{"product_id":"budapest-quartet-early-recordings-vol2-1927-30-pacm123","title":"BUDAPEST QUARTET Early Recordings, Vol.2 (1927-30) - PACM123","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet No. 7 'Rasumovsky'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet No. 13\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet No. 12 'Quartettsatz'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet movements by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven, Dittersdorf, Smetana, Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1927-30\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 52:25\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTHE BUDAPEST STRING QUARTET\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEmil Hauser\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Violin I)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eImre Pogany\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e or \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoseph Roisman\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Violin II)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIstvan Ipolyi\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Viola)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHarry Son\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Cello) \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM123.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\n“One Russian is an anarchist. Two Russians are a chess game. Three\nRussians are a revolution. Four Russians are the Budapest String\nQuartet.” Or so went the witticism attributed to Jascha Heifetz. But\nthis was not always the case. In 1917, when four players from the\nBudapest Opera Orchestra formed the quartet, it consisted of three\nHungarians (Emil Hauser, Alfred Indig and Istvan Ipolyi, all Hubay\npupils) and a Dutchman (Harry Son, who had studied with Popper). When Indig left in 1920, he was replaced by another Hungarian, Imre Pogany.\nIt was this configuration which produced the ensemble’s first issued\nrecordings, dating from a series of sessions held early in 1926 (all of\nwhich were featured in our first volume, Pristine \u003cb\u003ePACM 098\u003c\/b\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\nThe present collection, which completes the reissue of the Budapest’s\nearliest recordings, picks up with Pogany’s final sessions with the\nensemble, playing the original version of Beethoven’s Op. 130 quartet. They\nbegan at HMV’s Hayes studio on February 14th, 1927, when Side 1, the first\nhalf of the first movement, and Sides 7 and 8, the complete\n\u003cem\u003e\nCavatina\n\u003c\/em\u003e\n, were taken down. The four sides of the \u003cem\u003eGrosse Fuge\u003c\/em\u003e (a world\npremière recording in its own right) followed a week later. There matters\nstood for nearly a year, as two more sessions in February and March devoted\nto the rest of the work failed to produce acceptable takes.\n\u003c\/p\u003e\n\u003cp\u003e\nBefore the end of the year, Pogany left and was replaced by Odessa-born\nJoseph Roisman, the first “Russian incursion” into the group. Roisman had\nstudied in both his native city and Berlin, and brought a different\napproach that from early on challenged the Hungarians’ status quo\n(including their playing of weak staccatos using the tip of the bow, rather\nthan its middle). The remaining sides of Op. 130 were completed in January\nof 1928, now using HMV’s studios in London’s Small Queen’s Hall, followed\nimmediately by the Smetana, Tchaikovsky and Schubert movements presented\nhere. The First Rasumovsky and Dittersdorf Menuet were inscribed thirteen\nmonths later, while the Beethoven Op. 18 movement was the only recording\nthe group made in 1930.\n\u003c\/p\u003e\n\u003cp\u003e\nThe next two years would see the departures of both Hauser and Son, with\nRoisman moving up to first violin and the Vilnius-born Schneider brothers,\nAlexander and Mischa, brought in as second violin and cello, respectively.\nIpolyi remained as the last founding member of the quartet until 1936, when\nhe was replaced with Roisman’s childhood friend from Odessa, Boris Kroyt.\nBy then, the “Russian takeover” (as the members born in Ukraine and\nLithuania when they were part of the Russian Empire considered themselves\nRussian) was complete.\n\u003c\/p\u003e\n\u003cp\u003e\nThe recordings presented here find the quartet in a period of transition,\nwith Roisman beginning to nudge the group away from its Old World\nperformance practices, evident to some degree in the 1928 sides of Op. 130,\nbut even more so in the following year’s First Rasumovsky. The Dittersdorf\nmovement was one of two “filler” sides by the composer which the quartet\nmade during their early sessions, and the last of his works the group would\nset down.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Beethoven and Smetana single discs are surprisingly rare. Beethoven’s\nOp. 18, No. 5 was the only one of his quartets that the group never\nrecorded complete during the 78rpm era; and despite its popularity, no\nstudio version of the Smetana was ever released (although an unissued\nrecording from 1964 exists in Sony’s vaults).