Collecting Hits and Misses
Posted by: Todd A on 01 October 2003
I’ve started a number of threads covering lesser known works and composers, but how about one dedicated to the Big Names? You know, Great Composers played by Great Artists. With the thousands of new and reissued titles released each year, and all of the back catalog, and all of the used titles out there, it is pretty much impossible for any one fan to hear it all.
I’ll start with a dud. I love Bartok. I love Bartok’s string quartets. I love the Emerson Quartet’s recording of Bartok’s string quartets. I therefore assumed I would enjoy Eugene Drucker’s recording of the two violin sonatas with pianist Diane Walsh. I was expecting a technically assured and forceful, if unidiomatic recording. Two out of three ain’t bad. Or it ain’t good. The playing is definitely spot-on technically, and it certainly does not strike me as sounding very idiomatic, but it is also bland. There is no fire, no thrust, no intensity. The notes are played with little difficulty, but the music just doesn’t excite like it should.
Now for the hit. By Schoenberg. I admit to liking Schoenberg quite a bit, but the 1998 release of Pierre Boulez, Christine Schaeffer, and David Pittman-Jennings in Pierrot Lunaire, Ode to Napoleon Buonaparte, and Herzgewachse blew me away. This is an astonishing recording. All three works are incredible, but Pierrot Lunaire deserves special mention. Whether it’s the outstanding poetry, or the dark, angular, brooding, but utterly captivating music, or the stunning sprechgesang of Schaeffer, I could not be distracted from listening to this piece. The Herzgewachse is scarcely less impressive. Even the “weak” work on the disc – the Ode to Napoleon Buonaparte – is great. Granted, Byron really doesn’t float my boat (I’m more of a Keats guy), but the delivery of the text by Pittman-Jennings is perfect and the accompanying string quartet and piano near flawless. Boulez leads the works peerlessly. Ironic, perhaps, but true. The sound is incredibly clean and detailed, but perhaps a bit too bright.
I must mention Christine Schaeffer again. Her tone and control are truly remarkable. She captivates as she winds through the text. It is a great performance. The notes mention how she has portrayed Lulu in concert, and I can only hope that someday she will be recorded in the role. She is an artist to watch.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
I’ll start with a dud. I love Bartok. I love Bartok’s string quartets. I love the Emerson Quartet’s recording of Bartok’s string quartets. I therefore assumed I would enjoy Eugene Drucker’s recording of the two violin sonatas with pianist Diane Walsh. I was expecting a technically assured and forceful, if unidiomatic recording. Two out of three ain’t bad. Or it ain’t good. The playing is definitely spot-on technically, and it certainly does not strike me as sounding very idiomatic, but it is also bland. There is no fire, no thrust, no intensity. The notes are played with little difficulty, but the music just doesn’t excite like it should.
Now for the hit. By Schoenberg. I admit to liking Schoenberg quite a bit, but the 1998 release of Pierre Boulez, Christine Schaeffer, and David Pittman-Jennings in Pierrot Lunaire, Ode to Napoleon Buonaparte, and Herzgewachse blew me away. This is an astonishing recording. All three works are incredible, but Pierrot Lunaire deserves special mention. Whether it’s the outstanding poetry, or the dark, angular, brooding, but utterly captivating music, or the stunning sprechgesang of Schaeffer, I could not be distracted from listening to this piece. The Herzgewachse is scarcely less impressive. Even the “weak” work on the disc – the Ode to Napoleon Buonaparte – is great. Granted, Byron really doesn’t float my boat (I’m more of a Keats guy), but the delivery of the text by Pittman-Jennings is perfect and the accompanying string quartet and piano near flawless. Boulez leads the works peerlessly. Ironic, perhaps, but true. The sound is incredibly clean and detailed, but perhaps a bit too bright.
I must mention Christine Schaeffer again. Her tone and control are truly remarkable. She captivates as she winds through the text. It is a great performance. The notes mention how she has portrayed Lulu in concert, and I can only hope that someday she will be recorded in the role. She is an artist to watch.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 08 October 2003 by Todd A
I have a confession to make: I’m not a Martha Argerich fan. As blasphemous as that may sound to some, I’ve just never warmed up to her pianism. Sure, she can dazzle with her wizardry and summon some awesome sounds from those little keys, but, much like Horowitz, I just have not been able to enjoy the music she plays. I’ve had a few discs of hers for a while, including her debut recital and her Ravel / Prokofiev piano concerto (with Abbado, thank you) discs. There are some fine points, but a lot of empty playing. She’s playing the notes, not the music, if you will.
One day, while browsing for something new to buy, I felt strangely compelled to buy the DG Originals reissue of her 1979 Bach recital. I got home and put it in and I was stunned. Literally. (Well, almost.) I listened to the disc straight through, something I rarely do with multi-work discs. Here is 50 minutes of some of the most inspired music-making I have ever heard. From the opening C minor Toccata, through the C minor Partita, and concluding with the second English Suite, I just could not believe my ears. Everything was so right, so, well, perfect. The top-notch sound obviously helps, but beyond that is a rhythmic sureness second to none. This is brisk, but never rushed playing. The most complex passages unfold effortlessly. Take the opening Prelude from the English Suite. It is faster than most versions I have heard, yet the musical line holds while contrasting voices are heard with perfect clarity. The concluding Gigue of the same work is eminently dance-like yet intellectually rigorous. Likewise, the Partita and Toccata display clarity and energy in just the right amounts. This is not romanticized Bach, nor is it classical Bach. It’s not even Baroque Bach. This is timeless Bach. I have no doubt that this is one of the best piano recordings in my collection. It is miraculous
"The universe is change, life is opinion." Marcus Aurelius, Meditations
One day, while browsing for something new to buy, I felt strangely compelled to buy the DG Originals reissue of her 1979 Bach recital. I got home and put it in and I was stunned. Literally. (Well, almost.) I listened to the disc straight through, something I rarely do with multi-work discs. Here is 50 minutes of some of the most inspired music-making I have ever heard. From the opening C minor Toccata, through the C minor Partita, and concluding with the second English Suite, I just could not believe my ears. Everything was so right, so, well, perfect. The top-notch sound obviously helps, but beyond that is a rhythmic sureness second to none. This is brisk, but never rushed playing. The most complex passages unfold effortlessly. Take the opening Prelude from the English Suite. It is faster than most versions I have heard, yet the musical line holds while contrasting voices are heard with perfect clarity. The concluding Gigue of the same work is eminently dance-like yet intellectually rigorous. Likewise, the Partita and Toccata display clarity and energy in just the right amounts. This is not romanticized Bach, nor is it classical Bach. It’s not even Baroque Bach. This is timeless Bach. I have no doubt that this is one of the best piano recordings in my collection. It is miraculous
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 15 October 2003 by Todd A
quote:
Originally posted by Mike b:
I’d be glad if you could point me to other recordings of the Ravel because I’m sure there is more to be had from it. Bear in mind that my CD player is gathering dust in a cupboard and second hand vinyl is the only option.
