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Budapest String Quartet

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Adapted from the English Wikipedia article Budapest String Quartet, available under CC BY-SA 4.0Updated 29 November 202511 sources
Budapest String Quartet
Company typeString quartet ensemble
IndustryClassical music performance
Founded1917
Defunct1967
Area served
Europe, United States, Australia, New Zealand, Dutch East Indies
Key people
Emil Hauser, Josef Roisman, Alexander Schneider, Boris Kroyt, Mischa Schneider

The Budapest String Quartet was active from 1917 until 1967, originally formed by three Hungarian musicians alongside a Dutch player; by the ensemble's final years, all members were of Russian origin. Their discography includes releases on labels such as His Master's Voice, RCA Victor (up to 1938), and Columbia Records (from 1940 to 1967). Additionally, numerous live concerts have been preserved in the archives of the Library of Congress.

Members

1st violin:

2nd violin:

Viola:

Cello:

Origins

Established in 1917 by four musicians from an opera orchestra who were displaced due to World War I, the Budapest String Quartet drew on the teaching traditions of Jenő Hubay and David Popper, who had made Budapest a prominent center for musical education. The ensemble took its name in tribute to an earlier Budapest Quartet dating back to 1886. Their first public performance took place in December 1917 in Kolozsvár, then part of Hungary and now known as Cluj-Napoca in Romania.

The quartet adhered to a set of strict regulations designed to ensure unity and professionalism:

  1. Conflicts were resolved through voting; if tied, the existing situation remained unchanged.
  2. All members dedicated themselves exclusively to the quartet.
  3. Compensation was equal among all players, including the leader.
  4. Partners or spouses were prohibited from attending rehearsals or meetings.

This structure was innovative at the time, as no other string quartet depended solely on earnings from concerts. In 1930, they introduced a system granting one member a deciding vote per piece to break ties.

The founding lineup featured Emil Hauser (aged 24), Alfred Indig (25), István Ipolyi (31), and Harry Son from Rotterdam. Indig departed in 1920 to pursue further career opportunities and was succeeded by Imre Pogany, a student of Hubay and Zoltán Kodály. Indig later held significant roles with the Amsterdam Concertgebouw Orchestra and Berlin Philharmonic before relocating due to political instability.

Relocation to Berlin

Around 1921 or 1922, facing political turmoil in Budapest, the quartet moved their base to Berlin. There, they broadened their repertoire but encountered varied critical reception. Their London debut occurred in 1925, followed by signing a recording agreement with His Master's Voice, producing sessions at Studio B in Hayes and at the Queen's Small Hall.

In May 1927, Pogany made a clandestine trip to Cincinnati to discuss an orchestral position with conductor Fritz Reiner. Although initially declining the role of principal second violin offered to him, he ultimately resigned from the quartet after internal disagreements. Pogany emigrated to the United States, joining the Cincinnati Symphony Orchestra and teaching at its conservatory. By 1929, he had become principal second violinist with the New York Philharmonic Orchestra under conductor Arturo Toscanini, serving until his retirement in 1958.

Josef Roisman – second violin

Josef "Joe" Roisman, born on 25 July 1900 in Odessa, began his violin studies at the age of six under the guidance of Pyotr Stolyarsky, who also instructed prominent violinists such as David Oistrakh and Nathan Milstein. Following the early loss of his father, a patron facilitated Roisman's family relocation to Berlin, where he continued his training with Alexander Fiedemann. There, he developed a friendship with fellow Odessan Boris Kroyt. During the First World War, the family returned to Odessa, where Roisman resumed lessons with Naoam Blinder.

After the Russian Revolution, Roisman took on performances at rural farms and factories before fleeing in 1923 via Poland to Prague and subsequently Berlin. In Berlin, he reconnected with Kroyt and was working in a film orchestra when offered a position in the quartet. Although initially hesitant due to financial concerns, he accepted the role encouraged by his wife Polo.

Roisman soon found joining the quartet regrettable because of internal conflicts and technical difficulties. Both Hauser and Ipolyi lacked skill in spiccato (the German term Springbogen), compelling the ensemble to rely on Spitzen—a staccato technique performed at the bow’s tip—as an alternative. Adapting his bowing technique proved challenging for Roisman; despite rigorous practice, he remained dissatisfied. The quartet earned the nickname das Spitzenquartett in Germany, highlighting this compromise rather than offering praise.

Harry Son – cellist

In 1930 or 1931, Son resigned amid persistent disputes within the group and emigrated to Palestine, where he performed both locally and internationally. Just prior to World War II, he returned to Rotterdam. Following the German occupation of the Netherlands, he and his wife Marianne were arrested in Amsterdam and perished in 1942 at the Auschwitz-Monowitz concentration camp.