\n\u003c\/p\u003e\n\u003cp\u003e\nThe Schubert and Tchaikovsky movements were re-recorded by the Roisman-led\ngroup six years later (Pristine \u003cb\u003ePACM 113\u003c\/b\u003e). In the Schubert, the difference\nis stark: the earlier version presented here lacks the urgency of the later\nreading, which is fast enough to accommodate a complete \u003cem\u003eda capo\u003c\/em\u003e\nrepeat on the first side.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eBUDAPEST QUARTET \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEarly Recordings, Vol.2\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1\n(49:47)\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eDITTERSDORF Menuet from Quartet No. 6 in A major\u003c\/strong\u003e (4:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 February 1929 ∙ Matrix no. Cc 15876-2A (HMV D 1659)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2.\n\u003cstrong\u003e\nBEETHOVEN Andante cantabile from Quartet No. 5 in A major,\nOp. 18, No. 5\n\u003c\/strong\u003e\n(7:36) \u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 March 1930 · Matrix nos. Cc 18923-3\n\u0026amp; 18924-3 (Electrola EJ 559)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBEETHOVEN Quartet No. 7 in F major, Op. 59, No. 1, “Rasumovsky”\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt. - Allegro\n(9:39)\u003cbr\u003e4. 2nd Mvt. - Allegretto vivace e sempre scherzando\n(9:34)\u003cbr\u003e5. 3rd Mvt. - Adagio molto e mesta - \u003cem\u003eattaca\u003c\/em\u003e (12:24)\u003cbr\u003e6. 4th Mvt. - Thème russe. Allegro\n(5:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 and 22 February 1929\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos. Cc 15870-3, 15871-2, 15872-2, 15873-3, 15874-3A, 15875-2,\n15930-2A \u0026amp; 15931-3A (HMV D 1660\/3)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003eCD 2\n(62:38)\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\nBEETHOVEN Quartet No.\n\n13 in B-flat major, Op. 130 (Original version)\u003cbr\u003e\u003c\/strong\u003e1. 1st Mvt. - Adagio ma non troppo - Allegro\n(9:13)\u003cbr\u003e2. 2nd Mvt. - Presto\n(2:06)\u003cbr\u003e3. 3rd Mvt. - Andante con moto, ma non troppo\n(5:50)\u003cbr\u003e4. 4th Mvt. - Alla danza tedesca. Allegro assai\n(3:29)\u003cbr\u003e5. 5th Mvt. - Cavatina. Adagio molto espressivo\n(5:51)\u003cbr\u003e6. 6th Mvt. - Große Fuge: Overtura - Fuga (Op. 133)\n(16:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 and 21 February 1927 and 24 January 1928\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos. Cc 10169-2, 12468-2, 12469-1, 12470-1, 12471-1, 12472-2A,\n10170-1, 10171-2, 10195-2, 10196-2, 10197-1 \u0026amp; 10198-1 (HMV DB 1547\/50\n\u0026amp; DB 1559\/60)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e7. \u003cstrong\u003eSCHUBERT Quartet No. 12 in C minor, D.703,\u003c\/strong\u003e “\n\u003cstrong\u003e\nQuartettsatz”\n\u003c\/strong\u003e\n(7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 January 1928 ∙ Matrix nos. Cc 12477-1 \u0026amp; 12478-2 (HMV D\n1421)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e8.\n\u003cstrong\u003e\nSMETANA Allegretto alla polka from Quartet No. 1 in E minor, “From My\nLife”\n\u003c\/strong\u003e\n(5:31)\n\n\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 24 January 1928 ∙ Matrix nos. Bb 12473-1A \u0026amp; 12474-2A\n(Electrola EW 42)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e9.\n\u003cstrong\u003e\nTCHAIKOVSKY Andante cantabile from Quartet No. 1 in D major, Op. 11\n\u003c\/strong\u003e\n(6:58)\n\n\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 January 1928 · Matrix nos. Cc 12475-1 \u0026amp; 12476-2 (HMV D\n1634)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBUDAPEST STRING QUARTET:\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eEmil Hauser (Violin I), Imre Pogany\u003c\/strong\u003e\n\n(1927 recordings)\n\u003cstrong\u003e\nor Joseph Roisman (Violin II), Istvan Ipolyi (Viola) and Harry Son\n(Cello)\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\nRecorded in Studio B, Hayes (1927 recordings) and Studio C, Small Queen’s\nHall, London\u003cbr\u003eProducer and Audio Restoration Engineer Mark Obert-Thorn\n\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003eTotal duration: 1hr 52:25\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM123.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM123.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":55010134917486,"sku":"ynq1789306761070","price":16.85,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010134950254,"sku":"gar1789306761071","price":13.92,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/budapest-quartet-early-recordings-vol2-1927-30---pacm123_1.jpg?v=1789306789","url":"https:\/\/www.harborviewgoods.shop\/products\/budapest-quartet-early-recordings-vol2-1927-30-pacm123","provider":"My Store","version":"1.0","type":"link"}