Shostakovich String Quartets

[snyprrr]

Danel: Not up there, for you, among these??

St.Petersburg: Not in a box?


The have, but it's oop now.
Reasonable prices for used sets (better than buying individually, at least) at Amazon.com and at Amazon.co.uk.


Last night I dreamt I went to Manderling again. (Mandelring) 

I have Borodin I, II, Brodsky, Danel, Emerson, St. Petersburg, Shostakovich Quartet, Sorrel, Mandelring, and as of yesterday the complete Pacifica... Borodin II and Danel, Mandelring and Pacifica being the ones that get the most instinctive grab when I listen to them. Emerson I might as well not have.

Please tell me you've got some new insights!! Just a perusal of the last Page or so will reveal where "we're" at at the moment.



RUBIO (Globe)- 1996-1998

DEBUSSY- 1999-2006

AVIV- 2004-06

JERUSALEM- 2005-07

DANEL- 2005(6)

ALEXANDER- 2006-07

RASUMOWSKY-2006

MANDELRING- 2006-10

PACIFICA- 2011??

MORGAUA-


BORODIN2020- (THE PRESUMED New Complete Cycle)

[snyprrr]

Quatuor Debussy (Arion; at least I spelled it right once!!)


I'm the ONLY one who has mentioned their Complete Cycle (Jens?). Are we totally in the dark on this one? Samples tell a somewhat Danel-like tale, but all the tempi are pretty normal, ... I don't hear too much jumping out at me,...

ANYONE??

[snyprrr]

I see you Manny- what's the good word?

[snyprrr]

The Alexander Quartet (Foghorn Classics)

Their Complete Cycle in 2 Volumes (1-7, 8-15) is the least covered Cycle out there. There are no samples anywhere, and i wouldn't even mention them if I hadn't gone to Foghorn Classics website, which actually does have samples.

'dmitri', a Reviewer at Amazon, is the only source of information (besides the usual Classics Today) about this set, and he said they were altogether a bit slower than everyone else, but also exhibited perfect playing. So, I perused the samples on the site, and, lo and behold, there is a wealth of information given in them!

First off, none of the samples had the timings of the movements, but, I am able to gauge, generally, what speed is  being adopted based on just a brief sample. And yes, their speeds are generally slower than any I can think of, the Danel coming beside them, perhaps.

Second, the playing is- dare I say- even more razor honed than the Emerson? The Alexander definitely sound like a Beethoven group to me- their unanimity seems unparalleled. I was truly impressed with their playing, regardless of interpretive felicities. I'm not sure any other Cycle has their playing profile. Coupled with the tight acoustic, it surely brings out a sound picture in high relief.

Now, here, in one description, is my impression: their approach seems to work wonders in 1-7, but they just seem to drag in 8-15. I especially didn't take to their slowish 12-15, though, 9-11 were just as guilty of being slower than needed (by a slight margin). I just pulled for 1-7, and am confident that I got all that I needed. I just don't see 8-15 as recommendable to the High Connesuir(pardon). No one is going to want performances as bloated as these when fleeter ones can be had.- even so, there are "slow" performances that take the cake (Kremer 13-14; Borodin'95 15), but here, the Alexander are simply playing the music- they're not the Romantic Borodins, for sure. But, they're not sissies, either. They put out a solid 'Classical' approach that works on those SQs that sound like normal 'Classical' music (1-7). The Abstract Late SQs don't take to their approach at all, I think.

I heartily welcome you all to wait with baited breath for my Review of 1-7. I am!



btw-

(I was going to get the Pacifica's Vol.1 (5-8), but, I think I'm starting to sour a bit on the Pacifica. There's a lot to like, but the competition is getting soooo fierce lately, that one must be a little more critical.  I still welcome Sarge's Pacifica/Manderling comparison, or anyone else's. I am very very seriously considering the mandelring as a 'Final Answer', though, I have found a few more interesting one-offs)

[Karl Henning]

The Alexander Quartet (Foghorn Classics)

Their Complete Cycle in 2 Volumes (1-7, 8-15) is the least covered Cycle out there. There are no samples anywhere, and i wouldn't even mention them if I hadn't gone to Foghorn Classics website, which actually does have samples.