You really ought to bring your CD player out of retirement as the Krystian Zimerman / Pierre Boulez recording of both concertos is just about the best around. Otherwise, perhaps you can find Samson Francois' recording of the two concertos on used vinyl (EMI), and of course there is Michelangeli's famous 1950s recording of the G major (also on EMI) which I can only assume was reissued in more than one guise on LP.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
[This message was edited by Todd Arola on WEDNESDAY 15 October 2003 at 19:03.]
Posted on: 18 October 2003 by herm
Sandor Vegh
Why don't I give this thread a little nudge by mentioning a really nice recording of the Schubert Fifth and Sixth Symphonies I ran into? These are tricky works - being the last major pre-mature works of Schubert's. They are ambitious works but they need to performed unpretentiously. I remember the way Leonard Bernstein performed the Fifth at the Concertgebouw in the eighties, with heavy emoting. Terrible.
The recording I ran into is by the Camerata Academica of the Salzburg Mozarteum, conducted by Sandor Vegh. Obviously this is the same orchestra as in the series of Mozart piano concertos Andras Schiff recorded for Decca, with the same conductor. I'm not too hot about these Mozart recordings, because Schiff just doesn't cut it for me.
These Schubert symphonies however are excellent. Sandor Vegh (1912 - 1997) was one of the great violin teachers of our time. He was only one generation removed from the great Joseph Joachim, Brahms's friend. Many violinists have travelled to Prague to study Bartok with him. Listening to these Schubert symphonies (recorded on the Capriccio label) one can tell the orchestra is led by a string pedagogue. The ensemble is excellent, with vigorous playing in the fiddles. This is fun music. I would love to hear his Schubert Nine.
Herman
Why don't I give this thread a little nudge by mentioning a really nice recording of the Schubert Fifth and Sixth Symphonies I ran into? These are tricky works - being the last major pre-mature works of Schubert's. They are ambitious works but they need to performed unpretentiously. I remember the way Leonard Bernstein performed the Fifth at the Concertgebouw in the eighties, with heavy emoting. Terrible.
The recording I ran into is by the Camerata Academica of the Salzburg Mozarteum, conducted by Sandor Vegh. Obviously this is the same orchestra as in the series of Mozart piano concertos Andras Schiff recorded for Decca, with the same conductor. I'm not too hot about these Mozart recordings, because Schiff just doesn't cut it for me.
These Schubert symphonies however are excellent. Sandor Vegh (1912 - 1997) was one of the great violin teachers of our time. He was only one generation removed from the great Joseph Joachim, Brahms's friend. Many violinists have travelled to Prague to study Bartok with him. Listening to these Schubert symphonies (recorded on the Capriccio label) one can tell the orchestra is led by a string pedagogue. The ensemble is excellent, with vigorous playing in the fiddles. This is fun music. I would love to hear his Schubert Nine.
Herman
Posted on: 10 January 2004 by Todd A
Over the long New Year weekend I figured I needed a six pack. Fortunately, Music & Arts came through with a six-pack of Walter Gieseking recordings. The first part of this satisfying musical libation came in the form of a mighty four-disc set of radio recordings, mostly from the late 40s. On offer is a whole lotta core rep: Bach, Beethoven, Schubert, Mendelssohn, Schumann, Brahms, Scriabin, Ravel, and, of course, Debussy. I’ll cover the set by disc.
The first disc is given over mostly to Bach, with some Beethoven thrown in for good measure. I got to sample Bach’s Partitas 1, 2, and 5, as well as the sixth English Suite. The first two Partitas are remarkable. Gieseking plays effortlessly and gracefully, with a spry wit. They are fast, clean, and unaffected performances, definitely worth repeated listens. The fifth Partita does not fare so well, as there is an out of place, romanticized opening, but fortunately he slides back into effortlessly graceful mode soon enough. The English Suite is similar in approach. The concluding Beethoven pieces, the Mondschein, is incredible. It has a somber, dark opening movement that ultimately transforms into a blazing finale. It is a truly great performance.
The second disc starts off with more Beethoven. The Op 31/1 is a delight. Gieseking plays the piece with a light, swift touch: the notes are dashed off with impish humor and nonchalance. He apparently did not feel the need to say something great about the piece, and it is refreshing. Alas, he tales a similar and not so successful approach to the Op 90. To round out the disc one gets some Schubert. The Rondo (only) from the D850 is played as a nice salon-ish mix of Beethoven and Mendelssohn. The G major, D894 closes the disc. I’ve never thought of Gieseking when thinking of Schubert, but that has changed somewhat. The opening movement is not rushed, but nor is it taken too slowly. There are excellent dynamic contrasts, and Walt offers some brief pauses after sections to build a sense of urgency. The second movement follows suit with appropriately Schubertian ambiguity. The final two movements are not quite as good, with brisker tempi and faltering technique, but still, this is an excellent performance.
The third disc starts with some superb but not great Mendelssohn (something that can be said for most of his music) before moving onto Schumann. The Op 11 Sonata is the first piece and it is exquisite. The first movement is puckish with dazzling fingerwork. The second movement is solemnly dreamy, while the scherzo is hard and (perhaps a little too) fast, but never less than thrilling. The finale beautifully alternates between dreamy and jaunty and caps off a great performance. Then come the Symphonic Etudes. They are played blisteringly fast. Gieseking manages to dash off the shorter, 13 etude version in just 18 minutes. It is good, but obviously feels rushed. But then comes what is surely one of the greatest incomplete recordings I have heard: the opening and closing movements of the Fantasie. I love his recording on Tahra, but this surpasses it. It is stunningly beautiful and paced perfectly. Alas, the missing middle movement means this is a “what if” recording. What a shame.
