{"product_id":"hungarian-quartet-bartok-string-quartet-no-5-1946-pacm052","title":"HUNGARIAN QUARTET Bartók: String Quartet No. 5 (1946) - PACM052","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARTÓK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quintet No. 2 in A minor, Op. 18\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded on 15 May, 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 29:53\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Hungarian Quartet\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe playing and interpretation of the quartet ... is masterly and, I imagine, fully realises the composer's intentions at all points578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp align=\"left\"\u003eNo sensible man would attempt to climb a difficult\nmountain without first getting into training, reconnoitring, learning\nall about it he can. I should like, therefore, strongly to urge the\nintending purchaser of these records to buy also the score\nof the quartet and Matyas Seiber's little booklet about Bartók's six\nstring quartets which costs only half-a-crown (Boosey \u0026amp; Hawkes). The\nOctober, 1945, number of \"\u003cem\u003eMusic and Letters\u003c\/em\u003e\" also contained an admirable article on \"\u003cem\u003eThe Bartók of the Quartets\u003c\/em\u003e,\" by Gerald Abraham.\u003c\/p\u003e\u003cp align=\"left\"\u003eWe enter a world here which challenges at every step any\neasy conception of beauty in music and gives point to a young man's\nremark that \"\u003cem\u003eBartók cuts through the complacent, sentimental facade of so much music to the harsh, vigorous primitive.\u003c\/em\u003e\"\nI should qualify that remark by adding that it is the demand of a\ncertain type of listener, who looks only for sensuous beauty in music\n(an attitude which implies a considerable degree of self-gratification)\nrather than music of marked sensuous appeal itself that is disagreeably\ncomplacent and sentimental. Bartók's quartets, whether one likes them or\nnot, are for mature musical minds and as it is generally recognised\nthat \"\u003cem\u003ehe has put into them the very best of himself,\u003c\/em\u003e\" to greet them with vulgar abuse is to condemn oneself, not a great composer.\u003c\/p\u003e\u003cp align=\"left\"\u003eThe fifth string quartet is the most accessible after\nthe second, and' any constructional difficulties it may seem to contain\nyield to a short study of the score. Canonic and fugal writing often\nappear and according to Matyas Seiber \"\u003cem\u003ethe stress has been shifted from expression in the earlier works to architecture and construction.\u003c\/em\u003e\"\nI think this side of the matter may well be over-emphasised, enormously\nimportant as it is to the music student. As Gerald Abraham says, this\nis not paper-music, and it certainly is not merely the result of intense\ncerebration.\u003c\/p\u003e\u003cp align=\"left\"\u003eTurn to the first of the two slow movements and you will\nfind a world of intense feeling. You will also find, near the start, a\nmarriage of the ancient modes (in the three under-parts) to the\nmodernistic chromatic melody above that represents a perfect integration\nof the. two things. Bartók shows this in his simplest, as well as in\nhis most complex, pieces. Folk music entered into his musical blood\nstream and became absorbed there. Go on to the scherzo,\u003cem\u003e alia bulgarese\u003c\/em\u003e,\nwith its nine-eight rhythm, organised. into 4 + 2+3, and you will find\nit opening and closing with an arpeggio that is one of the fundamental\nthings of music. .\u003c\/p\u003e\u003cp align=\"left\"\u003eThe shimmering Trio of this movement is one of the most\noriginal pieces of writing in the quartet, though it is surpassed by the\nsecond of the slow movements, in which the \u003cem\u003epizzicato glissandi\u003c\/em\u003e create an effect which recalls the Indian \u003cem\u003eVina\u003c\/em\u003e.\u003c\/p\u003e\u003cp align=\"left\"\u003eThe music, apart from a harmonic idiom that may disturb\nsome ears, is so logically presented that, in outline, it is not\ndifficult to follow. Thus the percussive opening bars of the first.\nmovement keep breaking in, with different treatment throughout, and form\na most dramatic end to the movement.\u003c\/p\u003e\u003cp align=\"left\"\u003eThe last movement has a tremendous drive and energy which give all the more point to the ironic little section \"\u003cem\u003ein A major, pure and simple,\u003c\/em\u003e\" marked \u003cem\u003eallegretto, con indiffereenza\u003c\/em\u003e, that comes just before the coda. It creates, as Seiber well says, a kind of \"surrealistic\" effect.\u003c\/p\u003e\u003cp align=\"left\"\u003eI hope seriously-minded music lovers will respond to the\ngesture H.M.V. have made in recording this fine work on plum-label and\nthus bringing it into reach of students not too liberally endowed with\nthe goods of this world.\u003c\/p\u003e\u003cp align=\"left\"\u003eOf the playing and interpretation of the quartet by the\nHungarian quartet, I can only say that it is masterly and, I imagine,\nfully realises the composer's intentions at all points. The recording,\nalso, is extremely good.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003eA.R., The Gramophone, October 1946\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM052.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe première recording of Bartók's fifth Quartet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe Hungarian Quartet's 1946 recording, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cbr\u003eThis\nrecording of Bartók's fifth quartet is not only rare, but also of vital\nimportance to the understanding of this work. The leader of the\nHungarian Quartet, Zoltán Székely, was a close friend of the composer\n(and a composer himself), and although the Quartet was premiered by the\nKolisch Quartet, in later years Kolisch himself would usually turn to\nrecordings by the Hungarian Quartet in his seminars. As such it seems\nsafe to say that this inexplicably neglected recording is perhaps comes\nas close as is possible to being definitive.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe recording was released on HMV's plum\nlabel on 3rd October, 1946 and, despite being a lower than\npremium-priced release, was promoted in the October issue of The\nGramophone with a full-page advertisement on the magazine's back cover\u003cem\u003e\u003c\/em\u003e.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThat same issue of The Gramophone also\nprinted a review of the recording, which is fascinating in its\ndiscussion of the subject of the composer himself and the work in\nquestion - clearly many readers of the day would have great difficulty\nwith a work as 'modern' as this, and the reviewer clearly goes to some\nconsiderable effort to explain why this music is both important and\nrelevant.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eAnd yet the conclusion of the review, where\nhe mentions this recording, is somewhat ambiguous - the writer can\nsuggest nothing more than that he 'imagines' that the performance 'fully\nrealises the composer's intentions at all points'! One can only assume\nhe was new to the piece himself.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eString Quintet No. 2 in A minor, Op. 18\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded on15 May, 1946\u003cbr\u003eReleased on 3rd October, 1946 as 4 HMV 78s, C.3511-4\u003cbr\u003eMatrix Numbers 2EA.11005-12. Takes: 1, 2, 2, 1, 1, 2, 1, 1.\u003cbr\u003eDuration 29:53\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Hungarian Quartet:\u003cbr\u003eZoltán Székely, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eAlexandre Moskowsky, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eDénes Koromzay, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eVilmos Palotai, \u003c\/b\u003ecello\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM052.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM052.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064785203290,"sku":"rap1789304922991","price":9.19,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064785236058,"sku":"sjc1789304922992","price":9.57,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064785268826,"sku":"glv1789304922993","price":6.89,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/hungarian-quartet-bartok-string-quartet-no-5-1946---pacm052_1.jpg?v=1789304929","url":"https:\/\/vestorawear.shop\/products\/hungarian-quartet-bartok-string-quartet-no-5-1946-pacm052","provider":"My Store","version":"1.0","type":"link"}