What, no link?

[snyprrr]

What, no link?

Linux... I'm clueless... "foghorn classics"...


I'm thinking about learning computers this year ... errrrr....


Anyhow, Karl, I'm sure you're just slightly interested... let me know how those samples hit ya.



PACIFICA-
I was going to pull for their Vol.1 (5-8), but,... tell me, who is still on the Pacifica Bandwagon?

Karl, did you get the Mandelring?- any word???

[Karl Henning]

I've had the Mandelring for a while, and they deserve all of the Sarge's praise.

[NorthNYMark]

The Alexander Quartet (Foghorn Classics)

Their Complete Cycle in 2 Volumes (1-7, 8-15) is the least covered Cycle out there. There are no samples anywhere, and i wouldn't even mention them if I hadn't gone to Foghorn Classics website, which actually does have samples.

'dmitri', a Reviewer at Amazon, is the only source of information (besides the usual Classics Today) about this set, and he said they were altogether a bit slower than everyone else, but also exhibited perfect playing. So, I perused the samples on the site, and, lo and behold, there is a wealth of information given in them!

First off, none of the samples had the timings of the movements, but, I am able to gauge, generally, what speed is  being adopted based on just a brief sample. And yes, their speeds are generally slower than any I can think of, the Danel coming beside them, perhaps.

Second, the playing is- dare I say- even more razor honed than the Emerson? The Alexander definitely sound like a Beethoven group to me- their unanimity seems unparalleled. I was truly impressed with their playing, regardless of interpretive felicities. I'm not sure any other Cycle has their playing profile. Coupled with the tight acoustic, it surely brings out a sound picture in high relief.

Now, here, in one description, is my impression: their approach seems to work wonders in 1-7, but they just seem to drag in 8-15. I especially didn't take to their slowish 12-15, though, 9-11 were just as guilty of being slower than needed (by a slight margin). I just pulled for 1-7, and am confident that I got all that I needed. I just don't see 8-15 as recommendable to the High Connesuir(pardon). No one is going to want performances as bloated as these when fleeter ones can be had.- even so, there are "slow" performances that take the cake (Kremer 13-14; Borodin'95 15), but here, the Alexander are simply playing the music- they're not the Romantic Borodins, for sure. But, they're not sissies, either. They put out a solid 'Classical' approach that works on those SQs that sound like normal 'Classical' music (1-7). The Abstract Late SQs don't take to their approach at all, I think.

I heartily welcome you all to wait with baited breath for my Review of 1-7. I am!



btw-

(I was going to get the Pacifica's Vol.1 (5-8), but, I think I'm starting to sour a bit on the Pacifica. There's a lot to like, but the competition is getting soooo fierce lately, that one must be a little more critical.  I still welcome Sarge's Pacifica/Manderling comparison, or anyone else's. I am very very seriously considering the mandelring as a 'Final Answer', though, I have found a few more interesting one-offs)

I happen to own the Alexander set, mainly because they play at my workplace every year (and this year even played for one of my classes), so I just couldn't resist buying their set from them.  I largely agree with your findings, though I don't necessarily draw as sharp a distinction between the earlier and later quartets.  I too would call their approach very meticulous and somewhat classically restrained--and this is true of them in general on recordings.  Oddly, they don't sound anything like this to me in live performance, where they come across as passionate and even somewhat aggressive.  On CD, though, they seem to be the "audiophile quartet," making sure their playing is very perfect and tasteful to go with the crystal clear recording.  As admirable as it is, I wish I could hear more of the intensity they bring to their live performances.  I do think they are worth listening to for their amazing textural detail, but I honestly don't find myself reaching for them as often as some of my other favorites in this repertoire.

