Beethoven String Quartet No 12 in E-flat major op 127 LIVE in HD

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The quartet members requested this video to be uploaded. If you have any questions please contact the engineer.
Zenas Hsu and Haruno Sato, violins
Jinsun Hong, viola
Daniel Mitnitsky, cello
Jordan Hall, Boston
Microphones and mic preamp: DPA4060 and DPA MMA6000.
Engineer: SiMon Yue (SoundProfessional, Boston). Contact email: [e-mail]

[@michaels7889]

When I was 4 years old Debussy's music introduced me to the transcendental power of music. This became obliterated during a turbulent childhood through a savage war and subsequent poverty. 70 years ago I was introduced to this quartet and op 131 and that power was reawakened. It was not until mid life that I was able to explore this for myself. Your beautifully detailed performance explores all the corners in the music, reminding me of those intense experiences. Live performances are not intended to be repeated but this can be listened to again and again with discoveries.

[@jorgecruz7662]

Ça fait dix ans. J'ai ratée la sortie, mais ce n'est jamais trop tard pour admirer cette production haut de gamme du NEC. Bravo les musiciens et toute l'équipe d'enregistrement !

[@pimogens]

A sheer delight to watch (and listen to...). A fixed camera is infinitely much better than someone trying to create a drama finding spectacular shooting angles. Now the exquisite communication between all four is possible to see during the whole piece. Why does this ensemble not have a name?

[@robertfrankgill5962]

Well if anyone does know the name of the ensemble, they're keeping pretty quiet about it. Sound Professional Boston certainly ain't telling anyone. Maybe they're not interested in the comments of a few thousand nosey plebs like us. The recording is said to be from Jordan Hall, Boston. That"s probably Boston, USA. Or perhaps there's a place called Jordan Hall in Boston, England (in the county of Lincolnshire if I'm not mistaken).

[@pimogens]

I am coming back here after a year... The second movement (7:20-23:00); this certainly must be one of the best (sorry, I only find a blunt word) interpretations ever.

[@smitti79]

Oh, wow, do I agree about the fixed camera! So many "cinematographers" who can't just let the music be the center of things!

[@briceleboucq6662]

@@robertfrankgill5962 The New England Conservatory Jordan Hall is related to Berklee College of Music, both in Boston (Mass.). That may induced this quartet is made up from Berklee's students.

[@michaels7889]

@@robertfrankgill5962 Think 'tea party' - look it up

[@alexandreviol]

The second movement totally broke my heart❤️❤️❤️😍😍😍. And The Master himself was no longer able to listen to sounds by The time he wrote this one.

[@mirandac8712]

Really terrific. Everybody has their own personal favorite of the last six, and this happens to be mine.

[@michaels7889]

When I first got to know this - a very long time ago - it was played only by the most established quartets. It is clear that those quartet members and their pupils were excellent at passing on their skills that a young quartet like you could perform this so convincingly, though you will by now all be mature musicians, I hope with the success you deserve.

[@johnchamberlain9317]

Fabulous, mature playing & interpretation of this great quartet by four highly talented young musicians.

[@thesunlover]

Excellent interpretation. Almost unbelievable, considering your age. Thank you!!

[@telephilia]

The coda to the final movement is one of music's magical moments as the rather earthy music of the finale before seems to take off into the air.

[@olivierdrouin2701]

Maybe , but what about the final Diabelli variation , then ?

[@olivierdrouin2701]

En admettant la vérité poétique de ce que vous dites , eiie s accorderait mieux a une mise en scène moins explicite et théâtralisée.

[@thesunlover]

Well done, young fellows !!!

[@scruffysean3640]

I loved this! But I can't "like" it, because there are already 127 likes, the opus number of this piece. I don't want to be the one to mess it up.

[@mirandac8712]

Somebody did. I'm so angry right now, trivial as it might be: a rage over a lost penny.

[@scruffysean3640]

@@mirandac8712 I know, right? I eventually did "like" it, after they already messed it up. :-)

[@mirandac8712]

@@scruffysean3640 Talk about colère pour un sou perdu!