The final disc begins with some dutifully played Brahms (from the 30s) and some predictably excellent Debussy and Ravel. Since Gieseking is one of the greatest in this French repertoire, I’ll just move on to his Scriabin. He plays the third, fifth, and ninth sonatas. My prior experience with Gieseking’s Scriabin has been good, and so was this. Sort of. Gieseking basically gives us Scriabin as Brahms on acid. There are wildly contrasting sections, with some parts (relatively) slower and others insanely fast and pounding. Speed is the name of the game, here. The ninth sonata is played in 5’50”! It is insanely fast and quite frankly over the edge. But in Scriabin, that’s not all bad! Anyway, as I got the set for $20, I’m thrilled with it. The generally outstanding sound for its time is a plus. (They’re all taped performances, the Brahms aside.)
The twofer set is not quite as successful, but it has one big surprise. I’ll start with the second disc. There is Beethoven’s Op 57, yet another Schumann Fantasie, and Chopin’s third Ballade. I’ll just say that these seem to be from off-nights. None of the performances are especially memorable, nor would I suggest them as must buys for Gieseking devotees (like me.)
But disc one is superb. It is given over to two works for piano and orchestra: Falla’s Nights in the Gardens of Spain and Hindemith’s The Four Temperaments. Falla’s work has always struck me as a second-rate work that attracts great pianists. Gieseking does not disappoint, nor do Kurt Schroeder and his Frankfurt RSO. All concerned are perfectly in sync and provide a suitably Spanish flavor. Between this and the Debussy Fantasie, I have decided that I want to hear more of the Gieseking / Schroeder team. They work wonderfully together.
The surprise is the Hindemith. I’m not a fan of his music, generally speaking, but this recording is a stunner. I’d never heard the piece before, but wow!, who’d a thunk that Hindemith could write something so intriguing and exciting. Gieseking plays about as well as any composer could hope for, keeping the listener hungry for more. Winfried Zillig and the Frankfurt RSO provide able support. What a pleasant surprise. As with the other set, sound is (relatively) excellent.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
The first disc is given over mostly to Bach, with some Beethoven thrown in for good measure. I got to sample Bach’s Partitas 1, 2, and 5, as well as the sixth English Suite. The first two Partitas are remarkable. Gieseking plays effortlessly and gracefully, with a spry wit. They are fast, clean, and unaffected performances, definitely worth repeated listens. The fifth Partita does not fare so well, as there is an out of place, romanticized opening, but fortunately he slides back into effortlessly graceful mode soon enough. The English Suite is similar in approach. The concluding Beethoven pieces, the Mondschein, is incredible. It has a somber, dark opening movement that ultimately transforms into a blazing finale. It is a truly great performance.
The second disc starts off with more Beethoven. The Op 31/1 is a delight. Gieseking plays the piece with a light, swift touch: the notes are dashed off with impish humor and nonchalance. He apparently did not feel the need to say something great about the piece, and it is refreshing. Alas, he tales a similar and not so successful approach to the Op 90. To round out the disc one gets some Schubert. The Rondo (only) from the D850 is played as a nice salon-ish mix of Beethoven and Mendelssohn. The G major, D894 closes the disc. I’ve never thought of Gieseking when thinking of Schubert, but that has changed somewhat. The opening movement is not rushed, but nor is it taken too slowly. There are excellent dynamic contrasts, and Walt offers some brief pauses after sections to build a sense of urgency. The second movement follows suit with appropriately Schubertian ambiguity. The final two movements are not quite as good, with brisker tempi and faltering technique, but still, this is an excellent performance.
The third disc starts with some superb but not great Mendelssohn (something that can be said for most of his music) before moving onto Schumann. The Op 11 Sonata is the first piece and it is exquisite. The first movement is puckish with dazzling fingerwork. The second movement is solemnly dreamy, while the scherzo is hard and (perhaps a little too) fast, but never less than thrilling. The finale beautifully alternates between dreamy and jaunty and caps off a great performance. Then come the Symphonic Etudes. They are played blisteringly fast. Gieseking manages to dash off the shorter, 13 etude version in just 18 minutes. It is good, but obviously feels rushed. But then comes what is surely one of the greatest incomplete recordings I have heard: the opening and closing movements of the Fantasie. I love his recording on Tahra, but this surpasses it. It is stunningly beautiful and paced perfectly. Alas, the missing middle movement means this is a “what if” recording. What a shame.
The final disc begins with some dutifully played Brahms (from the 30s) and some predictably excellent Debussy and Ravel. Since Gieseking is one of the greatest in this French repertoire, I’ll just move on to his Scriabin. He plays the third, fifth, and ninth sonatas. My prior experience with Gieseking’s Scriabin has been good, and so was this. Sort of. Gieseking basically gives us Scriabin as Brahms on acid. There are wildly contrasting sections, with some parts (relatively) slower and others insanely fast and pounding. Speed is the name of the game, here. The ninth sonata is played in 5’50”! It is insanely fast and quite frankly over the edge. But in Scriabin, that’s not all bad! Anyway, as I got the set for $20, I’m thrilled with it. The generally outstanding sound for its time is a plus. (They’re all taped performances, the Brahms aside.)
The twofer set is not quite as successful, but it has one big surprise. I’ll start with the second disc. There is Beethoven’s Op 57, yet another Schumann Fantasie, and Chopin’s third Ballade. I’ll just say that these seem to be from off-nights. None of the performances are especially memorable, nor would I suggest them as must buys for Gieseking devotees (like me.)
But disc one is superb. It is given over to two works for piano and orchestra: Falla’s Nights in the Gardens of Spain and Hindemith’s The Four Temperaments. Falla’s work has always struck me as a second-rate work that attracts great pianists. Gieseking does not disappoint, nor do Kurt Schroeder and his Frankfurt RSO. All concerned are perfectly in sync and provide a suitably Spanish flavor. Between this and the Debussy Fantasie, I have decided that I want to hear more of the Gieseking / Schroeder team. They work wonderfully together.