The Mandelring remains my favorite set by anyone, followed by those by the Danel and Shostakovich quartets.  I have a difficult time identifying just what it is I enjoy so much about the Mandelrings, but they definitely seem more unique to me than the Pacifica, for example. One thing that has occurred to me is that I think the Mandelring tends to have a richer, more organic sound than most, partly due to their acoustic, but I think they also tend to put less emphasis on a "lead" instrument in relation to the "accompaniment."  I could be totally wrong about that, but they just seem to play as a single unit more often than other quartets.  Perhaps related to that, they also seem more attuned to atmospherics in this material--there seems to be more subtlety of shading, for lack of a better term. I also just enjoy the "feel" they bring to the phrasing.

What I enjoy about the Danel is a bit easier to describe.  They have a drier, closer sound (a bit like the Alexanders, as you pointed out), but their interpretation strikes me as tending to the dark and grim--their no. 11 is my favorite by anyone I've heard, giving me the sense of someone slowly moving through an area where terrible atrocities may have recently occurred (but without witnessing anything directly, instead having a sense of dread).  I feel an almost cruel tension in their approach that is fascinating. Sorry for such a non-musical, impressionistic metaphors, but as a non-musician, I am limited. I wonder if it is coincidence that my two favorite cycles are by Western European ensembles.  They just seem to add certain kinds of coloristic richness I'm not hearing as much from the Russian or American ensembles.

[Karl Henning]

I happen to own the Alexander set, mainly because they play at my workplace every year (and this year even played for one of my classes), so I just couldn't resist buying their set from them.  I largely agree with your fiondings, though I don't necessarily draw as sharp a distinction between the earlier and later quartets.  I too would call their approach very meticulous and somewhat classically restrained--and this is true of them in general on recordings.  Oddly, they don't sound anything like this to me in live performance, where they come across as passionate and even somewhat aggressive.  On CD, though, they seem to be the "audiophile quartet," making sure their playing is very perfect and tasteful to go with the crystal clear recording.  As admirable as it is, I wish I could hear more of the intensity they bring to their live performances.  I do think they are worth listening to for their amazing textural detail, but I honestly don't find myself reaching for them as often as some of my other favorites in this repertoire.

The Mandelring remains my favorite set by anyone, followed by those by the Danel and Shostakovich quartets.  I have a difficult time identifying just what it is I enjoy so much about the Mandelrings, but they definitely seem more unique to me than the Pacifica, for example. One thing that has occurred to me is that I think the Mandelring tends to have a richer, more organic sound than most, partly due to their acoustic, but I think they also tend to put less emphasis on a "lead" instrument in relation to the "accompaniment."  I could be totally wrong about that, but they just seem to play as a single unit more often than other quartets.  Perhaps related to that, they also seem more attuned to atmospherics in this material--there seems to be more subtlety of shading, for lack of a better term. I also just enjoy the "feel" they bring to the phrasing.

What I enjoy about the Danel is a bit easier to describe.  They have a drier, closer sound (a bit like the Alexanders, as you pointed out), but their interpretation strikes me as tending to the dark and grim--their no. 11 is my favorite by anyone I've heard, giving me the sense of someone slowly moving through an area where terrible atrocities may have recently occurred (but without witnessing anything directly, instead having a sense of dread).  I feel an almost cruel tension in their approach that is fascinating. Sorry for such a non-musical, impressionistic metaphors, but as a non-musician, I am limited. I wonder if it is coincidence that my two favorite cycles are by Western European ensembles.  They just seem to add certain kinds of coloristic richness I'm not hearing as much from the Russian or American ensembles.

Interesting, thanks.

