The fifth CD boxed set, Vol. V, from the series The RIAS Amadeus Quartet Recordings is dedicated to nineteenth-century Romantic composers. This six-volume edition presents exclusively first releases on CD. The Amadeus Quartet included a wider repertoire in the broadcasting studio than in the recording studio. Works by Edvard Grieg and Robert Schumann interpreted by the Amadeus Quartet can be heard here for the first time on CD. And five works in this edition represent novel repertoire that the Amadeus Quartet never recorded on LP: Dvorák's Piano Quintet in A Major, Op. 81, Grieg's String Quartet in G Minor, Op. 27, Mendelssohn's String Quartet in E-flat Major, Op. 12, as well as Schumann's String Quartet in A Major, Op. 41, No. 3 and Piano Quintet in E-flat Major, Op. 44.
Since the beginning of their career, the Amadeus Quartet regularly came to make recordings at the RIAS studios in Berlin. Thus a representative cross-section of the ensemble's repertoire came into being in the archive there and will be released by audite in six volumes. At the beginning of this new series is the (almost) complete Beethoven cycle, recorded during the years from 1950-1967 and now available to the public for the first time. These recordings are distinguished for the fact that each movement of a work is recorded in one continuous take.
The third volume of radio recordings with the Amadeus Quartet is dedicated to works of its eponym. From the very beginning, Wolfgang Amadeus Mozart’s string quartets were a matter of the heart for the Amadeus Quartet. During the ensemble’s long career, which lasted for nearly 40 years, the great majority of its concert programmes contained at least one work by Mozart.
This sixth volume of the RIAS Amadeus Quartet Recordings completes the 27-CD edition. This extended version complements the 6-CD box set, providing once again a detailed survey of broadcasting history in the 1950s - to which end the entire series of the audite Amadeus Quartet recordings is ultimately directed. Joseph Haydn's string quartets, often rated as the basis for playing quartets, represented far more than an obligation to the Amadeus Quartet.
Schubert’s works remained close to the heart of the Amadeus Quartet throughout its entire life. The quartet’s approach to his youthful works was reserved and timid, whilst the great quartets of his maturity were played passionately and dramatically; in the G major Quartet, the contrasts were given special emphasis.
Théodore Dubois was a prominent French composer, organist, theorist, and teacher in the mid- to late nineteenth and early twentieth centuries, but he is perhaps better remembered for a monumental deficit in judgment than for his music itself. He was a staunch conservative, and as director of the Paris Conservatoire, he refused to award the Prix to Rome to Maurice Ravel in 1905.
One of the characteristics of Morton Feldman's music is the way silences are thrown into stark relief. Each silence - freighted with memory, charged with expectation - becomes a unique presence in the music more than merely an absence of it. Though his silences are measured in units of time, they also contain an intimation of infinity. The music of the "classical" tradition slows down, speeds up, layers and otherwise manipulates time. Of the other arts, only cinema plays with our temporal perception to a greater degree.