The surprise is the Hindemith. I’m not a fan of his music, generally speaking, but this recording is a stunner. I’d never heard the piece before, but wow!, who’d a thunk that Hindemith could write something so intriguing and exciting. Gieseking plays about as well as any composer could hope for, keeping the listener hungry for more. Winfried Zillig and the Frankfurt RSO provide able support. What a pleasant surprise. As with the other set, sound is (relatively) excellent.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 16 January 2004 by Todd A
Boulez’s Mahler 3
I’ve wanted to get this recording since it was first released last year, and when I found one for the right price, it was time to buy. Mahler’s Third is not my favorite Mahler symphony. In fact, aside from Salonen’s recording of the piece, I find it something of a dud. The symphony is too big, too long, too (immaturely) emotionally charged, it’s too too. But Boulez, well, he should be able to rein it in. And so he has.
This is an excellent performance, but it is not an unqualified success. I’ll cover the flaws first. First is the sound. It is extremely clean and clear, and only sounds slightly congested and bright in the loudest passages, and were those the only problems, I’d say the sound is good. The problem is that there is some obvious engineering jiggery-pokery to be heard. Individual instruments sometimes sound too close and to clear, relatively speaking. I know that harps and clarinets do not cut through the entire orchestra quite that well. I can live with some spotlighting here and there, but it is distracting at times. Then there are the editing boo-boos. It is quite obvious that different takes were used, which is no big deal, I just should not hear it so easily. And then there’s the editing slip with the posthorn solo in the third movement; the level seems to drop a good 3 dB or more mid-note. Oops. The second problem relates to a few of the interpretational, um, nuances Boulez takes. First is the opening bass drum whacks. They’re taken too fast. Then in the fourth movement, Anne Sofie von Otter is accompanied by some oddly jazzy-sounding playing, and the choral portion is not the best out there.
But beyond these criticisms, this is an excellent performance. The overall impression is one of controlled passion and the entire work flows from beginning to end. The concluding Adagio is absolutely wonderful. Boulez must still cede to Salonen in my book (whose performance is marred only slightly by the soprano), but this makes a nice, not too emotive addition to my collection.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
I’ve wanted to get this recording since it was first released last year, and when I found one for the right price, it was time to buy. Mahler’s Third is not my favorite Mahler symphony. In fact, aside from Salonen’s recording of the piece, I find it something of a dud. The symphony is too big, too long, too (immaturely) emotionally charged, it’s too too. But Boulez, well, he should be able to rein it in. And so he has.
This is an excellent performance, but it is not an unqualified success. I’ll cover the flaws first. First is the sound. It is extremely clean and clear, and only sounds slightly congested and bright in the loudest passages, and were those the only problems, I’d say the sound is good. The problem is that there is some obvious engineering jiggery-pokery to be heard. Individual instruments sometimes sound too close and to clear, relatively speaking. I know that harps and clarinets do not cut through the entire orchestra quite that well. I can live with some spotlighting here and there, but it is distracting at times. Then there are the editing boo-boos. It is quite obvious that different takes were used, which is no big deal, I just should not hear it so easily. And then there’s the editing slip with the posthorn solo in the third movement; the level seems to drop a good 3 dB or more mid-note. Oops. The second problem relates to a few of the interpretational, um, nuances Boulez takes. First is the opening bass drum whacks. They’re taken too fast. Then in the fourth movement, Anne Sofie von Otter is accompanied by some oddly jazzy-sounding playing, and the choral portion is not the best out there.
But beyond these criticisms, this is an excellent performance. The overall impression is one of controlled passion and the entire work flows from beginning to end. The concluding Adagio is absolutely wonderful. Boulez must still cede to Salonen in my book (whose performance is marred only slightly by the soprano), but this makes a nice, not too emotive addition to my collection.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 03 February 2004 by Todd A
Bartok-o-rama!
Never one to be satisfied with my unacceptably small Bartok collection, I augmented it with a few additions. I bought four releases comprised of ten discs to allow my appreciation to grow. All of the discs are good, though some are better than others.
First up is the EMI GROC reissue of the First and Third Piano Concertos with Daniel Barenboim tickling the ivories and Pierre Boulez leading the New Philharmonia, along with the two Rhapsodies for Violin and Orchestra with Yehudi Menuhin joining in. This here’s a fine disc. Barenboim approaches the piece with more restraint and taste than usual; his is no Bartok Is Brutal approach. Indeed, at times, especially in the second movement of the First, the piano sound is softer and more delicate than in most recordings I’ve heard. And the piano is pleasingly balanced with the orchestra. Boulez accompanies with a fiercer approach, highlighting the more violent sounding aspects of the score. The Third is similarly approached, though more laid back, as appropriate. The Rhapsodies come off very well – much better than Boulez’s remake with Gil Shaham – with Menuhin lending his splendid sound and obvious affinity for Bartok to the mix. These are not the best recordings of these works I own, but all of them make a welcome addition to my collection. I can hardly wait for next year’s set of the concertos from Boulez, Zimerman, and Andsnes to compare to these.
The next item is a relative rarity: the First with Rudolf Serkin on the keyboard and George Szell leading his Cleveland band. The accompanying works are Eugene Ormandy’s more familiar readings of The Miraculous Mandarin suite and the Two Pictures. Since the latter two works are readily available and both very good, I’ll focus on the reason I bought the disc. Serkin has never really been the first name I think of when I think tonal beauty, and in stark contrast to the younger Barenboim, Serkin approaches this piece more harshly and powerfully. Despite his age at the time (about 60), his is closer to the brutal approach, without ever quite getting there. Some of the passages are taken more slowly than I’m used to, but some others are taken more swiftly. Szell accompanies in a predictably precise and propulsive manner. Again, this is not my favorite recording of this work, but I’m more than glad to have it.
Next up are the string quartets. Six cycles and a couple stray recordings are not enough for me, so I opted to get the Lindsays cycle from the late 80s. It’s something of a mixed bag. Overall, the playing is technically accomplished, but much of the time something is missing. Call it a feeling for the composer’s writing, if you will, but it is largely absent. This is especially apparent in the last three quartets. Indeed, I was somewhat underwhelmed by the Fourth, which is a critical for me. The Lindsays lack the fierce virtuoso display of the Emerson, the (perhaps too) energetic approach of the Chilingirian, or the warmth of the Takacs (Decca set), and so it was something of a letdown. The first three quartets fare better, and the Second, in particular, comes off very well. This is one of the harder quartets for me to get into, but the Lindsays offer just the right degree of insight and technique. Sure, the Hungarian and Vegh (second set) do it better, but I’m glad for having this. So, not a great addition, but one to spin again.