[snyprrr]

I happen to own the Alexander set, mainly because they play at my workplace every year (and this year even played for one of my classes), so I just couldn't resist buying their set from them.  I largely agree with your fiondings, though I don't necessarily draw as sharp a distinction between the earlier and later quartets.  I too would call their approach very meticulous and somewhat classically restrained--and this is true of them in general on recordings.  Oddly, they don't sound anything like this to me in live performance, where they come across as passionate and even somewhat aggressive.  On CD, though, they seem to be the "audiophile quartet," making sure their playing is very perfect and tasteful to go with the crystal clear recording.  As admirable as it is, I wish I could hear more of the intensity they bring to their live performances.  I do think they are worth listening to for their amazing textural detail, but I honestly don't find myself reaching for them as often as some of my other favorites in this repertoire.

The Mandelring remains my favorite set by anyone, followed by those by the Danel and Shostakovich quartets.  I have a difficult time identifying just what it is I enjoy so much about the Mandelrings, but they definitely seem more unique to me than the Pacifica, for example. One thing that has occurred to me is that I think the Mandelring tends to have a richer, more organic sound than most, partly due to their acoustic, but I think they also tend to put less emphasis on a "lead" instrument in relation to the "accompaniment."  I could be totally wrong about that, but they just seem to play as a single unit more often than other quartets.  Perhaps related to that, they also seem more attuned to atmospherics in this material--there seems to be more subtlety of shading, for lack of a better term. I also just enjoy the "feel" they bring to the phrasing.

What I enjoy about the Danel is a bit easier to describe.  They have a drier, closer sound (a bit like the Alexanders, as you pointed out), but their interpretation strikes me as tending to the dark and grim--their no. 11 is my favorite by anyone I've heard, giving me the sense of someone slowly moving through an area where terrible atrocities may have recently occurred (but without witnessing anything directly, instead having a sense of dread).  I feel an almost cruel tension in their approach that is fascinating. Sorry for such a non-musical, impressionistic metaphors, but as a non-musician, I am limited. I wonder if it is coincidence that my two favorite cycles are by Western European ensembles.  They just seem to add certain kinds of coloristic richness I'm not hearing as much from the Russian or American ensembles.

Verrry interesting indeed. Finally, a worthy Post. Hail MarkyMark!!

Seriously- the Danel and Alexander both tend towards the slow side, no? (and I'm starting to think the Rasumowsky and Debussy fall into the exact same camp?) I think also you made have sealed a Mandelring bid- though, what's the cheapest I can get them???- Amazon +sh. = $40.


Today I shored up all non-Mandelring odds and ends, including:

1) Verlaine Quartet (REM; Op.68, w/Webern)

2) Sorrel No.12- their 2nd movement blazes unlike any other: Sorrel seem to rule in 12-14...

3) Borodin 10/13/14- for the 14

4) St.Lawrence 3/7/8 (on order)

5) Eder 2/12 (on order)

6) Alexander 1-7 (on order)

That only leaves the Mandelring...




AND THE TANEYEV




I believe we have reached the place here. Almost every single release has been at least somewhat scrutinized. It's been almost a year of just about only DSCH DSCH DSCH... half of that on the SQs. We're at least at an impasse- fiscal issues, availability,... it's time to take stock... I'm almost all satisfied (Taneyev notwithstanding)... ahhhh, I can feel it, that last chunk o'changed lightened more than my wallet, haha!!   gulp!!!

[snyprrr]

All's Quiet on the Eastern Front,... boldly switched to the PT No.2 yesterday! ... such a great piece... Borodin/Leonskaya...

Ode to the mailman...

TODAY: Op.101, Manhattan, Borodin'81'live' (listened to Emerson yesterday- it was better than I remembered, epitome of "fine Classical" playing, but still a bit detached, imo)... (the Orlando, on Emergo, are fine, but the viola is placed so as to have an aggressive demeanour in the recording)... (the Brodsky are generally fine, but I'm liking their direct rivals the Manhattan just a little better nowadays)... I suspect that the Jerusalem's only post-modern 101 (the only one on a one-off) may also rank highly... 101 seems to be about one of the rarest... who really get this dance on light/dark?,... Mandelring?,... I'm not quite happy yet (the Orlando come close but are marred by that simple distraction)...

