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Symphonies - Released January 2, 1980 | Deutsche Grammophon (DG)

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Classical - Released October 26, 2018 | Deutsche Grammophon (DG)

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Classical - Released October 26, 2018 | Deutsche Grammophon (DG)

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Classical - Released November 13, 2015 | Reference Recordings

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Classical - Released October 26, 2018 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1976 | Decca Music Group Ltd.

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Classical - Released May 27, 2016 | Berliner Philharmoniker Recordings

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Classical - Released November 10, 2017 | Universal Music Italia srL.

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Classical - Released May 27, 2016 | Berliner Philharmoniker Recordings

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Classical - Released May 27, 2016 | Berliner Philharmoniker Recordings

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Classical - Released May 27, 2016 | Berliner Philharmoniker Recordings

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Classical - Released May 27, 2016 | Berliner Philharmoniker Recordings

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Classical - Released October 16, 2015 | Evidence

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This is the third instalment in François-Frédéric Guy’s traversal of Beethoven and the first to delve into the chamber music. He is well matched in intellect, musicianship and temperament by cellist Xavier Phillips as they journey from the ridiculous (the Variations on ‘See the Conqu’ring Hero Comes’, in which Guy dispatches the virtuoso piano part with complete aplomb, to delectable effect) to the sublime (the Op 102 Sonatas). The two sets of variations on themes from Mozart’s Magic Flute are a very different proposition from the ‘Conqu’ring Hero’ but just as persuasive, with the Op 66 set given a particularly sparkling reading. Competition is of course thick on the ground, not least from Isserlis and Levin (playing a tremendously characterful McNulty fortepiano), which was an obvious choice for Record of the Month in February 2014. But Phillips and Guy deserve that accolade just as richly and their utterly different sound world is equally riveting.
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Symphonic Music - Released September 10, 2018 | Channel Classics Records

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Chamber Music - Released September 21, 2018 | Groupe Analekta, Inc

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Classical - Released June 1, 2013 | VIVAT

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The listener wanting a recording of Beethoven's first group of string quartets, published together as Op. 18, has dozens of choices, but this group of three by Britain's ever-changing Allegri String Quartet lies toward one extreme of the range. Whereas many ensembles stress the places where Beethoven begins to push against the boundaries of the Classical style he inherited from Haydn and Mozart, the Allegri takes a different tack: its readings are balanced, homogeneous, and startlingly quiet. Sharp expressions are smoothed out rather than highlighted, and the quartet's playing aims at a kind of static quality that is very unusual in this music. Straightforward tunes, of which there are plenty in these pieces, are very gracefully rendered, and the overall effect is almost hypnotic. It can be very beautiful, but there's the nagging feeling that Beethoven, used to a very different bow and string sound, would have found it a bit odd. This is especially true of the String Quartet in C minor, Op. 18/4, which is generally played in such a way as to stress its links to Beethoven's later works in that key. Sample the opening movement of the String Quartet in D major, Op. 18/3, actually Beethoven's first published quartet, for the full effect, and if you like it, proceed. The crystalline acoustics of Britain's Menuhin Hall are in perfect sync with the players' musical intentions.
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Classical - Released January 1, 2012 | 2L

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Trios - Released April 7, 2017 | Channel Classics Records

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Symphonies - Released June 3, 2016 | Berliner Philharmoniker Recordings

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Classical - Released September 10, 2018 | Channel Classics Records

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