哪位大侠给推荐几个经典的弦乐四重奏

憨慢仔

交易区新帖推荐

弦乐四重奏，目前我只有《死神与少女》，不知还有哪些特别值的听和收藏的弦乐四重奏

老军医

贝多芬和巴托克，必收曲目

mmyxlt

贝多芬晚期和巴托克，才听古典的朋友就暂时放一放，先从海顿、莫扎特、柴科夫斯基甚至罗西尼、德沃夏克听起较为适宜。

Viking

最初由 mmyxlt 发表
[B]贝多芬晚期和巴托克，才听古典的朋友就暂时放一放，先从海顿、莫扎特、柴科夫斯基甚至罗西尼、德沃夏克听起较为适宜。 [/B]

說得有道理。室內樂相比之下不如大型的樂隊作品容易讓人接受，或者說不容易聽出感覺來。聽弦樂四重奏，可以從Borodin、Mozart、Haydn聽起，Borodin的兩首四重奏雖然沒有那么高的地位，但太好聽了，任何一個哪怕是從來沒有接觸過古典音樂的人一聽都會喜歡上它（一點兒都不夸張，不信可以去試試）。莫扎特的二十三首也都美侖美奐，可以輕松地聽下去。海頓一生創作了七、八十首弦樂四重奏，在這個題材上成就非常高，不過要都聽，可不是一件容易的事情，現在好像也沒有哪個公司錄製發行過complete edition，NAXOS的Kodaly Quartet可能算是錄製的最多的了。Schubert的15首裡面，以晚期的四首成就最高，暫時聽這四首就可以了。另外還可以聽貝多芬的早期、中期的11首，貝多芬晚期6首（包括op.133的Grosse Fuge），艱澀深奧，乍一聽上去，除了不知所云的感覺，可能就是難聽的感覺了。這幾首晚期貝多芬和Bartok的六首、Shostakovich的15首，肯定都是聽音樂的人放到最后聽的東西，尤其是貝多芬和SHostakovich的內心獨白和自言自語式的複雜的晚期作品，是任何人都望而生畏的。其他的當然還有很多優秀的弦樂四重奏作品，勃拉姆斯、德沃夏克、柴可夫斯基、斯美塔那、雅那切克……，不過都沒有上面的那些名氣那么大，但也都很好聽。

憨慢仔

谢谢各位大侠的指点，我看我还是从好听的先入手吧，一步一步来吧。。。。。。。。。。。。。。

祗园主人

贝多芬的晚期四重奏不必轻动，我几年前的一套意大利组的晚期四重奏到现在还未拆封。个人推荐海顿的弦乐四重奏OP.76之2《五度音程》，此作品篇幅不长，设计精美雅致，前两个乐章尤其悦耳动听，活泼轻松的风格令人陶醉。Kodaly Quartet的版本很不错，演绎朴实自然，值得一试。

李晓梦

最初由 祗园主人 发表
[B]贝多芬的晚期四重奏不必轻动，我几年前的一套意大利组的晚期四重奏到现在还未拆封。个人推荐海顿的弦乐四重奏OP.76之2《五度音程》，此作品篇幅不长，设计精美雅致，前两个乐章尤其悦耳动听，活泼轻松的风格令人陶醉... [/B]

赞同.而且由Noxos推出,价格非常便宜.

老军医

楼主问的是“特别值的听和收藏的弦乐四重奏”，我没说错啊！贝多芬全集早点接触并无什么坏处，可听性也不差，楼主先听听再说，我听贝多芬弦乐四重奏就比较早，多听几边就有感觉了。

bachdz

而且很重要，同样贝的弦乐四重奏意大利与BUSCH的差别太大了

Viking

最初由 bachdz 发表
[B]而且很重要，同样贝的弦乐四重奏意大利与BUSCH的差别太大了 [/B]

贝多芬四重奏我个人推荐这几个版本：

布什四重奏组（EMI Reference系列，不适合入门者。）
布达佩斯四重奏组（SONY/CBS，我只有老布达佩斯四重奏组的早期六首的单声道录音和新布达佩斯四重奏组的Op.59 No. 1 & 2，尤其是老四重奏组的，非常好。）
Suske四重奏组（Deutsche SchallPlatten，极力推荐，非常精彩！！）
阿班贝尔格四重奏组（EMI）

我一位朋友有匈牙利四重奏组录制的版本，他赞不绝口，我没有见过。还有鲍罗丁四重奏组应该也是上品（CHANDOS），没有听过，那位见到了可别错过。

springson

不知道V兄是否听说过一个叫做亚历山大四重奏的组合？我曾经看到一套他们搞的贝多芬四重奏，也不贵，因为没听说过，后来还是没拿。

老军医

布什四重奏组
Suske四重奏组

Viking

最初由 springson 发表
[B]不知道V兄是否听说过一个叫做亚历山大四重奏的组合？我曾经看到一套他们搞的贝多芬四重奏，也不贵，因为没听说过，后来还是没拿。 [/B]

Alexander String Quartet为ARTE NOVA公司录制的9张贝多芬弦乐四重奏全集CD我没有见到过，也没有听过。以ARTE NOVA旗下艺术家现有的水准来说，应该是值得一听的。如果今后见到ARTE NOVA的唱片，大部分都值得考虑，价廉物美，很多演奏经常会给你意想不到的惊喜。还有，ARTE NOVA还经常录制一些非常冷僻的曲目，有一些可以说是不二的版本。