[snyprrr]

How much do you want to spend? The Rubio's cycle on Brilliant is quite good, and quite cheap. I love the Fitzwilliam and the old Borodin but there is a real possibility the Shostakovich is going to be my preferred set eventually (I've only heard a few quartets so far but was blown away).

Sarge

Did you ever get that Zapolski? I remember going on about the 7:30 'Valse'. Well, I just got the Verlaine, from 1987, on REM, playing Op.68, and here are their timings:

I.  6:42
II.  9:17
III. 6:54
IV. 11:05

That 1st's 6:42 seems unprecedented! Wow, can't wait. And then we have another almost 7 minute 'Valse'. And I believe this is 'live'- no, maybe not,... can't really tell, but probably not... mmm...

[snyprrr]

Did you ever get that Zapolski? I remember going on about the 7:30 'Valse'. Well, I just got the Verlaine, from 1987, on REM, playing Op.68, and here are their timings:

I.  6:42
II.  9:17
III. 6:54
IV. 11:05

That 1st's 6:42 seems unprecedented! Wow, can't wait. And then we have another almost 7 minute 'Valse'. And I believe this is 'live'- no, maybe not,... can't really tell, but probably not... mmm...

Wow! This Verlaine Op.68, sounding 'live' (without audience?), is certainly one of the very best,- I'm finishing the finale now- the recording is so intimate, yet obviously in a hall, but the instruments sound so natural and fruity,- I'll get in trouble if I go on... but, it's kept me rapt for its entirety,... I hearing things brought out,... the cellist has the most wonderful tone, and the lead has a nice Romantic sweep and drama.

Concerning the 6:42 'Overture', it certainly didn't sound particularly fast- is there a repeat they left out? If so, they're the only ones who cut it. huh


Anyhow, it ends. Bravo, very lovely lovely No.2 there from 1987 by the Verlaine,... following with Webern's 'Langsamer Satz'. This group has quite an impressive corporate sound, so earthy, but I believe they may be very young?... mm.... anyhow, their 2nd ranks very highly, along with that blazing Zapolski, both being quite authentic and original and out-of-the-blue in their approach... against as much of the competition as I can muster, they both clinch,- immediate impressions were made by the St.Petersburg/SONY and Brodsky,... the Borodin'82 & '90 both have similar trajectories, it's nice comparing, -mm, but,... they're quite "Romantic" - I like them- we'll leave it there, eh? haha---- the Emerson are very slick compared to the earthy Verlaine; the Sorrel seem just ever slightly slow...

Verlaine- HIGHLY RECOMMENDED

[snyprrr]

The Eder Quartet (Naxos)

I remember when they started coming out (1994?) that everyone was quite surprised, and they quickly gained a reputation as being... almost... in the same class as the Borodin and Shostakovich. Frankly, I always compare these three groups together,- the Borodin being the most ardent and effusive, the Shostakovich being the grimmest, and the Eder seemingly lost in the ether of vague critiques.

So, how are the Eder?

1) They can deliver as much feral venom as any, to wit, the brutal 'Allegros' of 3, 7, 8, and 10. But then, sometimes, they don't dig in like one would expect.

2) Generally, there are few complaints about their playing and interpretation. They fall pretty much squarely in the middle of the whole pack, and there are just a few instances of them making daring choices in tempi (1st of the 5th and 15th, finale of the 3rd, slows of 2 and 14). Their playing is clean, and they don't go all 'gypsy' like the Borodin, and they don't plumb the depths as the well as the Shostakovich (12 in particular). I might want to compare them to the Rubio, but that might be wrong,... they do have the slavic soul, and they can get rabid,... they are somewhat the 'Eastern European Choice', perhaps? I am reminded of the Moyzes in 2/4.

