Con Brio
Four Russians Called the Budapest String Quartet
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- ¥650
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- ¥650
発行者による作品情報
A 1959 New Yorker profile captured the inspired risk-taking and raw creative spark of a Budapest String Quartet rehearsal: "Sasha leaped from his chair and with violin held aloft, played the passage with exaggerated schmalz, like a street fiddler in Naples. Kroyt...stopped playing and started singing a Russian song....Mischa Schneider thereupon performed a number of stupendous triads on his cello....Only Roisman went quietly on with his part, untouched by the pandemonium around him, playing Beethoven with his noble tone and elegant bowing." Here were four men with personalities as varied as their ways of playing. Yet when they played, they produced a perfect union of instrumental voices and interpretive nuances that not only created an entirely new audience for chamber music in America but also made the Budapest String Quartet the premier chamber music group of the twentieth century.
PUBLISHERS WEEKLY
Historian Brandt (whose father-in-law was Boris Kroyt, the Budapest violist) has done an excellent job of limning the complex history of this most celebrated of all string quartets. Although the Budapest was formed in 1917 in the city from which it takes its name, the quartet first flourished in Germany in the '30s, by which time its members were Russian Jews. They fled the Nazis, became the first resident quartet at the Library of Congress and, at a time when recordings and energetic promotion were awakening Americans to the glories of classical music, helped create a large audience for an essentially intimate form of music. They worked with great dedication, constantly traveling, initially earning very little, only gradually achieving the reputation (like Toscanini's) that American audiences love--a kind of guarantee of quality. Plagued by recurring health problems and by a succession of second violinists, the quartet finally disbanded, sadly, in the mid-1960s. Only Alexander Schneider, of the great days from the mid-'30s to the late '50s, is alive. Brandt's book is affectionate as well as scholarly, full of lively anecdote, and placing the Budapesters firmly in their cultural context. Photos not seen by PW .
