Hollywood Italiano Melos Takács Vegh

Year 1958 1969 1986 2005 1986

Overtura – Fuga, Allegro 4:53 5:29 4:53 4:26 4:49

Meno mosso e moderato 3:06 4:18 2:47 2:48 2:35

Allegro molto e con brio 3:40 3:53 3:32 3:13 3:54

Meno mosso e moderato 1:03 1:27 0:55 1:03 1:06

Allegro molto e con brio 1:55 2:03 1:49 1:34 1:50

Allegro 1:23 1:35 1:16 1:21 1:21

Total Time 16:00 18:51 15:52 14:25 15:35

Overtura

At the beginning, Beethoven used two octave jumps as a way accent the first note, but the dynamic marking is still forte instead of fortissimo, leaving a space for the subject to be more emphasized. In all these performances, Takács did the best in that they reserve some space for the fortissimo subject, especially in the latter two notes, while really used the octave jumps to accent.After the statement of the subject, there are two repeats of a gigue-like version of the subject. This is the identical form with the subject in the third segment whose tempo marking is ‘Allegro molto e con brio’. Vegh choose to slow down here, Takács accelerate a little bit, while the others keep their tempo. They both made decisions: Vegh wanted to state this form of the subject more clearly, while Takács is making connections with the third segment. Thus for Vegh, this overture segment is really an overture which serve to present the materials. Takács treats this segment an integral part of the piece. Before the Fuga section begins, there is a re-statement of the subject on the first violin, in which every half note is actually two connected quarter-notes. Beethoven did this for a reason. Part of it, I think, has something to do with the pianissimo marking: Beethoven wanted it played with a sense of carefulness and retraction. Melos, Vegh and Takács more or less did it differently with the half-note subject. Among them, Vegh states this the most clearly with a clear sense of move and retraction, which is consistent with their approach in the gigue-like subject: clear-statement. What Takács did is interesting: they played it significantly faster while softer, creating a more careful and mysterious feeling. They used the same kind of treatment in the other transitions between segments too.

Fuga – Allegro

I especially like the Takács in this segment. They used a much faster tempo than the other three, creating much more tension and heat, which belong to this segment. While keeping this fast tempo, they can still keep the clearness and details of this complex part. Many notes and phrases shrink due to the fast tempo, but they still keep the shape and can readily be heard. This makes the whole mixture more coherent while keeping the identity of the different voices. They did really well in control and balance while performing this part. The cello voice can always be heard, not too strong but steady, sounds very elegant.

Measure 31 – Measure 58

The Fuga section begins by four entries of the subject and the counter subject, increasing in complexity. The subject is first on the viola, then on the first-violin accompanied by the cello on the attacking beat, and then on second-violin accompanied by the cello on the resting beat, and then on the first-violin accompanied by the second-violin on the resting beat. In the fourth entry, the two violins can be heard equally while in the third entry, the cello is harder to be heard than the first violin. Thus there is a gradual increase of the sense of argument, and the rhythm of the subject gradually changes to a feel of 2/2 from 4/4. In the Hollywood performance, cello in the third entry can hardly be heard, thus damaging this gradually heating up feeling (this may be due to the recording technique).On the micro-level, Vegh and Takács didn’t accent the long note in the dotted note rhythm of the counter-subject as much as Hollywood and Melos, especially in the latter entries. This, in effect, decreases the fierceness of the counter-subject, while creating a little bit dance-like effect. In the contrary, Melos played the counter-subject too fiercely, damaging the balance between the two subjects.

Measure 59 – Measure 94

A moto perpetuo voice is carried in turn by one of the four instruments throughout this part. Hollywood is amazing that, although their recording technique couldn’t recording the cello individually, we can hear the cello in the following excerpt very clearly while in Vegh we couldn’t (Hollywood 2:31 to 2:40, Melos 2:30 to 2:41, Vegh 2:26 to 2:38, Takács 2:12 to 2:19). The cello voice in the counter-subject in the excerpt is actually important in that the viola take over the moto perpetuo in the middle of the counter-subject while the cello goes on with it. Hearing the cello clearly from the beginning adds a voice to the whole thing, thus contributing more the contrapuntal character of this segment.

Measure 112 – Measure 128

Here, there is a new lyrical texture first appeared on the second violin, then in the cello, then later after measure 120 on viola and cello. With Takács, we can here the contour of these voices very clearly, adding some really fresh elements into the war zone. (Vegh 3:01-3:04, 3:07-3:10, 3:20-3:27) But in other performances, although they are slower, we can’t here these fresh elements as clearly as in the Takács.