The last acquisition is possibly the best, but it is one for Bartok devotees only: Gyorgy Sandor’s complete Vox recordings of the solo piano music. I have pretty much every Bartok recording Sandor made, the 1946 premiere recording of the Third Concerto excepted. I selectively compared this set to his later Sony set (or earlier, in the case of Mikrokosmos), and for the most part this set trumps the later one. The younger Sandor had more assured technique and could therefore bring more dynamic shading and power as needed. The dividends are great. The Four Dirges and Sonata are much better than in the later set, and the 14 Bagatelles are a marvel, and the finale She Dances (one of several translations) comes off as a sarcastic, bitter waltz, just as it should. The older Sandor brings more subtlety to the pieces, never more than in the superior second recording of the Sonatina, but overall this reissue is a must for Bartok collectors. The sound is variable, especially since some of the transfers are obviously from LPs rather than tapes. That matters not. Next year, when Philips inevitably reissues Kocsis’ complete set, I’ll snap it up for head-to-head-to-head comparison. I can hardly wait.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Never one to be satisfied with my unacceptably small Bartok collection, I augmented it with a few additions. I bought four releases comprised of ten discs to allow my appreciation to grow. All of the discs are good, though some are better than others.
First up is the EMI GROC reissue of the First and Third Piano Concertos with Daniel Barenboim tickling the ivories and Pierre Boulez leading the New Philharmonia, along with the two Rhapsodies for Violin and Orchestra with Yehudi Menuhin joining in. This here’s a fine disc. Barenboim approaches the piece with more restraint and taste than usual; his is no Bartok Is Brutal approach. Indeed, at times, especially in the second movement of the First, the piano sound is softer and more delicate than in most recordings I’ve heard. And the piano is pleasingly balanced with the orchestra. Boulez accompanies with a fiercer approach, highlighting the more violent sounding aspects of the score. The Third is similarly approached, though more laid back, as appropriate. The Rhapsodies come off very well – much better than Boulez’s remake with Gil Shaham – with Menuhin lending his splendid sound and obvious affinity for Bartok to the mix. These are not the best recordings of these works I own, but all of them make a welcome addition to my collection. I can hardly wait for next year’s set of the concertos from Boulez, Zimerman, and Andsnes to compare to these.
The next item is a relative rarity: the First with Rudolf Serkin on the keyboard and George Szell leading his Cleveland band. The accompanying works are Eugene Ormandy’s more familiar readings of The Miraculous Mandarin suite and the Two Pictures. Since the latter two works are readily available and both very good, I’ll focus on the reason I bought the disc. Serkin has never really been the first name I think of when I think tonal beauty, and in stark contrast to the younger Barenboim, Serkin approaches this piece more harshly and powerfully. Despite his age at the time (about 60), his is closer to the brutal approach, without ever quite getting there. Some of the passages are taken more slowly than I’m used to, but some others are taken more swiftly. Szell accompanies in a predictably precise and propulsive manner. Again, this is not my favorite recording of this work, but I’m more than glad to have it.
Next up are the string quartets. Six cycles and a couple stray recordings are not enough for me, so I opted to get the Lindsays cycle from the late 80s. It’s something of a mixed bag. Overall, the playing is technically accomplished, but much of the time something is missing. Call it a feeling for the composer’s writing, if you will, but it is largely absent. This is especially apparent in the last three quartets. Indeed, I was somewhat underwhelmed by the Fourth, which is a critical for me. The Lindsays lack the fierce virtuoso display of the Emerson, the (perhaps too) energetic approach of the Chilingirian, or the warmth of the Takacs (Decca set), and so it was something of a letdown. The first three quartets fare better, and the Second, in particular, comes off very well. This is one of the harder quartets for me to get into, but the Lindsays offer just the right degree of insight and technique. Sure, the Hungarian and Vegh (second set) do it better, but I’m glad for having this. So, not a great addition, but one to spin again.
The last acquisition is possibly the best, but it is one for Bartok devotees only: Gyorgy Sandor’s complete Vox recordings of the solo piano music. I have pretty much every Bartok recording Sandor made, the 1946 premiere recording of the Third Concerto excepted. I selectively compared this set to his later Sony set (or earlier, in the case of Mikrokosmos), and for the most part this set trumps the later one. The younger Sandor had more assured technique and could therefore bring more dynamic shading and power as needed. The dividends are great. The Four Dirges and Sonata are much better than in the later set, and the 14 Bagatelles are a marvel, and the finale She Dances (one of several translations) comes off as a sarcastic, bitter waltz, just as it should. The older Sandor brings more subtlety to the pieces, never more than in the superior second recording of the Sonatina, but overall this reissue is a must for Bartok collectors. The sound is variable, especially since some of the transfers are obviously from LPs rather than tapes. That matters not. Next year, when Philips inevitably reissues Kocsis’ complete set, I’ll snap it up for head-to-head-to-head comparison. I can hardly wait.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 03 February 2004 by DJH
It's interesting to see others' responses to the various interpretations of Bartok's quartets. For many years, the Lindsays' version has been my benchmark - particularly for the 1st, 3rd and 4th quartets - and I still think that this is an excellent set from which to appreciate Bartok. I get a sense of profound musical communication from the Lindsays, much more so, IMHO, than from the rather flabby Vegh, who really disappoint me - although the Vegh Beethoven cycle is one of the few that I consistently listen to now. (As an aside, I can no longer listen to the Quartetto Italiano Beethoven for any extended length of time - it is so bland and "nice"!) Back to Bartok - last year I came across the 1963 Juilliard Bartok set - this is immensely accomplished, vigorous, committed playing - and represents the high water mark for me now - the sound is excellent as well. (One minor quibble - I bought a German pressing, which is on 2 discs, so the 4th quartet is split between the two discs - very annoying!). I think that a 1951 Juilliard set was released last year, so perhaps I will give that a go some time later this year. In addition, I think I have mentioned earlier on the forum the sublime version of the 4th quartet by the Zehetmair Quartet - it's on ECM, coupled with a Hartmann quartet. Whatever you do, get hold of this. I am hoping that the Zehetmair Quartet find the time to record a complete Bartok cycle - that would really be worth looking forward to.
