too modest. One feels that a very skillful rendition has taken place without carrying away any strong impression of individuality. The high point comes in the prolonged Adagio interlude between the Scherzo and the finale, marked "La Malinconia" (Italian for melancholy), which here is played with dark foreboding in the long-limed melody and passion in the agitated interruptions.

If the early quartets pose a challenge of style, the late ones pose a challenge of maturity, one might dare to say wisdom. Without the Grosse Fuge, one of Beethoven's titanic musical conceptions, Op. 130 would still be a daunting work. Lightning strikes at random in the first movement, signaling abrupt mood changes that must be dealt with throughout. The Artmeis prove that they are more than equal to the task. They avoid pointless aggression in order to find a style that comprehends violence and serenity. Maintaining a coherent line even as Beethoven defies any coherence at all, their musical instincts are intriguing and satisfying.

My only complaint is that there's a bit too much moderation -- the first movement has been tamed a bit too much, and the Scherzo isn't hair-raising. Accomplished as this group is, none of the members are individuals with memorable personalities; they are cogs in a beautiful machine. How charming is their Danza alla tedesca (German dance) in its naturalness and vivacity. The Cavatina is also graceful and rather streamlined. which brings us to the Grosse Fuge, fifteen minutes of harrowing, tangled, intense writing that defies analysis as much as the equally forbidding Diabelli Variations. for me, the Artemis give a great reading. Avoiding violence, they remain forceful and are admirably precise. Each line is brought out clearly -- insofar as that is possible -- and yet one hears a real ensemble pursuing mutual ends. I'm sorry to sound abstract; it's difficult to enjoy the Grosse Fuge. You brace yourself for an assault, as do the musicians. I'm grateful that they overcame the boulders lying in the road as easily as they did; it made the journey easier on me as the listener.

In all, the Artemis did more with both works than anyone I've heard in a long time. They aren't indelibly great, but their style and maturity can't be diminished."