The present sixth volume of the RIAS Amadeus Quartet Recordings completes the 27 CDs comprehensive edition. This expanded version complements the 6 CD box and once again provides an intense look at the radio history of the 1950s, which ultimately results in the entire series of Amadeus quartet recordings at audite. The string quartets of Joseph Haydn, which the musicians liked to call the basis of the quartet, meant not only a duty for the Amadeus Quartet. On the contrary, they devoted themselves to the middle and late quartets during their whole forty years of continuous care. In most of their concert programs, they added a quartet by Haydn and in their sounding repertoire, the recordings and Rundfunkeinspielungen, the string quartets of Joseph Haydn make more than one-fifth of all recordings (only Beethoven quartets have comparatively frequently played them). As a reason for the high appreciation of these works, the musicians of the Amadeus quartet, on the one hand, described the easy manual handling of Haydn's scores, but at the same time the high musical requirements, as Norbert Brainin says: "Everything you play in public is difficult. And the lighter the thing is, the harder it becomes, because then one hears the fleas cough. Haydn and Mozart are a seiltanz. " In preparation for the study of the works, the musicians had to deal intensively with the sheet music, because many things, which seemed to them to be nonsensical in the old note prints, turned out to be faulty later, when they were able to study the manuscripts of Haydn and Urtextausgaben appeared. On record, the Amadeus quartet recorded only the quartets from the series op. 54; With the first editions of the radio productions presented here in the Berlin RIAS, are now, for the first time, three string quartets from the early period of Haydn's work, op. 9, No. 3, op. 20, No. 5, and op. 33, no Interpretation of the Amadeus quartet. In addition to the authentic quartet compositions, the edition is complemented by the recording of the string quartet work of the "Seven Last Words". Originally composed as an orchestral work and reworked from Haydn to an oratorio, the quartet version, which Haydn produced simultaneously with the piano reduction as a reduction of the original orchestral version, is today the most popular and most frequently performed version of this work. An additional Bonustrack is to be heard on CD 1: It is the fragment of the second movement of a first Haydn recording of the Amadeus quartet in RIAS from 1950. The same string quartet op. 54 No. 2 was also in their last RIAS session 1969 On the notes. Norbert Brainin's violinsolo, inspired by East European folk music, has succeeded almost more idiomatically in the very early recording, which leads to a charming comparison