Mischa Schneider – cellist

Born Mojzesz Sznejder in 1904 in Vilna (present-day Vilnius, Lithuania), Schneider endured a challenging upbringing. At sixteen, he studied cello in Leipzig under Julius Klengel, alongside distinguished contemporaries such as Emanuel Feuermann and Gregor Piatigorsky. After completing his studies, he taught at Frankfurt’s Hoch Conservatory. Due to stage fright during solo performances, Schneider favored chamber music. He briefly joined the Prisca Quartet but left due to personality clashes. Through an introduction by Frau Reifenberg, Schneider became a member of the Budapest Quartet.

American debut

In early 1931, the quartet toured the United States, receiving moderately favorable reviews but experiencing limited financial gain. Internal disagreements persisted regarding bowing techniques and other matters. In 1932, Hauser’s aspiration to collaborate with Alice Ehlers sparked conflict that led to his resignation. Hauser then emigrated to Jerusalem, where he established a new quartet and founded the Palestine Music Conservatory. He assisted concert violinist Bronisław Huberman in efforts to rescue Jews from Europe and played a role in founding the Palestine Symphony Orchestra. In 1940, Hauser relocated to the U.S., teaching at Bard College before joining the faculty at the Juilliard School of Music. He returned to Israel in 1960 and passed away there in 1978 at eighty-four years old.

Roisman assumes leadership and Alexander Schneider takes over second violin

Following Hauser's exit, the quartet faced the challenge of appointing a new leader. Opting to promote an existing member, Roisman advanced from second to first violin, a more secure choice than bringing in an unfamiliar musician.[1]

The position of second violin was filled by Alexander (Sasha) Schneider, the younger sibling of Mischa Schneider, originally named Abram Sznejder. After overcoming a severe tetanus infection at age 13, he honed his violin skills under Adolf Rebner at Frankfurt's Hoch Conservatory. By 1927, he had conducted orchestras in Saarbrücken and Hamburg until 1932, when Nazi policies forced his removal. This opened the door for him to join the quartet in Budapest.[2]

Sasha’s arrival brought an immediate boost in performance quality and attracted larger audiences. The ensemble toured extensively across the United States, Dutch East Indies, Australia, and New Zealand. The Australian Broadcasting Corporation offered a six-month annual contract contingent on their relocation there. Despite these successes, interpersonal tensions persisted—Sasha often found himself outvoted, and personal conflicts affected the group dynamic. Financially, the ensemble remained unprofitable.[3]

By 1934, Jewish musicians had been expelled from German orchestras; initially protected as 'Hungarian' visitors, the quartet soon faced Nazi intimidation. They swiftly moved their base from Berlin to Paris and never returned to Germany. Continuing tours throughout Europe and America, they maintained modest living standards.[4]

Departure of last original member

Ipolyi became increasingly isolated as the sole Hungarian among three Russians and the last founding member. His conservative playing style and deteriorating health prompted his resignation in 1936. He relocated to Norway, where he was detained during German occupation but released through Count Bernadotte’s efforts. After fleeing to Sweden, he returned post-war, acquired Norwegian citizenship, coached a Bergen-based quartet, and held a professorship. Mischa Schneider ensured Ipolyi received royalties until his death in 1955.[5]

Boris Kroyt joins as violist

The need for a violist was urgent as the Australian Broadcasting Corporation contracted the quartet for a twenty-week tour starting May 1937, featuring four weekly concerts with an option for an additional ten weeks in New Zealand. Despite regular European and American engagements, financial necessity was pressing. Roisman nearly recruited Edgar Ortenberg, but Ortenberg’s wife preferred he remain a violinist. Consequently, Roisman reached out to his friend Boris Kroyt in Berlin, who was struggling under Nazi restrictions affecting Jewish musicians and supporting his family. The Budapest offer came at an opportune moment. Kroyt’s innate skill enabled rapid adaptation, elevating the group’s technical proficiency.[6]

Arriving in New York in November 1936, they received critical acclaim comparable to Toscanini and Schnabel, with strong audience turnout. The spring 1937 tours across Australia, New Zealand, and the Dutch East Indies were successful as well. Considering settling in Australia due to widespread European venue closures caused by the Spanish Civil War, a group vote ended in a tie—thus preserving their existing arrangement—and they continued touring Europe before returning to New York in March 1938.[7]

All U.S. engagements were managed by Annie Friedberg in New York, initially securing modest fees but eventually achieving favorable financial results for both parties.[8]