3) Naxos provides somewhat middling sound- at the famous "Naxos church"- a somewhat dead-ish, matter-of-fact sound with an ample acoustic that works the best for the more "dead" SQs (12, 14-15), and hampers the impact of the most brilliant and crystalline works (3, 5, 7, 9).

4 )As good as they are, they always seem to get beat out... by somebody. I struggle to find their place (as with the Fitzwilliam).

5) When they do hit on all points, they are as good as anyone (12).



I may be overdoing it, but I think the SQs 1-9/10 suffer because of the Naxos sound. The only reason the fall to others is because of the dampened high end of the recording, that dead-ish sounding, somewhat Melodiya inspired thud, which works beautifully for 11, 12, and 14 and 15. I'd say these four are the highlights of the Cycle, with 12 being the major standout.

[George]

The Eder Quartet (Naxos)

....

The only reason the fall to others is because of the dampened high end of the recording, that dead-ish sounding, somewhat Melodiya inspired thud, which works beautifully for 11, 12, and 14 and 15. I'd say these four are the highlights of the Cycle, with 12 being the major standout.

I bought their CD with 14 and 15 to supplement my 1-13 Borodin I on Chandos and they did so splendidly.

[snyprrr]

I bought their CD with 14 and 15 to supplement my 1-13 Borodin I on Chandos and they did so splendidly.

The Eder's 15 is one of the most visceral, which brings a certain intensity to the later movements. It certainly takes away from the funereal shroud that the Borodin'95 or the Beethoven give it, but it makes for exciting "music" nonetheless. Again, the "dead" Naxos sound pays dividends in these later works (as opposed to sapping some of the earlier ones.

The Mandelring also sound to have exciting later movements in the 15th.

[snyprrr]

The Alexander Quartet (Foghorn Classics)

Their Complete Cycle in 2 Volumes (1-7, 8-15) is the least covered Cycle out there. There are no samples anywhere, and i wouldn't even mention them if I hadn't gone to Foghorn Classics website, which actually does have samples.

'dmitri', a Reviewer at Amazon, is the only source of information (besides the usual Classics Today) about this set, and he said they were altogether a bit slower than everyone else, but also exhibited perfect playing. So, I perused the samples on the site, and, lo and behold, there is a wealth of information given in them!

First off, none of the samples had the timings of the movements, but, I am able to gauge, generally, what speed is  being adopted based on just a brief sample. And yes, their speeds are generally slower than any I can think of, the Danel coming beside them, perhaps.

Second, the playing is- dare I say- even more razor honed than the Emerson? The Alexander definitely sound like a Beethoven group to me- their unanimity seems unparalleled. I was truly impressed with their playing, regardless of interpretive felicities. I'm not sure any other Cycle has their playing profile. Coupled with the tight acoustic, it surely brings out a sound picture in high relief.

Now, here, in one description, is my impression: their approach seems to work wonders in 1-7, but they just seem to drag in 8-15. I especially didn't take to their slowish 12-15, though, 9-11 were just as guilty of being slower than needed (by a slight margin). I just pulled for 1-7, and am confident that I got all that I needed. I just don't see 8-15 as recommendable to the High Connesuir(pardon). No one is going to want performances as bloated as these when fleeter ones can be had.- even so, there are "slow" performances that take the cake (Kremer 13-14; Borodin'95 15), but here, the Alexander are simply playing the music- they're not the Romantic Borodins, for sure. But, they're not sissies, either. They put out a solid 'Classical' approach that works on those SQs that sound like normal 'Classical' music (1-7). The Abstract Late SQs don't take to their approach at all, I think.

