17,10 €
incl. 19% VAT
Felix Mendelssohn Bartholdy: Octet E flat major op. 20, Quartet D major op. 44 No. 1
Auryn Quartet, Minguet Quartet
- Total playing time (mmm:ss): 57:10
- 5.1 standard channel order: front left – front right – center (not used) – subwoofer (not used) – surround left – surround right
- 48 kHz, 24 bit. Format: Flac (lossless)
- Download as zip file. Booklet (English, German, French) and cover images included
- Size: 1,18 GB
- Barcode: 4009850009429
More productions with compositions by Mendelssohn: Order no. 142 and 268
Description
“(…) The composer would have been delighted with this interpretation of his octet: in the surround sound of the DVD Audio the listener sits in the middle of the eight musicians, who are placed around him or her in the form of four string trios. But it is not only the sound that we find so good: above all it is the pulsating music-making of the Auryn and the Minguet Quartets which is so enthralling. The overflowing melody, the wealth of colour, the swing and bounce of the music are quite remarkable. Strong musical fire burns in this interpretation…” pizzicato
“(…) This has been my personal favorite Mendelssohn work most of my life. My favorite performance has been an old mono one from Toscanini in an expanded arrangement but the superb playing and in-the-room realism of this multichannel effort could easily replace that old classic in my estimation. The quartet is also exquisite, full of lovely tunes and perfect proportions.” Audiophile Audition
“(…) There are recordings that can immediately trigger joy in the reviewer. With the recording of Mendelssohn′s string chamber music presented here – also available as a DVD – the Tacet label has achieved this feat. The interpretation of the octet sounds so incredibly gripping, vital and life-affirming that one can feel the euphoria that must have driven the 16-year-old Mendelssohn in the creative process. Here music is heard in its most optimistic form, as a sound expression of joie de vivre. The crystal-clear recording quality and the stable sound image, which is always audible even in orchestral passages, contribute not insignificantly to this impression.” Klassik heute
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