Elsewhere, over the years I have managed to get hold of almost all of the Arditti Quartet Edition (just one disc left to find now!), and many of their other recordings. I will try to find the time to write at more length about their recordings, but suffice to say now that this represents a focal point for anyone interested in the music of the 20th century, and particularly post WW2. For example, if you like either Bartok or Xenakis, try the Arditti in Francisco Guerrero's Zayin. Or, on the Fontec label, Akira Nishimura's second quartet, Pulses of Light - unlike anything in the Western canon.
Elsewhere, over the years I have managed to get hold of almost all of the Arditti Quartet Edition (just one disc left to find now!), and many of their other recordings. I will try to find the time to write at more length about their recordings, but suffice to say now that this represents a focal point for anyone interested in the music of the 20th century, and particularly post WW2. For example, if you like either Bartok or Xenakis, try the Arditti in Francisco Guerrero's Zayin. Or, on the Fontec label, Akira Nishimura's second quartet, Pulses of Light - unlike anything in the Western canon.
Posted on: 03 February 2004 by Todd A
quote:
Originally posted by DJH:In addition, I think I have mentioned earlier on the forum the sublime version of the 4th quartet by the Zehetmair Quartet - it's on ECM, coupled with a Hartmann quartet. Whatever you do, get hold of this.
Elsewhere, over the years I have managed to get hold of almost all of the Arditti Quartet Edition (just one disc left to find now!), and many of their other recordings.
I finally got the Zehetmair recordings last fall, and while the Bartok Fourth is good, better is available. The Hartmann is remarkable, though. The Zehetmair is going to record the Fifth, coupled to the other Hartmann, I believe.
You are indeed a lucky man to have most of the Arditti set. I recently picked up four more of the set, and have been meaning to write about them. When they're on, and the music is good (which it isn't always - I dumped the Kagel disc a while back) the discs are remarkable.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 03 February 2004 by DJH
quote:
...while the Bartok Fourth is good, better is available.
We do seem to have different views on this! There is a spontaneity in the Zehetmair which I think sets them apart from other more traditional approaches. Which versions do you consider better?
quote:
You are indeed a lucky man to have most of the Arditti set. I recently picked up four more of the set, and have been meaning to write about them. When they're on, and the music is good (which it isn't always - I dumped the Kagel disc a while back) the discs are remarkable.
I agree that the edition can be variable, but overall it is a remarkable achievement - in particular the Ferneyhough, Scelsi, Xenakis, Dillon, Estrada, Reynolds, Hosokawa .........
Posted on: 03 February 2004 by Todd A
quote:
Originally posted by DJH:
Which versions [of Bartok's Fourth] do you consider better?
Emerson, Takacs (Decca set), Chilingirian
quote:
Originally posted by DJH:
...in particular the Ferneyhough, Scelsi, Xenakis, Dillon, Estrada, Reynolds, Hosokawa
I've only heard Ferneyhough (I) and Scelsi from your list, and while I'm not so hot on the former, the latter is absolutely amazing. In fact, I just relistened to Khoom last night. Remarkable stuff.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 03 February 2004 by DJH
Todd - several of the Arditti discs are out of print, but I would strongly recommend the Dillon (even though we don't seem to agree on much, I'm sure that you will enjoy it). His second quartet is extraordinary! (To my ears, it resembles Earl Brown's only string quartet.)
David
David
Posted on: 20 February 2004 by Todd A
A Dog
What with Herman Scherchen’s Haydn box set now available, I figured I’d better get to know at least one of his other recordings before buying the box. I opted for his recordings of Beethoven’s Third and Sixth on Westminster. Oops.
Alright, so I’d heard his Mahler First at the CD shop one day and found it oddly directed and somewhat confused. But that was Mahler, I reasoned; Beethoven is surely a different matter. It’s almost imperative for conductors to be good at ol’ Ludwig van, and was even more crucial decades ago. Well, on the evidence of this disc, Scherchen was not proficient in Beethoven. In fact he couldn’t conduct Beethoven to save his life.
The Eroica is simply awful. Scherchen seems to confuse speed with drama and excitement. The opening movement is way too fast. He does not allow the music and drama to unfold; rather, he hurries from one section to another, presenting each idea as a sort of episode. Indeed, the work sounds episodic throughout; the musical line is lost. The second movement actually fares worse. There’s nothing even remotely funereal about it. The absolute lack of structural coherence is disconcerting. Things improve from awful to just plain bad in the third movement, which is the highlight, before slipping back to awful. The finale is too hurried, each variation breathlessly and incoherently leading to the next. Somehow, though I thought it impossible, Scherchen actually made me wish the Eroica were shorter. And he leads a 44-minute version! In stark contrast, I relistened to Giulini’s LAPO Eroica a couple of weeks ago, and even at 57 minutes it seemed shorter than this, and altogether superior. No, Scherchen’s is no heroic symphony inspired by Napoleon, but is rather a fitful, disjointed mess that appears to celebrate Napoleon’s ADD plagued third cousin, Fredo the olive oil maker.
The Sixth does fare better: it’s merely really bad. Again, it’s just too damned fast. The opening is so fast and disjointed that I was not even sure I was listening to the Pastorale. When the storm arrives it sounds more like a modernist, orchestral cacophony than the storm. The finale is musically acceptable, but just barely. Both of these are, by some distance, the worst versions of these works I have heard.
Contributing to the problem throughout is mediocre orchestral playing. Perhaps the Vienna State Opera Orchestra was not fully versed in what Scherchen wanted, or perhaps they were hungover, or perhaps they did not care, but from open to close I hear a disjointed orchestra with blunders aplenty. What the hell happens at 10’58” in movement two? Is that a bad edit, or does the Timpani player drop his mallet? I could forgive such a problem if it were the only one. It’s not.
Perhaps I miss the point. After all, wasn’t Scherchen being adventurous, visionary even, by adopting such fast tempi? I mean Beethoven’s metronome markings are rarely followed and these were “pioneering” attempts to restore the symphonies to their proper proportions. That’s just so much hogwash. I’m the first to admit that I’m a traditionalist when it comes to LvB’s symphonies. Give me Furtwangler, Klemperer, Bohm, or Giulini for these works any day. But I do own a period symphony cycle – Christopher Hogwood’s excellent 1980s set – and find it quite satisfying. His tempi are faster than traditional recordings, but he has musical talent and can pull it off. Scherchen fails. I doubt I’ll be buying that Haydn box unless I read at least a half-dozen highly laudatory reviews. This Beethoven disc will most likely be heading to the resale shop. Do avoid it if you have not heard it.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
What with Herman Scherchen’s Haydn box set now available, I figured I’d better get to know at least one of his other recordings before buying the box. I opted for his recordings of Beethoven’s Third and Sixth on Westminster. Oops.
