Opening Concert: Schubert, Death and the Maiden - Belcea Quartet - 30.09.21
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- čas přidán 3. 10. 2021
- Belcea Quartet
Corina Belcea, violin
Axel Schacher, violin
Krzysztof Chorzelski, viola
Antoine Lederlin, cello
F. Schubert: String Quartet No. 14, in D minor, D. 810, “Death & the Maiden”
I. Allegro
II. Andante con moto
III. Scherzo. Allegro molto - Trio
IV. Presto - Prestissimo
Live-streamed on September 30, 2021 at the Music Chapel
MuCH Digital Concerts 2021
MuCH Music Season 2021-2022
More info: www.musicchapel.org
We would like to thank:
Our structural sponsors - ING, Proximus and Ginion Group.
Our institutional partners - the « Loterie Nationale / Nationale Loterij » and the « Banque Nationale de Belgique / Nationale Bank van België ».
The Foundations - Baillet Latour Fund, Foundation Futur21, King Baudouin Foundation, Foundation Engie, Guttman collection -, the corporate partners, all the Maecenas and those who prefer to remain anonymous.
Thank you also to our public support - the « Fédération Wallonie-Bruxelles », Belspo, the « Province du Brabant Wallon », the « Commune de Waterloo ». - Hudba
This is how four people are connected .. four brains four bodies and four hearts while playing together.. so hard and wonderful 💜
To my ears, this quartet comes closest of any quartet today in marrying ensemble and soloistic playing.
Just saw them do this in Philadelphia -- incredible! They are all amazing but Corina Belcea is .... well, probably the greatest string quartet violinist in the world. Such a powerful player but also so refined and so sensitive.
Yes, je suis d'accords. They are excellent, and their passion is for the music intended by the composer, which proves one's life 'on this mortal coil' can inspire Eternal joy and creativity as long as our human species chooses to extend our existence for future generations, and not incinerate our nations via conflict with nuclear weapons. Nuclear power generation is NOT a threat to our future, but nuclear weapons certainly are!
Music 🎶 is our Immortal gift to generations to come! I think Schubert would be quite pleased with this rendering, don't you.
@@judyclark1906 Yes Schubert would be amazed. The work never got a decent performance in his lifetime. The Schuppanzigh quartet, the best in Vienna at the time, a group who had worked with Beethoven, gave it a private reading but Ignaz Schuppanzigh, a fine violinist, couldn't handle the technical challenges and told Schubert to give up on chamber music and go back to writing songs.
Fortunately it was found in Schubert's papers and published after his death, and today it it is considered among the great masterpieces of 19th century chamber music and one of the great achievements of German romanticism.
I. Allegro 2:00
II. Andante con moto 14:20
III. Scherzo. Allegro molto - Trio 30:34
IV. Presto - Prestissimo 35:00
Thanks
Thanks a Lot!
An outstanding performance. They have equally outstanding performances of all the Beethoven quartets (including both versions of Op. 130) on CZcams. I'm surprised they haven't been more widely watched.
Dynamic and responsive playing from Belcea Quartet. A very beautiful version of this "Death and the Maiden". 🙏🙏🙏🙏
what a masterpiece! Hypnotic
The adds are brutal!!
Great! We are excited about your performance!
Genial...!!! El trabajo de Corina Belcea, Axel Schacher, Krzysztof Chorzelski y Antoine Lederlin.. Maravillo. Si, es cierto que la obra de Schubert lo pone fácil por lo hermosa que es. Pero ellos la elevan aun más. Gracias y Felicidades.
Absolutely beautiful
Fabulous ‼️🌸💖💕 Have their CD but would have loved to be there enjoying this live.
Assez époustouflante cette violoniste 😮 dont je ne soupçonnais pas l'existence, accompagnée d'autres (très) fines lames 🙏😊
Amazing , as usual. Thank you, an opportunity to learn.
Amazing ❤
Corina Belcea is really a true artist
wunderbar!!
ja, natûrlish
Wish can hear them live one day 🙏
Top notch recording, clap clap.
Потрясающе!!!... ❤️❤️❤️
❤❤❤❤❤
Belcea is source of energy and limitation of this ensemble.
32:48 Let's get a grip
Anyone know what's the music in the opening credits?
Vieuxtemps no. 5
Why the exposition in the first movement is not repeated ? Bad, bad attitude.
I hate the commercials, by which those insentient brutes are massacring the heavenly music.
But you know how you can get rid of commersials? The best way is of course to pay for it..
Not all the repeats need to be taken. Spare the audience. Also, speaking of sparing the audience - this performance does bare too much freedom (aka too much of me, not enough of music, of Schubert, of the piece). The difference between interpretation and bathing in your own juice of “me, me, me and more me” is still there. A true artist knows the difference = services the music.
It seems that you are in a minority of one in your diatribe. This splendid performance did not 'bear' too much freedom, and the audience did not need to be 'spared'. They clearly enjoyed it enormously, judging by the applause. True artists don't 'service' the music as you put it - they 'serve' it.
Haters gonna hate I guess
Well said my dude
@@mellebj I think Alexander prefers "Troll and the Maiden"!
Obviously not a comment from someone who knows this piece or quartet playing in general. Interpretively this is a restrained and tasteful performance. Tempos are steady, not a whole lot of rubato, and the dynamics and tempos very much as as Schubert wrote them. It's the incredible execution that makes the music more shocking. Schubert never heard it played like this. Even the best players of Schubert's time could barely handle the technical difficulties, let alone play it like this.
The emotion and drama is very much in the piece itself -- the heart of it is the slow movement, variations on a song Schubert wrote as a young man based on a famous poem where Death comes to claim a young maiden who doesn't want to die. What you hear in Corina Belcea's exquisite playing in that famous first variation is the weeping (complete with halting breaths) of the heartbroken girl. This is German romanticism at its most transcendent.
The other layer is that this was written near the end of Schubert's life when he was dealing with his own impending mortality -- he was dying of syphilis. Blame Schubert if you don't like the drama, but don't blame the performers.