BaL 18.02.23 - Mozart: String Quartet no. 19 in C major, K. 465 ’Dissonance’

[HighlandDougie]

[QUOTE=pastoralguy;909752]

I was lucky enough to have a chat with Vera Martinez who splits the first and second violin parts with her colleague. She told me they sometimes use period bows for certain classical works.

I remember the PG enthusiasm about the Cuarteto Casals from an earlier post aeons ago and I think that that, along with a glass or three of white Bandol, led to the false consciousness about their instruments. And, of course, they don't sound like, for example, the Mosaïques. I'm a big fan, though, historic instruments or no. I also much like the Pavel Haas Qtet - their Schubert Quintet referred to by PG in WAYLTN is a lovely performance. Greatly enjoyed seeing them in the flesh at last year's EIF.

[Master Jacques]

And while I'm on my hobby horse, is going through the work in order (i.e. start-to-finish) always the best way of making comparisons?

Some of the better, old-school BaL opera reviewers used to review their opera character by character, which in Verdi and Puccini (as well as Handel) was definitely a much more time-efficient and revealing way of doing it. Nowadays far too much BaL time is spent on synopsising the story, beginning at the beginning, usually with dire results - and leaving no time for useful comparisons.

[smittims]

In my experience, Radio 3 always talk about the story of an opera and hardly ever the music; even when they're playing just the overture.

[pastoralguy]

[QUOTE=HighlandDougie;909760]

I remember the PG enthusiasm about the Cuarteto Casals from an earlier post aeons ago and I think that that, along with a glass or three of white Bandol, led to the false consciousness about their instruments. And, of course, they don't sound like, for example, the Mosaïques. I'm a big fan, though, historic instruments or no. I also much like the Pavel Haas Qtet - their Schubert Quintet referred to by PG in WAYLTN is a lovely performance. Greatly enjoyed seeing them in the flesh at last year's EIF.

We’re a big fan of the Pavel Haas quartet and it’s a running joke that whenever they’re at the EIF we ask about their daughter who was a baby the first time we heard them about ten years ago. Mrs. PG speaks fluent Czech so they always have a box of biscuits for her!

[CallMePaul]

Not so - the Cuarteto Casals, who, as far as I remember, play on period instruments, were discussed as well as the Mosaïques. Or am I wrong?

Unsure about their instruments - I'll check on their version of Haydn's Seven Last Words which I have, but I did enjoy the excerpts that Laura played more than those of her winner.

[south west ear]

Totally agree with Barbirollians.
Survival of the blandest. I have just listened to the Qt Mosaïques's recording and there is SO much more going on. I have heard the Modigliani in concert and this was 'better' but still represents a tendency for technically polished but smooth and almost featureless performances which I find very common in France.
(I might add that I also agree with those who prefer the old format with just the reviewer.)

[Darloboy]

Before this programme, this quartet was last covered by BaL in June 2008, when Misha Donat chose the Emersons. Incidentally, the Mosaiques recording (the only period version to be considered in this year's programme) is coupled with quartet no. 18, which was Richard Wigmore's first choice in October 2001.

[Barbirollians]

Before this programme, this quartet was last covered by BaL in June 2008, when Misha Donat chose the Emersons. Incidentally, the Mosaiques recording (the only period version to be considered in this year's programme) is coupled with quartet no. 18, which was Richard Wigmore's first choice in October 2001.

The Mosaiques recording is quite marvellous and I have found it very moving.