I heartily welcome you all to wait with baited breath for my Review of 1-7. I am!



btw-

(I was going to get the Pacifica's Vol.1 (5-8), but, I think I'm starting to sour a bit on the Pacifica. There's a lot to like, but the competition is getting soooo fierce lately, that one must be a little more critical.  I still welcome Sarge's Pacifica/Manderling comparison, or anyone else's. I am very very seriously considering the mandelring as a 'Final Answer', though, I have found a few more interesting one-offs)

Op.101 was very nice. I really like the recording, tight and crisp,... seemingly perfect. The playing sounds like a band used to playing Classical lines, Haydn and LvB, a bit like the ABQ, less intense. This 6th shoots into my Top5,... maybe Top3,... it's certainly a contender against all comers. They have the quickest opener of anyone by far (just over 6 minutes), and yet they handle the quicker tempo wonderfully.

No.7, though perfectly executed, lacks the intensity of my favoured performances.


I really am liking the tone of this recording, as if the Rubio recording has gotten some incisiveness. Maybe the Fitzwilliam recording without the super ample acoustic?


The Amazon Reviewer 'dmitri' says they take everything a bit slower than everyone else, but that doesn't necessarily mean tempo-wise: no matter the tempo they choose, they do sound more "3rd person"- there's always a bubble around every note- I find it a sign of their corporate virtuosity. A case in point would be the slow movement of No.5. They take @8:30, which is fairly quick for this movement, but they "sound" slower. Get it? The Rubio take 10:47!

anyhow

[snyprrr]

I think we've finally got around to the end of this thing here.

1) Waiting on Aviv String Quartet's 9, a vicious sounding performance that even seems to mup the ante on the Emerson's near perfect take. (I found it used, so, it doesn't impact BDS, lolz!) btw- this band might be just a hair better than the Jerusalem- there is 90% overlap between them.

2) I HAVE DECIDED that the Emerson cannot be beat in 10. Anyone? Borodin'67 and Beethoven are both Olympian in 9-10.

3) Waiting on St.Petersburg 6, which, I hope, will be the most beautiful 6th--- Op.101 has proved to be elusive for me,- I need what I need here and I just haven't been sated yet.

4) STILL waiting on St.Lawrence 3/7/8 after 1 1/2 months....

5) Allegri String Quartet in Op.73 is very well played, but the acoustic seems to suck the blood out of the sound- very small hall with no bloom. I wanted to call out the Rubins for some great samples. Also, the Georgian State String Quartet on Caprice.

6) Rubio 10- 'Allegro furioso'- absolutely the worst I've heard- check out the sample- tepid tepid.

7) The Mandelring are starting to lose their edge with me. I've been waffling over the @$40, and the more I hear them, and others, the more I'm not finding them as unique as I once thought they were. If there WERE One Cycle I'd get, it would probably be them. Compared to the Rubio, Debussy, Rasumowsky, Alexander, Pacifica, Danel, Jerusalem and Aviv, they seem to have the most consistent appeal- though none of these newer groups seem to have the fire of earlier eras. wt  ? Still, I'm finding myself cutting off at the Emerson-Sorrel-St.Petersburg 1999-2001 graduating class. mm eh

Taneyev MIA

9) check out Aviv 13 and Debussy 12



No where really to go from here,... Borodin/Chandos is the most tempting,... couldn't really care less for the Fittzies, but will probably get them out of boredom at some future date. Beethoven still expensive.


One thing I've learned: the sound hitting my ears is quite important, as opposed to the music or playing. I do like the spectacular recordings- Sorrel, St.Petersburg, St.Lawrence, - I assume the Mandelring would fall in here... but I also like the dreary Naxos, Melodiya, ECM, and others, as they convey the bleakness like no other.

anyhoo...

