Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Streichquartett Nr. 13 in BßDur, Op.130

Schreiber, Cohen, Bezuidenhout und das Chiaroscuro Quartet brillieren mit Beethovens kammermusikalischen Schenkelklopfern und rücken sein Bild fulminant zurecht.

Deux concerts radicalement différents se succédaient en 24h au festival monégasque : d'abord les Vêpres de Monteverdi à la Cathédrale, puis la Seconde école de Vienne en quatuor au One Monte-Carlo.

La ejecución de la integral de los cuartetos de Beethoven es una manera magnífica de celebrar los veinte años del Cuarteto Casals, y hacerlo además introduciendo obras de compositores contemporáneos en los respectivos programas de todo el ciclo, es un ulterior aliciente porque nos permite comprender el sentido trascendental de esta forma musical tan célebre enigmática.

A broken string near the beginning of the “Große Fuge” was emblematic of the intensity the Juilliard String Quartet gave to their performances of Beethoven and Bartók.

Arrangements aplenty as the Australian Chamber Orchestra take on Bach's Art of Fugue and Beethoven's Op.130, with Richard Tognetti the accomplished soloists in Mozart's Violin Concerto no. 5.

At one point in Proust’s In Search of Lost Time, the narrator is listening to a sonata for piano and violin by the fictional Vinteuil, when “at a certain moment, without being able to distinguish any clear outline, or to give a name to what was pleasing him, suddenly enraptured, he tried to grasp the phrase or harmony – he did not know which – that had just been played and that had opened and expa

The noted Beethoven pianist Artur Schnabel was famously interested only in music that he felt was “better than it can be performed”. This idea of works which transcend any individual performance seems particularly true when it comes to Beethoven’s late string quartets, enigmatic masterpieces which continue to pose challenges to interpreters nearly two centuries after they were written.

The members of the Belcea Quartet met at the Royal College of Music, but hail from across Europe - France, Romania, Poland and Switzerland, making me wonder which common language they use for working.

The uncluttered stage mirrored the promised clarity of quality string quartet writing and playing; four chairs, four music stands, BBC microphones suspended on a wire, promising a future broadcast. A capacity Queen's Hall audience of 900 welcomed this young quartet, a decade after their Edinburgh International Festival début.