Measure 129- Measure 138

Now the lyrical part turns in to direct conflicts between two attacking alternatively voices both with sforzandoes, first between viola and cello, then second violin and viola, then viola and cello, and finally first violin and second violin. The one recording really stands out in the part is the Vegh, but in a bad way. The viola sometimes gets so soft that the conflict bias to the other instrument, thus damaging the overall effect of conflicts.

Measure 139 – Measure 153

The alternatively attacking voices finally got crashed into each other and turned into simultaneously sounding voices of triplets and connected quarter notes. These two different rhythms don’t attack together but are both intense and motive. When more voices are added in, the overall effect is ‘messy’. Vegh, as previous parts, is comparatively more gentle, in the triplets voice. Although they are consistent with themselves and thus reflect their style, I really don’t appreciate that in this part, since here it ought to be messy. Takács with a fast tempo and more irregular rhythm and acceleration, very well creates this ‘messy’ effect while Melos, Hollywood states the two rhythms clearly and steadily. This ‘messy’ effect only found in the Takács recording is really the shining climax of their performance of this part.

Meno mosso e moderato

This segment is a lyrical slower segment consisted of two voices: an episode-like lyrical counter-subject and the original subject. If consider this part to be a song, the Takács performance is one singing alone to oneself, while Hollywood is aria. Takács played very mysteriously and carefully, kept the voice to them. And the original subject sounds like a reflective thinking, as opposed to the moving counter-subject. Hollywood at first slowed down and kept a lot of space for the expressiveness, and they used so many vibratos in the original subject that it became an aria-like sad expression. Vegh and Melos are somewhere in the middle: they keep a similar tempo to the Takács, but played louder than the Takács, thus losing the private feeling of the Takács performance. Vegh sounds even faster, which brings a sense of hurry, dampening the lyrical feature of the whole segment.

Allegro molto e con brio

This part begins by a gigue-like version of the original subject, which is already shown in the overture. Then a gigue-like even livelier free voice adds in. This is the happiest moment of the whole work, better be dancing and jumping. The tempo marking is ‘Allegro molto e con brio’, which has to be faster than ‘Allegro’. But Takács is already fast enough in the first ‘Allegro’ segment, an even faster tempo affect dancing rhythm. The tempo that I’m most satisfied with in this gigue-like segment is the Melos’, that’s gigue. Vegh consistently keep the voice a little, sounding gentle and careful. Hollywood is somewhere between Melos and Vegh.The following are some painful waiting for the original subject, where dissonant and anxiety builds up in the process. The process is so long that the audience might get impatient if the performer boringly did the same thing along the process.The Melos’ and Hollywood’s strategy is bring the gigue-like rhythm is back starting from measure 420, although not at its full strength, mixed with the anxiety and dissonant shout-out. Similar to what happened in the last part of the first Allegro segment (the triplets), The Takács accelerated, creating a crashing and messy effect, very well builds up the anxiety. But they came back to the dissonant and anxious in the end of this segment. These two different approaches has something to do with the relation to the following segmentMeno mosso e moderatoI called this segment the choral segment, because, there are clearly independent melodies going simultaneously instead of fighting and interrupting each other. I think this is the emotionally high point of the whole work. I wouldn’t call it the climax, but the most light and grateful moment of the work. Different quartets have different approaches to emphasize this emotion.Melos and Hollywood accelerate at the beginning of the segment, because they have already built up some happy emotion in the previous segment, in the gigue-like rhythms. Thus they used their whole strength to be thankfulness from the very beginning. However for the Takács, they used some very elastic bow at the beginning and generally is not as happy as Melos, but in a more grateful type of emotion.

Allegro molto e con brio

Now the gigue is back. This time, the Takács is still the fastest. But after the silent half of the previous segment, Takács seems the happiest, instead of the sense of hurry in the first time. Melos’ first violin sings more, while the other performance concentrate on the dance. It’s consistent that Melos pluck the string so loud, which creates a consistent singing effect.

Allegro

The ‘coda’ of the work begins by the original counter-subject in allegro and the counter-subject showed in the overture in meno mosso e moderato. Takács contrast the most between these two subjects. The whole work conclude very definitely and satisfactory, but Takács finished the best since they really have a great control over the continuous fortissimo quarter notes that they sounds crisp and most staccato, which is really special, and a real sense of great opera coming to an end.

