每次听贝多芬弦乐四重奏时，总是感到听乐其实是一个孤独的过程，因为人有时需要孤独宁静，在音乐中去关注，去感受，去发现。。。



1. Agagio ma non troppo-Allegro

2.Presto

3.Andante con moto,ma non troppo

4.Alla danza tedesca:Allegro assai

5.Cavatina:Adagio molto espressivo



这段解读的文字,来自这盒CD的封面手册

.........
The B flat Quartet, OP.130, completed in January 1826, is one of the most amazing of the works in which Beethoven explores architectural possiblilities outside the familiar four-movement design. the first of the six movements expands on the idea, familiar now from op.127, of bringing slow and fast tempi together in one thematic group. In this movement, densely saturated by a few ideas, Beethoven constantly confronts us with extremes - unisons and dense polyphony,the odd and the straight, the propulsive and the hesitant.

After this rich essay in sonata style,Beethoven gives us four character pieces - a rushing Presto most of which passes in a mad whisper; a sonically delectable intermezzo,neither slow nor fast;a proto_Mahlerian German country dance,amiable,not uncrazy; and a Cavatina, one of Beethoven's most inward and wonderful slow movements. The first violin is the principal singer in this aria.What the other instruments play is active and organic, always closely related to the song itself. Never before was an accompaniment so little inclined to be accompanimental. Each time the first violin pauses for breath, the other instruments jump in to continue the melodic flow. After 39 bars of inspired melody whose vacal gestures cry out for an opera-loving violinist,the level suddenly drops down to the completely different world of pianissimo. The three lower instruments play agitated triplets,the first violin begins a music,stammering and hesitant,that is unlike anything else Beethoven had composed. We know from the recitative for cellos and basses in the finale of the Ninth Symphony and from other works how close he could take instruments to human utterance. This,however,goes beyond. To guide the violinist,he writes beklemmt,which can mean oppressed,weighed upon,suffocated,straitened,anxious.The episode lasts scarcely more than six measures, but it is a look into the abyss,Karl Holz,the young second violinist in Schuppanzigh's quartet,a good friend to Beethoven in his last years, recalled that the Cavatina "cost the composer tears in the writing and brought out the confession that nothing he had written had so moved him; in fact, that merely to revive it afterwards in his thoughts and feelings brought forth renewed tributes of tears."
... --------<>,Michael steinberg