[snyprrr]

1 - Borodin'95
     Emerson
     Sorrel
     Alexander
     St. Petersburg/SONY
     Brodsky
     Fitzwilliam
     Borodin'67
     Taneyev'66 'live'


2 - Verlaine
     Zapolski
     Borodin'82
     Borodin'67
     Borodin'90
     Eder
     Brodsky
     Sorrel
     St. Petersburg/SONY                         
     Moyzes
     Emerson
     Alexander
     St. Petersburg/Hyperion


3 - Allegri
     Acies
     Borodin'67
     Borodin'83
     Borodin'90
     St. Petersburg/Hyperion
     St. Petersburg/SONY
     Eder
     Brodsky
     Emerson
     St. Lawrence
     Hagen
     Amati
     Orlando
     Alexander
     Sorrel
     Cailin
     Philharmonia
     Taneyev'66 'live'



4 - Moyzes
      Beethoven'60/Taneyev'72
      Manhattan 
      Sorrel                       
      Brodsky
      St. Petersburg/SONY
      St. Petersburg/Hyperion
      Borodin'82
      Borodin'67
      Alexander
      Emerson
      Taneyev'63 'live'
      Kreutzer


5 - Atrium
     Acies
     Beethoven
     Manhattan                                           
     Sorrel
     St. Petersburg/SONY
     St. Petersburg/Hyperion
     Eder
     Emerson
     Alexander
     Borodin'83
     Borodin'67
     Brodsky
     Taneyev



6 - Manhattan****
     Brodsky*****                                       
     Borodin'81 'live'*****(*)
     Orlando***(**)
     Emerson****(**)
     Alexander****
     St. Petersburg/Hyperion
     Sorrel**
     Borodin'67***



7 - Borodin'67
     Hagen
     St. Petersburg/SONY
     St. Petersburg/Hyperion
     Brodsky
     Emerson
     St. Lawrence
     Manhattan                               
     Borodin'90
     Amati
     Sorrel
     Alexander
     Borodin'81
     Philharmonia
     Kreutzer




8 - Sorrel
     Beethoven'60
     Borodin'67
     Borodin'90       
     St.Lawrence       
     Manhattan
     Emerson
     Brodsky
     Hagen                             
     St. Petersburg/Hyperion
     Aviv
     Borodin'78
     Kreutzer
     Medici
     Voces Intimae'76



9 - Aviv
     Borodin'81'live'
     Borodin'67
     Brodsky                                   
     St. Petersburg/Hyperion
     Manhattan
     Emerson
     Sorrel



10 - Borodin'67
      Brodsky
       St. Petersburg/Hyperion   
       Emerson   
       Borodin'81
       Manhattan                                                                           
       Sorrel



11 - Vogler
       Borodin'67                            
       St.Petersburg/Hyperion
       Brodsky
       Emerson
       Borodin'81                                         
       Sorrel




12 -  Sorrel                                                                                                                                                                           
       Taneyev'78
       Shostakovich   
       Eder                                                                                                                                                                               (Debussy)
       Borodin'81
       Emerson                           
       Amati
       Borodin'90
       St. Petersburg/Hyperion
     Philharmonia
       Brodsky
       Borodin'69



13 - Kremer/Lockenhaus Edition-ECM
       Sorrel
       St.Petersburg
       Brodsky
       Shostakovich                                                                                                                                                        (Aviv)
       Emerson
       Borodin'81
       Borodin'71



14 - Taneyev'78
      Kremer/Lockenhaus Edition-ECM                                                                                                                                                      
      Shostakovich
      Borodin'81                                   
      Brodsky
      Sorrel
      Emerson
      St.Petersburg/Hyperion                                                                                                                                                                          (Mandelring)




15 - Borodin'95
       Beethoven'75
       Brodsky                                                                                                                                                         Kagen Edition No.30 (1984)
       Eder
       Kremer-Daniels-Kashkashian-Ma/SONY                                                                                                                                                (Mandelring)
       St.Petersburg/Hyperion       
       Sorrel                                                                                                                                                                                                          (Danel)
       Emerson

[Karl Henning]

I think we've finally got around to the end of this thing here.

You aren't fooling anyone!