Alright, so I’d heard his Mahler First at the CD shop one day and found it oddly directed and somewhat confused. But that was Mahler, I reasoned; Beethoven is surely a different matter. It’s almost imperative for conductors to be good at ol’ Ludwig van, and was even more crucial decades ago. Well, on the evidence of this disc, Scherchen was not proficient in Beethoven. In fact he couldn’t conduct Beethoven to save his life.
The Eroica is simply awful. Scherchen seems to confuse speed with drama and excitement. The opening movement is way too fast. He does not allow the music and drama to unfold; rather, he hurries from one section to another, presenting each idea as a sort of episode. Indeed, the work sounds episodic throughout; the musical line is lost. The second movement actually fares worse. There’s nothing even remotely funereal about it. The absolute lack of structural coherence is disconcerting. Things improve from awful to just plain bad in the third movement, which is the highlight, before slipping back to awful. The finale is too hurried, each variation breathlessly and incoherently leading to the next. Somehow, though I thought it impossible, Scherchen actually made me wish the Eroica were shorter. And he leads a 44-minute version! In stark contrast, I relistened to Giulini’s LAPO Eroica a couple of weeks ago, and even at 57 minutes it seemed shorter than this, and altogether superior. No, Scherchen’s is no heroic symphony inspired by Napoleon, but is rather a fitful, disjointed mess that appears to celebrate Napoleon’s ADD plagued third cousin, Fredo the olive oil maker.
The Sixth does fare better: it’s merely really bad. Again, it’s just too damned fast. The opening is so fast and disjointed that I was not even sure I was listening to the Pastorale. When the storm arrives it sounds more like a modernist, orchestral cacophony than the storm. The finale is musically acceptable, but just barely. Both of these are, by some distance, the worst versions of these works I have heard.
Contributing to the problem throughout is mediocre orchestral playing. Perhaps the Vienna State Opera Orchestra was not fully versed in what Scherchen wanted, or perhaps they were hungover, or perhaps they did not care, but from open to close I hear a disjointed orchestra with blunders aplenty. What the hell happens at 10’58” in movement two? Is that a bad edit, or does the Timpani player drop his mallet? I could forgive such a problem if it were the only one. It’s not.
Perhaps I miss the point. After all, wasn’t Scherchen being adventurous, visionary even, by adopting such fast tempi? I mean Beethoven’s metronome markings are rarely followed and these were “pioneering” attempts to restore the symphonies to their proper proportions. That’s just so much hogwash. I’m the first to admit that I’m a traditionalist when it comes to LvB’s symphonies. Give me Furtwangler, Klemperer, Bohm, or Giulini for these works any day. But I do own a period symphony cycle – Christopher Hogwood’s excellent 1980s set – and find it quite satisfying. His tempi are faster than traditional recordings, but he has musical talent and can pull it off. Scherchen fails. I doubt I’ll be buying that Haydn box unless I read at least a half-dozen highly laudatory reviews. This Beethoven disc will most likely be heading to the resale shop. Do avoid it if you have not heard it.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 21 February 2004 by stephenjohn
quote:
I would strongly recommend the Dillon
I second that
Posted on: 22 February 2004 by Todd A
Some New(ish) Recordings
Okay, it sometimes takes me a while to get around to buying some new recordings, but hey, I have to wait until the price is right. Generally speaking $18 or so a disc is not right. Anyhoo, as part of one of three shipments of recordings I either have received or will receive, there were four new-ish releases of some interest to me. Two are exceptionally good, and two are mixed bags. So here goes:
First up is Nelson Freire’s recent Schumann disc. Freire is one of those pianists about whom I’d only read. I opted for his Schumann rather than his Chopin. The disc opens with one of my favorite Schumann works, Carnaval. This is not one of my favorite recordings. Basically, Freire is too fast and too superficial. The opening Preambule is just too fast. In the middle of the movement he drops back a bit, but then it’s off to the races. The whole work is like that. There are some strong points: Chopin comes off sounding very much like its namesake, and the Valse allemande is excellent, with an off-kilter sound. Fortunately, the next two works fare better. In both Papillons and Kinderszenen, Freire allows himself a little more depth and some nice dynamic and tempo variations. Papillons comes off lightly indeed, as it should, and some parts of Kinderszenen – Kind im Einschlummern, for instance – have some nicely touching moments. The concluding work, the Arabeske, alas, is eminently forgettable. So, not an essential Schumann disc, but one that’s nice to have, and one that makes me want to explore Freire’s Chopin.
Next up in the mixed bag sweepstakes: Leif Ove Andsnes’ pairing of the Grieg and Schumann concertos. The Grieg is, quite simply, one of the best recordings of this piece I have ever heard. I like Andsnes’ prior recording, but this is better. Andsnes allows himself a broad dynamic and color palette, and rather than just letting loose in the virtuosic passages, he controls them to get the point across. The end of the first movement is a case in point with marvelously controlled playing. From start to finish, this is a winner. The Schumann is lame. It lacks the requisite energy and drive so abundant in the Grieg, yet it was recorded live! There were a number of times in the piece when my eye wandered to the clock. Never a good sign. At least the piano is realistically scaled in the Schumann as opposed to the slightly oversized image in the Grieg. Altogether, this disc is a must have if you like the Grieg concerto. (The Berlin Philharmonic play splendidly, as if they would do otherwise.)
Moving up the quality ladder quite a bit finds the new Hilary Hahn recording of Bach’s Violin Concertos. What a disc! Now I’m a fan of young Hilary, so my enjoyment of this disc was not a surprise. Her playing is, as ever, technically assured and musically satisfying. She’s definitely a nice amalgam of romantic fiddling informed by more recent trends. She never goes too far with her vibrato or rubato; she always plays with perfect control and taste. Yes, she is a bit fast at times, but she always convinces. This, she is saying, is how Bach should be played. With her playing, I agree. And she is not too heavily spotlighted, a welcome departure from the norm. All of the works are excellent. Hell, they’re all great. I may even buy her Elgar Concerto when it comes out – and I hate Elgar.