这些是Alexander String Quartet自己的网站上转引的一些评价，或许有些参考价值。

The Alexander String Quartet&#39s Beethoven


"The quartet manages to combine a robust, cohesive ensemble tone with a lively sense of color and a deep, unshakable poise. It was a performance in which the care that went into their preparation was completely subsumed in the conviction of the living moment. One could only agree with Yehudi Menuhin&#39s unrestrained assessment: &#39It was unbelievably good Beethoven-in conception, musicality, balance of voices, respect for the score, humor, pathos, emotional projection. There was absolutely nothing that was missing.&#39 "
MUSICAL AMERICA

"The musicians&#39 controlled exuberance was unflagging and consequently produced superlative accounts of Beethoven."
THE WASHINGTON POST

"The Alexander String Quartet, born in the 1980s, has developed a distinctive musical profile and bold performing style. In its concert Tuesday at Richardson Auditorium, the ensemble played an Old World program with a balance of nuance, intensity and style that some senior quartets could envy. Beethoven&#39s Quartet in C major (Op. 59, No. 3) asked the riskiest comparisons with senior quartets, yet this performance needed no explanation. The second movement and the minuetto that follows were played to emphasize the almost hypnotic inner intensity of the music. The hush in the hall attested to the almost perfectly executed floating passage and its expressive strength."
THE PHILADELPHIA INQUIRER

"Stunning Ensemble On the evidence of their Beethoven Op. 59, No. 2, this is a group whose synthesis of strongly characterized individual voices is resilient enough to take inspiring risks, and sophisticated enough to see them through with imaginative sensitivity."
THE TIMES (London)

"The Alexanders chose Opus 59, No. 1 in E minor. They attained a rare sense of mystery and expectation in the elliptical moderations and silent bars of the first movement, summoned warmth and severity for the slow movement and a compelling gusto for the finale. Every change of tempo was geared perfectly to the dramatic implications of the music. The Alexander Quartet is destined for greatness."
THE GUARDIAN (London)

  



"The Alexander demonstrated a remarkable ability to sustain a long, slow line. ... &#39Must it be?&#39 was played with the necessary sense of inevitability that Beethoven&#39s ringing, affirmative answer, both to the question, and to the contradictions of the human condition, &#39It must be!&#39 demands.
THE BUFFALO NEWS

"They played as a tight group, carefully responding to each other, balancing lines, mirroring attacks. At times, they were as ferociously impressive as a small group of precision fighter pilots going through aerial maneuvers at breakneck speeds."
LOS ANGELES TIMES

"I continue to be impressed by the Beethoven cycle by the Alexander String Quartet, founded in New York in 1981. [The Quartet No. 13 and Grosse Fuge] are played with impressive power and lyricism."
THE DENVER POST

"Every phrase and line, every textural and coloristic effect, every structural element, every sforzando, every legato, every hairpin dynamic shading, every articulation-in short, every musical detail-was performed so precisely, in so shapely a fashion, and in such perfect balance with every other detail, that I felt my mind irresistibly and uninterruptedly held deep inside the world of Beethoven&#39s imagination, which was immensely enlarged-so to speak-from within."
THE SAN DIEGO READER

"Alexander is a Great Quartet The landslide winner: Beethoven. But for that, credit the Alexander Quartet as much as Beethoven himself. Here the group launched into the kind of passionate, hold-your-hats playing that invited comparisons to the great Budapest String Quartet, a Russian-émigré group which reigned for more that three decades till the mid-1960s. I haven&#39t heard comparable electricity from anybody else in the intervening years, in a style where finesse is secondary to unbridled fury, force and velocity. It was the most exciting quartet experience sponsored by the San Jose Chamber Music Society for years. Their rhythm and speed were dazzling."
SAN JOSE MERCURY NEWS

"These musicians have a sophisticated grasp of quartet-playing. They perform with an in-built awareness of each colleague&#39s line, in terms of both phrasing and colouring. Tones are blended, there is a delicate facility to the bowing and a unanimous ebb and flow to the delivery. They also have a sensitive ear for balance, gradating their sound-levels tactfully. Such general urbanity was much in evidence for Beethoven&#39s overblown A major Quartet from his Opus 18. Most memorable for compositional quality was the Andante&#39s charming Viennese mix of inwardness and self-confidence, but the Alexander&#39s committed integrity of approach was a joy."
THE BIRMINGHAM POST (U.K.)

"The first &#39Razoumovsky&#39 Quartet by Beethoven had to show whether the standard in playing was accompanied by a highly developed standard in interpretation. Then: the unpretentious emergence of the instruments in the execution that illuminates the wonderful vocal texture; the extraordinarily played fugato; the anthem enhanced second theme in the exposition and even stronger, the repeat. How striking was the combination of the bizarre, almost expressionistic second movement with the melodic content! The powerful climax of the slow movement as well as the transition of the &#39Russian&#39 theme of the finale were very accurately constructed. Only very few groups play these classical highlights in such a rich and differentiated way."
TRIERISCHER VOLKSFREUND (Germany)

"And it&#39s Beethoven who carries them to their maximum-literature more solid, loaded with the past as well as the future, with violence as well as tenderness. This work allows them to be in the very center of their sensitivity. Splendid sonorities from each player (the first violin with a marvelous purity of line responds to a superb cello), perfect balance of purpose, perfect communication in the group, technical clarity, and unusual intensity; the golden rules of the quartet are brought together to perfection. And along with this, intelligence to bring forth the magic. Beethoven has rarely been so cast with elegance, with density, and with fullness. An example of interpretation beyond what&#39s in fashion, beyond musical egocentricity, in the very heart of a truth which flows from the mother spring."
LA TRIBUNE DE GENEVE (Switzerland)