[@olivierdrouin2701]

L adagio ma non troppo me fait croire en la musicothérapie. Tant de sérénité et de désinvolture , et tant d exigence derrière....c est a la fois apaisant et exaltant.

[@1stecha1]

Excellent playing.

[@olivierdrouin2701]

Quel tempo parfait pour la variation 2 de de l adagio !!

[@garfreed]

7:10 The Variations

[@soller4]

Just heard the Ying Quartet in Phoenix play this and I liked your energy...from a non-musician:)))

[@olivierdrouin2701]

Première variation de l adagio : a la fois ornementation et approfondissement... A quel point tu nous fais réfléchir , cher Ludwig !!

[@olivierdrouin2701]

Extraordinaire fin de la dernière variation de l adagio : on ne peut savoir si sa passion est en elle même ou dans le silence auquel elle ouvre !

[@michaelattewell7131]

Old Grump Marvellous, and so young! Comment below is right, one can see the coordination.

[@olivierdrouin2701]

Je suis toujours frappe du caractère touffu , post- romantique , "décadent -sensuel "😁, de la première variation de l adagio. Debussy , Zemlinsky, Schoenberg ont a peine apporte un surplus a ce genre d expressivité .

[@olivierdrouin2701]

Les trios des scherzos des quatuors 12 , 15 et 16 comportent tous un element manifeste de frustration pour l auditeur . 3 ! Ca doit bien vouloir dire quelque chose dans la Ludwig pensée !

[@olivierdrouin2701]

Tiens , en prenant en cours le thème de l adagio , j ai cru que j avais affaire avec l adagietto de la symphonie 5 de Mahler !! 😀

[@davidjared3402]

I've heard that Beethoven's latter string quartets were ground-breaking. What made them so? Thank you!

[@davidjared3402]

Composed by a man stone-deaf; astounding!

[@olivierdrouin2701]

Peut être seulement leurs durées ? Peut être le côté"outer Space" du vivace du 16. Ou le côté archaisant de l adagio du 15. Ou le côté inconfortable de la grande fugue.

[@olivierdrouin2701]

Il existe un livre écrit par un américain , Josef Kerman , qui en parle très bien .

[@ronnyromano2979]

Good Girl Viola Player

[@Ion321]

7:26

[@olivierdrouin2701]

Je crois avoir lu que Robert Schumann aurait tendu hommage superlativement au côté immersif de l adagio en écrivant que quand on s en éveillé , c est comme si on avait passé UN AN en sa compagnie ; quelqu un peut il confirmer , et commenter l audace de sa comparaison ?

[@olivierdrouin2701]

Je ne comprends pas toute la théâtralisation que Beethoven met dans la coda du dernier mouvement ; on a compris depuis longtemps ce qui est si long a apparaître.

[@joshmdmd]

This Daniel dude breathes so loud.

[@briceleboucq6662]

Great sound, surprising maturity for such young musicians. But Finale tempo a tad too slow! (lack of contrast)

[@olivierdrouin2701]

Tempo for finale free ! Beethoven wrote that , il italian "a tempo"

[@briceleboucq6662]

​@@olivierdrouin2701 I don't think so. From Breitkodf & Härtel edition, Beethoven didn't wrote any tempo for Finale part. The last section is just noted 'Allegro con moto'. I just feel that Finale tempo should be played a little bit quicker than they did on the recording.

[@olivierdrouin2701]

"a tempo" pour tout les trois quarts du mouvement , et "allegro con moto" pour la coda ?! Ah merci , je ne savais pas; surprenant ! Avec le développement avorté de l allegro du quinzième quatuor et le renoncement à la grande fugue , Beethoven était décidément un grand provocateur !

[@briceleboucq6662]

@@olivierdrouin2701 Les questions de tempo sont constantes chez Beethoven, pas seulement dans les quatuors.

[@olivierdrouin2701]

Un rien trop rapide , l allegro , non ?