Available languages: EnglishThe Belcea Quartet is a youthful group from London, founded at the Royal College of Music in 1997. Its members are Corina Belcea first violin, Axel Schacher second violin, Kryzsztof Chorzelski viola, and Antoine Lederlin cello. After coaching for nearly three years with the Chilingirian Quartet, the Amadeus Quartet, and composer/violinist Simon Rowland-Jones, the Belcea went on to win international string quartet competitions in Osaka and Bordeaux during its first year in the public eye. Through additional honors gained and exposure received via the BBC, the Belcea Quartet landed the position of in-house string quartet at Wigmore Hall in London (until 2006), and at about the same time signed a recording contract with EMI Classics. In 2011, it began a new series of recordings for Zig-Zag Territoires. The Belcea Quartet embarked on its first tour of the United States in the 2005-2006 season. It is quartet-in-residence at the Guildhall School, and, since the 2010-2011 season, shares ensemble-in-residence at the Vienna Konzarthaus duties with the Artemis Quartett.
1 album gesorteerd op Date: from oldest to newest en gefilterd op 5 de Diapason en Ludwig van Beethoven
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Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Hi-Res Audio
Because the Belcea Quartet has divided the string quartets of Ludwig van Beethoven between two box sets, and arranged them so that early, middle, and late works appear in each volume, newcomers to this music may find the program a bit arbitrary and slightly complicated. Undoubtedly, the Belcea wants listeners to approach these landmark works with new ears, and to prevent the expectations that come with time-honored groupings. Hearing the three "Razumovsky" quartets played together, for example, or the Grosse Fuge with its original parent work, Op. 130, listeners might lose that most essential feature in Beethoven, the element of surprise. And the Belcea is quite good at surprises. The group takes pains to articulate the quartets in unpredictable ways, giving each part a strong character, accentuating passages that are often smoothed over, and providing an edginess that maintains suspense. Tempos are on the brisk side, and the string tone is sometimes brusque and even rough, with a kind of grit that is almost harsh. The tension is at its most pronounced in the Grosse Fuge, which is played with a manic frenzy that tangles the counterpoint to the point of incomprehensibility and makes the work unnecessarily grotesque. However, this is an extreme case, and the remaining works are played with less aggressiveness and more humanity. By far the loveliest playing is in the slow movements, particularly in the tender Cavatina of Op. 130, and the sublime Lento assai of Op. 135. Still, taken as a whole, the Belcea's interpretations are bracing and vigorous by most standards, and listeners should sample this set extensively before purchasing. © TiVo