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Please expand upon what you think is old - fashioned. If you take the Emerson
as the paradigm of the modern quartet (to follow fashionable thought) I find
their performances wonderfully correct, but a bit cold. They come across very
much that way in live performance to me, but it works very well for
recordings.
If a quartet is tuning properly when the third is in the cello, the cello
adjusts to the root and fifth in the other instruments. "Bottom up" tuning is
not always right. I don't think this has anything to do with old or new, just
common tuning sense. By the way, the "oldest" group we studied with, the
Amadeus Quartet, worked intonation to
adjust root - fifth - third, but all so quickly (once well learned) as to be
instantaeous, so as to be applicable in concert. In their prime, probably the
most in tune group ever ( in my opinion!)
Other "old" groups (Budapest, Italiano, Guarnerious) displayed eccentricities
which affect ( and effect) intonation. Groups like the Cleveland went through
phases, due to personnel.
More late, I'm sure
Mike
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