Quartetto Italiano’s performance

Italiano’s performance is so different that I had to write a section for them. I don’t like their approach but I’ll talk about their general feature and their effects. Generally speaking, they are slow, nearly in every segment. Like in the first segment. Being slow nearly lost all the tension. In the Meno mosso e moderato segments, the lyrical and choral features are turned into speaking sections in Italian opera, which is really different and which I really don’t like. This does the same thing to the gigue: gigue should be happy and jumping while they don’t in italiano’s performance.

As a Summary, I like Takács the best because their tension, contrast and wonderful ‘messy’ effect. Melos and Hollywood is really great at the choral segment, while Hollywood is amazing in keeping the individuality of the voices. Vegh is mostly too careful and have their hands tied. (I mean being gentle too much, making statements too much.) Italiano is different in nealy every segment because of their tempo, which I dislike.

我马上回答，一点都不。想生物问题比较rewarding，学生物不算rewarding。主要是因为当代生物研究太多太无趣了。

我接着说，数学未解决的问题 ，可是我没那个脑子，而且花的代价和reward不太成比例。

想物理问题很rewarding，可是我又只对理论问题有兴趣，没被解决的物理理论问题比较少的说...

所以就只好学生物罗，有很多问题，其中不少很rewarding。

没有摘录开头的一点话，节选了后面重要的部分 。如果你自认为爱国，请让她变得更好一点，就不要尽捡容易做的事情宣泄自己的情绪了事；如果你自认为爱国，请帮助那些最贫苦的同胞，请谴责那些造成他们不幸的人，而别一边喊着要外国人尊重一边却给中国人丢脸；

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人在他乡，回首故国，感情一定会变得强烈一些，尤其是总怀着去国怀乡之情的中国人。很多留学生和华人都说过一句相同的话：只有离开祖国，才发现自己有多么爱国。这种情感因何而起，可以说上很长的一篇。我毫不怀疑，其中有很大一部分是相当纯粹的爱国之情。就像我举例说明的那位老伯一样，我不知道他是做什么的，也许是在唐人街当了一辈子厨工，也许在某座大厦做了一辈子看门人。他年老体衰，青春不再，不可能回来风风光光当海龟，甚至也许将来不能归骨故园。但是，当他在那张纸板上写下“祖国好”几个歪歪扭扭的字，站在街边等火炬经过，让人看了想一把抱住他，把他斑白的头颅拥在怀里。所谓“同胞”，就是这种烈性的情感冲动。不因为你青春或者衰老，风光还是潦倒，我依然认你，原因是我们有一致的认同。

只是现时好像已经别无其它的事情，一把打火机超越了所有其他的事情。偶尔一为之也有必要，但是火越烧越旺，人们越来越狂躁，我觉得这是极为不正常的。现在好像变得人人都是爱国狂，一定要在火炬的事情上表现出爱国热忱来才成。一夜之间，我身边的朋友蹦出无数个爱国狂，个个都眉眼歪斜，咬牙切齿，浑身上下都是劲劲的。比如说视频舞女木木，一连发了N篇文章，连Sohu老板写的那种脑残体烂文都赞之又赞，让人看了完全无语。这是怎么了？今年流行爱国秀么？

这种炽热的温度和人群的狂躁，让我一度以为我们又面临亡国灭种的威胁，国家处于分崩离析的边缘。但是，我仔细看了又看，台湾那边公投没有过，大家心仪的小马哥马上要上台了。东突想要搞事，结果擦香水都没有用，还是被警惕的空姐当场觉察，一举拿下。还有什么大问题？原来是为了抢火炬，雪山狮子旗。

奥运起源于古希腊，古希腊是西方文明的摇篮。中国是仅存的四大文明古国，我们没有开奥林匹克运动会，脱光了跑步戴橄榄枝的习俗。所以，我不大明白整天有那么多人嚷嚷“圣火”是什么意思？Holy从何来？中国就没有什么圣山圣物，只有圣人圣教。我们今天接受奥运，是因为我们强盛了，起码是部分人觉得国家已经很强盛了。众所周知，办一次奥运，其后三年都要五痨七伤，不是强国办不了。那些根本无望的国家我就不点名了，免得伤人。所以，这后面的第一个潜台词是“万邦来朝”，完全符合传统心态。另外一个是奥运宣称是世界性的盛会，主题是和平。这又和中国“四海之内皆兄弟”的天下主义暗暗契合。所以，奥运这个舶来品，对于中国人来说是完全按照中华料理的手法接受的。老百姓觉得就是开一流水席，全世界的客人都来，即便如此，也不至于真把自己当东道，觉得火炬是老大不得了的事情。别人来抢，就是扫了主人的面子。奥运是世界的奥运，要丢脸，是全世界丢脸，至于那么紧张干什么？有种抢，那就一路抢了回印度去。2008奥运改在那里开好了，几十万人吃饭睡觉，拉屎撒尿，可以直接没过头顶。