Although they had toured the U.S. five times previously without incident, this time their Nansen passports were denied entry resulting in detainment at Ellis Island. Thanks to Friedberg’s intervention—including assistance from Mayor La Guardia—they were freed just before their opening concert. Despite not being at their best and self-critical of their performance quality, The New York Times gave them high praise. This success led to widespread recognition and increased bookings amid escalating tensions following the 1938 Munich Agreement.[9]

On April 25, 1938, they recorded Mozart’s Clarinet Quintet with Benny Goodman for the Victor label. The record sold well despite Goodman’s regret over not premiering it live. Their three joint concerts (in 1938 and 1941) garnered mixed reviews—technically precise but lacking inspiration.[10]

In 1939, performances in Paris, Amsterdam, Brussels, Norway, and Britain were successful; however, political tensions overshadowed engagements in fascist Spain and Italy. From the United States came a commission to perform on five Stradivarius instruments housed at Washington's Library of Congress, part of a collection donated by patron Gertrude Clarke Whittall. The recital hall was funded by benefactor Elizabeth Sprague Coolidge, who supported chamber music initiatives and festivals. The quartet regarded this opportunity as a sanctuary amidst Europe’s growing wartime instability.[11]

U.S. established as the primary base

During that summer, the four musicians spent three months at Mills College in Oakland, California, enjoying a period of rest while the Pro Arte Quartet remained in Belgium. Following the sudden death of their leader Alphonse Onnou amid an American tour, the Budapest Quartet continued to spend fifteen consecutive summers at Mills. With the onset of World War II nullifying their European engagements, the offer from the Library of Congress became appealing and was accepted. Their performances there extended over many years, solidifying the Library as a prominent venue for their concerts.

Since 1925, their recordings had been produced under His Master's Voice, initially in Berlin and London, and from 1938 onward at Camden, New Jersey for RCA Victor. Although their contract concluded in June 1940, it provided modest remuneration; RCA possessed a substantial inventory and was hesitant to initiate further recordings in 1939. Seeking improved conditions, the quartet negotiated with Columbia Records, which welcomed unlimited recording sessions due to its limited stock. This clandestine agreement provoked RCA’s displeasure, perceiving it as disloyalty. Over a span of more than three decades, the quartet recorded 89 pieces with Columbia, becoming its leading classical artist and representing a considerable loss for RCA.

Initial difficulties involved demands by the American Federation of Musicians for compensation during session "standbys," alongside a royalty dispute strike against Columbia that persisted until February 1945. Additionally, wartime rationing constrained record manufacturing. Despite these obstacles, between 1941 and 1946, the quartet earned $60,000 in royalties from Columbia and $16,000 from HMV.

Edgar Ortenberg succeeds Alexander Schneider

After eleven years with the group, second violinist Alexander "Sasha" Schneider departed in November 1943, seeking greater artistic autonomy. On January 1, 1944, Edgar Ortenberg—who had nearly joined as violist roughly ten years earlier—was appointed as his successor.

Ortenberg shared origins with Joe and Boris in Odessa. Following financial setbacks caused by the Russian Revolution affecting his family, he earned a gold medal at the Odessa Conservatory in 1921 and subsequently taught there before relocating to Berlin in 1924 for advanced training. He established a touring quartet but fled to Paris in 1933 due to Nazi persecution. In Paris, he led a Russian Conservatory quartet and enlisted in the French army but was discharged for health reasons in April 1940. Fleeing the advancing German forces by traveling through Portugal on the final Spanish ship bound for the U.S., he initially struggled upon arrival in New York before accepting an invitation to join the Budapest Quartet in December 1943.

Although regarded as a capable successor, critics and fellow members felt Ortenberg should adopt a more assertive playing style; he found their approach somewhat unrefined and sought additional rehearsal time to master their extensive repertoire. It took him approximately two years to feel fully integrated into the group; meanwhile, others remarked he required more solo practice and observed increasing nervousness. While critical acclaim for the quartet persisted, some perceived a slight decline in quality. Due to exhaustion from touring demands, Ortenberg was asked to depart toward the end of 1948. His final concert took place on March 10, 1949 at Cornell University. Subsequently, he taught at Philadelphia’s Settlement Music School until retiring in 1984 and served on faculty at Temple University from 1953 through 1978.

Jac Gorodetzky

The quartet's new second violinist was Jac Gorodetzky, originally from Odessa. His family moved to London during his infancy to escape a pogrom, and later settled in Philadelphia before the outbreak of the war. Gorodetzky was a distinguished student who earned prominent roles in orchestras and string quartets. Similar to Ortenberg, his playing style was relatively subdued but received favorable reviews during the Budapest auditions when he was in his mid-thirties.

