Wunderschöne und detaillierte Interpretation dieses modernen und einzigartig konstruierten Streichquartetts im veränderlichen Tempo mit seidigen Tönen beider Violinen, mildem Ton der Bratsche und tiefem Ton des Violoncellos. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den vier Virtuosen ist wahrlich eindrucksvoll. Echt tiefempfunden!
Boris Tsjaikovsky springs indeed to mind but some passages remind me also of Schnittke, the beginning of the intermezzo for instance (pretty similar in the 'recitativo' from Concerto Grosso nr. 1, written about 1976), and generally the 'blunt' juxtaposition of triads (like in Schnittke's 'Moz-art à la Haydn').
... And actually the passage with the triads resembles (a bit) the 'risoluto' from the Concerto Grosso 3 (not Moz-art à la Haydn). I was prone to the Mandela effect apparently.
Quite frankly, I believe that a the greatness of a piece should be judged according to its own merits and context, instead of romantically comparing it to other “certified masterpieces”, with the intention of (ec) the Shostakovich late quartets to be hailed as great by association.
@@thanasis_milios ok, without comparison: Beethoven's and Shostakovich's late five string quartets are the absolutely highest level of what can be said in music. Any doubt? I don't say, that there are no other pieces of that level
The second movement is absolutely chilling... though you're already cold by the first movement...
Six shades of deep.
This work is underrated and amazing !
Wunderschöne und detaillierte Interpretation dieses modernen und einzigartig konstruierten Streichquartetts im veränderlichen Tempo mit seidigen Tönen beider Violinen, mildem Ton der Bratsche und tiefem Ton des Violoncellos. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den vier Virtuosen ist wahrlich eindrucksvoll. Echt tiefempfunden!
😂для чего один и тот же текст ты размещаешь в комментариях для характеристики таких разных и гениальных квартетов!?😅
😂😂@@conductor1957
@@conductor1957jajaja....es muy bueno....Saludos desde España 🇪🇦
Boris Tsjaikovsky springs indeed to mind but some passages remind me also of Schnittke, the beginning of the intermezzo for instance (pretty similar in the 'recitativo' from Concerto Grosso nr. 1, written about 1976), and generally the 'blunt' juxtaposition of triads (like in Schnittke's 'Moz-art à la Haydn').
... And actually the passage with the triads resembles (a bit) the 'risoluto' from the Concerto Grosso 3 (not Moz-art à la Haydn). I was prone to the Mandela effect apparently.
17:29 Quotation from the 1st movement of the 5th symphony
How? Which part of the symphony?
Very interesting. This is the harmonic progression played by the horns in the Fifth Symphony.
and 17:42 is a quotation of the first eight notes of his 2nd violin concerto.
I like it.
Shostakovich's last five string quartets reflect Beethoven's last five. Both are the absolutely highest level of what can be said in music
Quite frankly, I believe that a the greatness of a piece should be judged according to its own merits and context, instead of romantically comparing it to other “certified masterpieces”, with the intention of (ec) the Shostakovich late quartets to be hailed as great by association.
@@thanasis_milios ok, without comparison: Beethoven's and Shostakovich's late five string quartets are the absolutely highest level of what can be said in music. Any doubt? I don't say, that there are no other pieces of that level
Timestamps for myself:
12:25
13:24
23:22
24:00
I think this would be in E-flat minor, not E-flat Major
You're right, this piece is indeed in the key of E-flat minor as opposed to E-flat major. The 6 flats in the score are the giveaway here
Am I going crazy or was this a wrong note? It’s supposed to be a C-flat right? 12:43
measure 11, first violin?
Sorrow indeed