小旗子挥舞几下，我们就要亡国灭种，裂土分疆了，谁分一个我看看？永远不要忘记了一点：中国是个多民族国家这的确不假，但是它也是一个单一民族占有人口绝对多数的国家。区区几百万人，就算全部举手表决同意独立，那还得剩下的14亿人也同意才成。而且，它对内地的依存度那么高。真要独立了，吃什么穿什么用什么？之所以有今天的样子，别忘了它有青藏、川藏、滇藏公路的支持，贡嘎、邦达、林芝机场的支援，还有青藏铁路及数十万民工商人的帮助。独立？拿什么独立？靠尼泊尔、不丹的外援？所以，我说它是藓疥之患，像皮肤病那样的小麻烦，天阴下雨，时不时痒一痒，让人不得不挠一挠，但是不致命。不像某些地区，国外有训练基地，同文同种的兄弟遍布中亚西亚，而且富得流油。不修理不成，修理重了，西亚兄弟不高兴了，石油供应又有麻烦。最恼火的是，说把自己给爆了就爆了，根本不和你商量。所以我说，这才是心腹之患，动不动要出大问题。

许多人预设了美好图景---中国一开奥运会，万邦来朝，山呼万岁，China Good不绝于耳，大拇哥和笑脸共长天一色。做大国哪里有那么容易？看看人小布什，去哪里边上都有一堆举牌子的，高呼凶手、谋杀犯，傻逼、Silly Cunt不一而足。做大国而无人反对，真以为是尧舜时代啊？一个“以德服人”就完全搞定，全世界都傻呼呼地面露白痴一般的微笑在一旁鼓掌？少看点《上下五千年》和好莱坞大片好不好？别把世界当成金庸小说，真他妈的有决战光明顶，少年靠牛一样的武功和驴一样的脾气就征服了所有人，大家都举手说：Cow，我服。现在有落差，很大的落差，情绪上接受不了也不奇怪。

关键是大家都习惯了无异议。在中国，不管活多少岁，见过的都是集体举手，集体鼓掌，集体通过。根本见不到几个持异见者，都是一致通过，都是求大同存小异。出国了，也看见举牌的，也看见喊口号的，但是中国人的心态是：赶紧走，别惹事，和自己没关系。看见了，完全可以当没有发生过，而等到事情是针对自己的时候，觉得他妈的你们老外怎么是这样的怪物？老子们好心好意请你们开流水大席，你们怎么是这种态度？是要给脸不要脸吗？我操￥#……！&@1、×！。。。话说回来，这次在伦敦也好，巴黎也好，三藩也好，抗议的手法完全都是别人的。什么旗帜啦，T恤啦，标语啦，飞机广告啦，全是Made In Waiguo。没见谁用传统中国手法，用根扫把条粘上彩纸做旗，套着长围巾跳上台阶，喊一嗓子：同学们！同胞们！巴黎之大，已经放不下一张课桌！

我们有这个传统，我们的前辈也做过，但是现在已经完全丢了忘了，以至于要从外面重新学习。看那些图片和视频，这一点是最让我感觉伤感的地方。

有异见不假，有偏见不假，没有就奇怪了。但是对于化解意见，纠正偏见我们又做了什么？我们从来都是自个顾自个，管他娘外面洪水滔天。看看对方的老大是什么人？别人是畅销书冠军，是教宗亲自接见的宗教领袖，是整天呼喊和平环保的人。老外当然吃这一套，而且引以为知己，因为所说所做和自己很相近。佛教里把这种称之为一种巧善，自古以来就用这种方法亲近信众，让众人悦服然后信服。反观我们，没有多少事迹，只有印象：牛逼的厨子，殷勤的跑堂，老实巴交的研究员，绝对不参加社会生活的内向小孬，外带李小龙那种咿呀叫唤的功夫天王。别人有传统，有信仰，有蓝天白云镜湖雪山金顶风马旗。我们有什么，或者展示了什么？