The best disc of the bunch, though, without question, is the Emerson String Quartet’s recording of Bach’s The Art of Fugue. I admit that I’ve not heard too many recordings of this work, and all I’ve heard have been on the keyboard, but this is an amazing disc. The Emerson brandish their formidable technical accomplishment to render each contrapunctus, each canon as clearly and lucidly as can be imagined. All is beautifully musical; all is perfectly structured. Yes, I’m also a big fan of the Emerson, and it is exactly recordings like this that make me a fan. Eighty minutes of musical perfection. Perhaps I will buy that Juilliard set after all; the Emerson have convinced me that the string quartet is the way to hear this work.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Okay, it sometimes takes me a while to get around to buying some new recordings, but hey, I have to wait until the price is right. Generally speaking $18 or so a disc is not right. Anyhoo, as part of one of three shipments of recordings I either have received or will receive, there were four new-ish releases of some interest to me. Two are exceptionally good, and two are mixed bags. So here goes:
First up is Nelson Freire’s recent Schumann disc. Freire is one of those pianists about whom I’d only read. I opted for his Schumann rather than his Chopin. The disc opens with one of my favorite Schumann works, Carnaval. This is not one of my favorite recordings. Basically, Freire is too fast and too superficial. The opening Preambule is just too fast. In the middle of the movement he drops back a bit, but then it’s off to the races. The whole work is like that. There are some strong points: Chopin comes off sounding very much like its namesake, and the Valse allemande is excellent, with an off-kilter sound. Fortunately, the next two works fare better. In both Papillons and Kinderszenen, Freire allows himself a little more depth and some nice dynamic and tempo variations. Papillons comes off lightly indeed, as it should, and some parts of Kinderszenen – Kind im Einschlummern, for instance – have some nicely touching moments. The concluding work, the Arabeske, alas, is eminently forgettable. So, not an essential Schumann disc, but one that’s nice to have, and one that makes me want to explore Freire’s Chopin.
Next up in the mixed bag sweepstakes: Leif Ove Andsnes’ pairing of the Grieg and Schumann concertos. The Grieg is, quite simply, one of the best recordings of this piece I have ever heard. I like Andsnes’ prior recording, but this is better. Andsnes allows himself a broad dynamic and color palette, and rather than just letting loose in the virtuosic passages, he controls them to get the point across. The end of the first movement is a case in point with marvelously controlled playing. From start to finish, this is a winner. The Schumann is lame. It lacks the requisite energy and drive so abundant in the Grieg, yet it was recorded live! There were a number of times in the piece when my eye wandered to the clock. Never a good sign. At least the piano is realistically scaled in the Schumann as opposed to the slightly oversized image in the Grieg. Altogether, this disc is a must have if you like the Grieg concerto. (The Berlin Philharmonic play splendidly, as if they would do otherwise.)
Moving up the quality ladder quite a bit finds the new Hilary Hahn recording of Bach’s Violin Concertos. What a disc! Now I’m a fan of young Hilary, so my enjoyment of this disc was not a surprise. Her playing is, as ever, technically assured and musically satisfying. She’s definitely a nice amalgam of romantic fiddling informed by more recent trends. She never goes too far with her vibrato or rubato; she always plays with perfect control and taste. Yes, she is a bit fast at times, but she always convinces. This, she is saying, is how Bach should be played. With her playing, I agree. And she is not too heavily spotlighted, a welcome departure from the norm. All of the works are excellent. Hell, they’re all great. I may even buy her Elgar Concerto when it comes out – and I hate Elgar.
The best disc of the bunch, though, without question, is the Emerson String Quartet’s recording of Bach’s The Art of Fugue. I admit that I’ve not heard too many recordings of this work, and all I’ve heard have been on the keyboard, but this is an amazing disc. The Emerson brandish their formidable technical accomplishment to render each contrapunctus, each canon as clearly and lucidly as can be imagined. All is beautifully musical; all is perfectly structured. Yes, I’m also a big fan of the Emerson, and it is exactly recordings like this that make me a fan. Eighty minutes of musical perfection. Perhaps I will buy that Juilliard set after all; the Emerson have convinced me that the string quartet is the way to hear this work.
"The universe is change, life is opinion." Marcus Aurelius, Meditations
Posted on: 23 February 2004 by DJH
quote:
Originally posted by stephenjohn:quote:
I would strongly recommend the Dillon
I second that
Hi Stephen,
Good - I was listening to the Dillon over the weekend. The Earle Brown I only know from one source - here - and it is also worth trying, IMHO, especially at that price. Apart from this, the Arditti have also issued a very interesting disc with Akira Nishimura's second quartet, Pulses of Light, on the Fontec label.
Cheers, David
Posted on: 24 February 2004 by stephenjohn
Todd,
I have a recording of the Art of Fugue arranged for SQ by Robert Simpson and played by the Delme Quartet on Hyperion. Very enjoyable
David,
I have ordered the American String Quartets, 1950-1970 from Amazon. Amazing price for a double, even with teh postage added on. Thanks very much for the recommendation. Re the Akira Nishimura, I can’t find an Arditti recording of Pulses of light, I have found a recording on Teldec [Landscape I (Hosokawa). Landscape (Takemitsu). String Quartet (Yashiro). String Quartet No.3 'Constellation in Black' (Miyoshi). String Quartet No.2 'Pulse of Lights' (Nishimura) by the Lotus String Qt ]
All the best
Steve
I have a recording of the Art of Fugue arranged for SQ by Robert Simpson and played by the Delme Quartet on Hyperion. Very enjoyable
David,
I have ordered the American String Quartets, 1950-1970 from Amazon. Amazing price for a double, even with teh postage added on. Thanks very much for the recommendation. Re the Akira Nishimura, I can’t find an Arditti recording of Pulses of light, I have found a recording on Teldec [Landscape I (Hosokawa). Landscape (Takemitsu). String Quartet (Yashiro). String Quartet No.3 'Constellation in Black' (Miyoshi). String Quartet No.2 'Pulse of Lights' (Nishimura) by the Lotus String Qt ]
All the best
Steve