summits of the composer's creative output. The Lindsays have lived with this music for a long time, and this intimate knowledge of the musical argument shines through this account. Every great quartet has attempted this piece, and here the Lindsays add their own interpretative stamp in no uncertain terms. In a piece which encompasses an entire lifetime of emotions, it is fitting that they are not afraid to stretch the music to its fullest extent: the second movement is a true Presto, scampering along at a tremendous rate, and the contrasts of the first movement are given their full due. They are at their finest in the mighty "Grosse Fuge" finale. Here Beethoven stretches quartet writing to its very limits (it still sounds modern, even today). The Lindsays display furious concentration and determination, while bringing an otherworldly quality to some of the quieter passages. They certainly refuse to apologise for the striking, sparse textures and the stark juxtapositions: the result is nothing less than triumphant. The alternative movement Beethoven provided because of the extreme demands of the "Grosse Fuge" is included on the disc along with a second performance of the preceding Cavatina. --Colin Clarke
summits of the composer's creative output. The Lindsays have lived with this music for a long time, and this intimate knowledge of the musical argument shines through this account. Every great quartet has attempted this piece, and here the Lindsays add their own interpretative stamp in no uncertain terms. In a piece which encompasses an entire lifetime of emotions, it is fitting that they are not afraid to stretch the music to its fullest extent: the second movement is a true Presto, scampering along at a tremendous rate, and the contrasts of the first movement are given their full due. They are at their finest in the mighty "Grosse Fuge" finale. Here Beethoven stretches quartet writing to its very limits (it still sounds modern, even today). The Lindsays display furious concentration and determination, while bringing an otherworldly quality to some of the quieter passages. They certainly refuse to apologise for the striking, sparse textures and the stark juxtapositions: the result is nothing less than triumphant. The alternative movement Beethoven provided because of the extreme demands of the "Grosse Fuge" is included on the disc along with a second performance of the preceding Cavatina. --Colin Clarke
Work Title: String Quartet No. 15 in A minor, Op. 132
Excerpt(s): 1. Assai sostenuto_Allegro 2. Allegro ma non tanto 3. Molto adagio (Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart) 4. Alla marcia, assai vivace 5. Allegro appassionato
Composer: Ludwig van Beethoven (1770 - 1827)
Genre: Chamber
Date Written: 1825
Date Recorded: 1999
Orchestra / Ensemble: Kodály Quartet
Location of Work Recording: Phoenix Studio, Budapest
Work 2
Work Title: String Quartet in F, H34
Excerpt(s): 1. String Quartet in F, H34
Composer: Ludwig van Beethoven (1770 - 1827)
Genre: Chamber
Date Written: 1801-2
Date Recorded: 1999
Orchestra / Ensemble: Kodály Quartet
Location of Work Recording: Phoenix Studio, Budapest
...Special Herbs, Vols. 7 & 8 is an instrumental album released by Daniel Dumile under the moniker Metal Fingers.this is my favorite instrumental album by doom.There is 13 grate beats that doom have used on his another songs like MC Paul Barman - Anarchist Bookstore Pt. 2
KMD - Sorcerers King Geedorah feat. Doom & Mr. Fantastik - Anti-Matter and another.
my favorite beat on this album is is Sarsaparilla that is instrumental version of "Anti-Matter" by King Geedorah featuring MF DOOM and Mr. Fantastik .sample thathe is used on this beat is Whatnauts "Message To A Black Man" this sample is also used by rza and nas.All songs is very good.All doom beats is very profesional and original.Doom have very original style.If you like this album you also would like to listen
to SPECIAL HERBS VOL. 1 and 2, 3 and 4, 5 and 6....
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Ciao members have rated this review on average somewhat helpful
Advantages: One of Beethoven's finest symphonies. Disadvantages: None from me, but some will say "classical music is boring".
...THE END OF AN ERA
1812 can be seen as the markerpoint where Beethoven's middle-period came to an end and his late-period was ushered in. Beethoven's middle-period saw the composer at his most creative high with one masterpiece following the other in rapid succession. The beginning of this period can roughly be timed as starting in 1803 with the appearance of the Third Symphony "Eroica" and the "Kreutzer" sonata. These two works signalled Beethoven distinctly leaving the 18th century Classicism of Haydn and Mozart behind him and taking on a completely new and individual voice. This individuality became more and more apparent in the works that followed: the "Waldstein" and "Appassionata" piano sonatas, the "Razumovski" quartets, the Violin Concerto, the three last cello sonatas, the "Archduke" piano trio, Fidelio, the Fifth and Sixth...
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Ciao members have rated this review on average very helpful
Advantages: A new way to hear Beethoven Disadvantages: Surpassed by some later period cycles
...played and the Finale brings a great sense of thankfulness from the country folk. This version makes for a nice breath of fresh air not apparent in many other Pastorals. There really is nothing more one needs to say.
Symphony No.7 in A major, Op.92
The Seventh Symphony (my personal favorite among Beethoven's symphonies) receives a rather curious performance when it comes to this set. Whereas most of the other symphonies are quite fresh in inspiration, the Seventh seems to suffer from a lack of energy so important to this Beethoven's most rhythmic symphony. This is particularly noticeable in the Finale, where the tempo is surprisingly relaxed and particularly in the coda the excitement is practically killed off by this lack of energy. It could be that Norrington was still a little unsure of pulling it all out for this difficult work...
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Ciao members have rated this review on average very helpful
very helpful 16.04.2005
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