看N多人的Blog，说如何如何折服了老外，把别人质问得哑口无言。得了吧，我自己就是中国人，每天看留言里那些滔滔江水，气势极旺的牙齿森然，我都想抽人。折服？三句话就把那么复杂的问题说清楚，那何必在国外苦成这样？直接回来去外交部上班不就完了？每次开新闻发布会，也去折服一把，弄到各国记者开完会每次都是起立鼓掌，用英文高呼：太精彩了！太生动了！太有道理了！比郭德纲师傅说得还好！You‘re so Cool， 你丫so Cool！

在这种一片滔滔之下，大家争先恐后地爱国，无人关注国内问题。谁看新闻了？知道不知道黑砖窑的责任官员又恢复原职而且配车了？那么多人把目光集中在顾拜旦的那个巨型打火机上，累不累啊？多大事值得那么关注，那么上心，还要抵制这个抵制那个？要不被抢很简单，弄一千人去跟着跑，谁敢伸手抽丫的，直接用火炬轮丫的。那又说明什么？又能证明什么？

本来说换酒同学的，一下奔出五里多地来，收一收。这种情怀我理解，我也承认这种爱国热情。不过，真不是什么大不了的事情，要习惯异见，用别人听的懂的话和习惯的方式进行反驳。你天天上新浪头条有个鸟用？开N个记者招待会有鸟用？还不如加拿大的黄金少做一段视频。你要能说明民间普遍的情绪是什么，要能证明站在温和立场上的人发生了转变，要让他们看见接受整套西方教育起来的人居然反对这件事，这帮孙子才会认真想一下：我是不是孔雀开屏自作多情了？是不是我误读了中国的民众了？是不是这种行为对于中国民众以为着侮辱和伤害？相反的，那位什么红衣大侠追着别人打，能说明什么？说明他体力好而已，证明不了他占理。

更糟糕的是北美的同学人肉通缉Duck大学的那位同学，甚至在网上公布别人父母的单位、身份证。这件事我实在不想多说了，我就问你们一个问题：为什么每次都是这种德性？还没有对外宣战呢，自己人内部先抓一批汉奸出来杀掉。莫非自杀三百，等于杀敌一千？上次和日本起冲突也是这样，日货都还没抵制，自己人先找了一大批汉奸出来。砸了N辆中国人买的日本车，砸掉中国人开的日本店。你们在干什么啊？我真的非常困惑。爱国饭那么好吃，爱国粉那么好抹，我也想来几桶，抹几斤。枪尖上没有半滴外侮血，但是已经挂满了自己人的人头，请问：你们不是在玩超级无间道吧？

好像又扯远了一点，还是回到换酒同学这里来。我希望她和铭基同学在英国安静、幸福地生活，而且是体面有尊严地生活下去。希望不要肝火那么旺盛，老觉得我国危了。中华危了，还有我这样的胖子在，不需要海外军团回师勤王。在国外，虽然做异乡人，但是要自由一些，社会保障也要强得多。朋友对朋友，那么就是如此建议。对于那些指责国内谁谁谁不爱国，谁谁谁是汉奸的华人和留学生，我个人的建议是回来和我们一起爱。出国以后上网回国内抓汉奸，那何必出国呢？有些人和我谈什么国家尊严，满帖子全是类似“毛#ze东”、“文&革”这样的火星文。尊个鸡毛啊？你连写自己的母语都要为了防止过滤而写成这种鸟样，和我谈个鸡毛的尊严？

很久以前，2003年的时候，也是因为类似的事情和海外留学生和华人吵架，我曾经写过一段话：

我说，你就算是那么煽情，那么倪萍，可我还是不会对你说：我爱你。因为，说出了这句话，一切都没有了，胸膛里变得空空荡荡。我永远不说“我爱你”，更不会爬到几万英里以外对你喊这句话。我只是和你在一起，晴天的时候在一起，下雨的时候还在一起。我记着你的好，也不会忘记你手里的刀。你用那刀子在我身上刻字，满身的血流下来，我一句话都不说。

和她在一起，并不是说你物理的身躯要回到故国。而是说，你的心里要有这些故国的同胞。国可以除，但是同胞在，国就在，以色列正是如此。请记得他们的苦，知道他们的难。记得他们会有很多时候满身的血流下来，但是不像你们，他们连一句话都说不出。

祝福所有的人，所有的黄皮肤黑眼睛的人，无论你在哪一国，哪一块大陆，现在是白天或者黑夜，祝福你们。