Composer: Franz Joseph Haydn
Performer: Amadeus Quartet
Number of Discs: 2
Format: FLAC (tracks)
Label: Audite
Catalogue: AUDITE21426
Release: 2017
Size: 1.92 GB
Recovery: +3%
Scan: yes
SACD 01
Haydn: String Quartet, Op. 9 No. 3 in G major
01. I. Moderato
02. II. Menuet. Allegretto
03. III. Largo
04. IV. Finale. Presto
Haydn: String Quartet, Op. 20 No. 5 in F minor
05. I. Moderato
06. II. Menuet
07. III. Adagio
08. IV. Finale. Fuga a due soggetti
Haydn: String Quartet, Op. 33 No. 2 in E flat major ‘The Joke’
09. I. Allegro moderato
10. II. Scherzo. Allegro
11. III. Largo e sostenuto
12. IV. Finale. Presto
Haydn: String Quartet, Op. 54 No. 2 in C major
13. I. Vivace
14. II. Adagio
15. III. Menuetto. Allegretto
16. IV. Finale. Adagio – Presto – Adagio
17. II. Adagio
Haydn: String Quartet, Op. 64 No. 3 in B flat major
18. I. Vivace assai
19. II. Adagio
20. III. Menuetto. Allegretto
21. IV. Finale. Allegro con spirito
Haydn: String Quartet, Op. 64 No. 4 in G major
22. I. Allegro con brio
23. II. Menuetto. Allegretto
24. III. Adagio cantabile sostenuto
25. IV. Finale. Presto
Haydn: String Quartet, Op. 74 No. 1 in C major
26. I. Allegro (Moderato)
27. II. Andantino (Grazioso)
28. III. Menuetto. Allegro
29. IV. Finale. Vivace
Haydn: String Quartet, Op. 74 No. 3 in G minor ‘The Rider’
30. I. Allegro
31. II. Largo assai
32. III. Menuetto (Allegretto)
33. IV. Finale. Allegro con brio
SACD 02
Haydn: String Quartet, Op. 76 No. 1 in G major
01. I. Allegro con spirito
02. II. Adagio sostenuto
03. III. Menuet. Presto
04. IV. Finale. Allegro ma non troppo
Haydn: String Quartet, Op. 76 No. 3 in C major ‘Emperor’
05. I. Allegro
06. II. Poco adagio, cantabile
07. III. Menuetto
08. IV. Finale. Presto
Haydn: String Quartet, Op. 76 No. 4 in B flat major ‘Sunrise’
09. I. Allegro con spirito
10. II. Adagio
11. III. Menuet. Allegro
12. IV. Finale. Allegro ma non troppo
Haydn: String Quartet, Op. 77 No. 1 in G major
13. I. Allegro moderato
14. II. Adagio
15. III. Menuetto. Presto
16. IV. Finale. Presto
Haydn: String Quartet, Op. 77 No. 2 in F major
17. I. Allegro moderato
18. II. Menuet. Presto
19. III. Andante
20. IV. Finale. Vivace assai
Haydn: String Quartet, Op. 103 in D minor
21. I. Andante grazioso
22. II. Menuetto ma non troppo presto
Haydn: The 7 Last Words of Christ, Hob. XX:2
23. Introduction. Maestoso ed adagio
24. Sonata 1: Pater, dimitte illis, quia nesciunt, quid faciunt
25. Sonata 2: Hodie mecum eris in Paradiso
26. Sonata 3: Mulier, ecce filius tuus
27. Sonata 4: Deus meus, Deus meus, utquid dereliquisti me?
28. Sonata 5: Sitio
29. Sonata 6: Consummatum est!
30. Sonata 7: In manus tuas, Domine, commendo spiritum meum
31. Il terremoto
This sixth volume of the RIAS Amadeus Quartet Recordings completes the 27-CD edition. To honour the occasion, we are offering, at www.audite.de/21426, a comprehensive free download of the “Seven Last Words” (RIAS 1952) in a radiophonic version which combines the music recordings with bible readings and literary interpretations of these biblical texts, following the liturgical sequence of the first performance. This extended version complements the 6-CD box set, providing once again a detailed survey of broadcasting history in the 1950s – to which end the entire series of the audite Amadeus Quartet recordings is ultimately directed.
Joseph Haydn’s string quartets, often rated as the basis for playing quartets, represented far more than an obligation to the Amadeus Quartet. During their entire career, spanning four decades, they thoroughly and continually dedicated themselves to these works, especially those of Haydn’s middle and late periods. Most of their concert programmes featured a quartet by Haydn and in their sonic legacy – recordings on disc and for the radio – Haydn’s string quartets make up more than a fifth of the total (only Beethoven’s quartets were recorded with a similar frequency). The musicians held these works in such high esteem due, on the one hand, to their relative technical ease and, on the other, their high musical demands, as Norbert Brainin explained: “Everything that one plays in public is difficult. And the easier it is, the more difficult it becomes, as one then hears the fleas cough. Haydn and Mozart are a tightrope act.”When preparing and rehearsing these works, the players had to examine the music closely, for many sections which appeared implausible in the old editions later on indeed proved erroneous when they were able to study Haydn’s manuscripts and once the Urtext editions had been published.