In 1950, the group embarked on their first European tour since the war, deliberately avoiding Germany due to Schneider’s personal losses at Auschwitz. The intense itinerary combined with commitments back in the U.S. placed significant strain on Gorodetzky, resulting in performance anxiety and a demand for additional rehearsal time.

September 1952 marked the quartet’s pioneering post-war tour of Japan, which drew sold-out audiences throughout the season. During this tour, Joe suffered an accident in Okayama, falling into a ditch and fracturing his left wrist. After inadequate medical care in Tokyo, he required a proper reset upon returning to the United States. Consequently, concerts were modified to feature trios and piano quartets while Joe was recovering. He rejoined the ensemble in Portland, Oregon, by January 1953.

Their second Japanese tour in 1954 achieved even greater success; however, Gorodetzky became increasingly unsettled and declared his intention to leave in February. Tragically, he took his own life in Washington in November 1955. The quartet organized benefit performances to support his family, with Mischa later donating most of his musical collection and Joe leaving them the majority of his estate.

Alexander Schneider returns

Unwilling to recruit a new second violinist, Joe convinced Sasha to rejoin the group. They eased earlier limitations on his activities, permitting him independent projects which helped lessen their concert load. Sasha’s comeback reinvigorated both the ensemble’s unity and artistic standards, garnering widespread critical praise.

During his decade away, Sasha declined leadership offers from the Pro Arte and Paganini Quartets but remained active through extensive tours and recordings with harpsichordist Ralph Kirkpatrick, solo Bach performances, and collaborations with leading chamber musicians in New York. He studied under Pablo Casals in Prades and played a key role in founding festivals at Prades, San Juan (Puerto Rico), Israel, and Marlboro (Vermont). He also established the Schneider Quartet to record all of Haydn’s quartets for the Haydn Society label until financial support ended. Furthermore, he secured Mrs Coolidge’s backing for free outdoor concerts in Greenwich Village and occasionally served as guest second violinist with the Budapest Quartet when needed.

Decline

By the 1960s, the quartet had reached its zenith, releasing 55 albums through Columbia Records and selling two million copies worldwide while performing at esteemed venues globally. However, following a mild heart attack late in 1960, Joe began experiencing intonation difficulties. He disclosed that since 1939 he had been managing high blood pressure, which likely contributed to these deteriorating tuning issues.

Their final performance took place in March 1962 at the Library of Congress after enduring several challenges—chiefly Joe’s intonation problems. Concerns were raised by critics, audiences, and Mrs. Coolidge alike. The ensemble was eventually succeeded by New York’s Juilliard Quartet. Later that year during a European tour, Joe suffered a slipped disc but returned to playing early in 1963. The group revisited Australia after a 26-year hiatus; however, Joe’s diminishing stamina resulted in a reduced concert schedule annually.

Marlboro College

In 1955, Sasha became involved with the Marlboro Music School and Festival at Marlboro College, Vermont, a center dedicated to nurturing chamber musicians. He brought colleagues from Budapest to help cultivate emerging talent. The institution, established in 1950 by violinist Adolf Busch and flutist Marcel Moyse, thrived with the active participation of pianist Rudolf Serkin and Sasha’s dedication spanning two decades.

By 1962, Sasha persuaded Mischa to join the faculty; the complete quartet arrived in 1963, soon accompanied by numerous skilled artists and promising students. Sasha’s rigorous approach set high expectations, which were tempered by the more gentle methods of Mischa and Boris. They welcomed fresh ideas from students, motivating successive generations of musicians.

Sasha played a pivotal role in encouraging Michael Tree, Arnold Steinhardt, John Dalley, and David Soyer to establish the Guarneri Quartet—recognized as successors to the Budapest Quartet’s legacy. He guided them on alternating violin roles to preserve flexibility and prevent monotony. Similarly, the Emerson String Quartet rotates violin parts between Eugene Drucker and Philip Setzer.

In later years, the Budapest Quartet curtailed their performances and seldom rehearsed together, resulting in occasional mistakes but retaining strong appeal among audiences. Sasha aimed to continue sharing evolving insights, while Joe preferred to uphold their established artistic approach.

Conclusion

During January 1965, the ensemble dedicated twelve days to recording Dvořák’s F major "American" Quartet alongside Smetana’s E minor Quartet "From My Life". Joe encountered significant intonation difficulties, while Mischa battled back pain. The Dvořák recording was issued after editing together several takes; however, the musicians declined a similar editing process for the Smetana. Subsequently, Mischa, Boris, and members of the Guarneri Quartet successfully recorded Tchaikovsky’s D minor Sextet "Souvenir de Florence". Shortly thereafter, Mischa underwent back surgery—the first since 1930—but both procedures were unsuccessful, bringing his performing career to a close. He remained active as an educator for many years afterward, including 25 summers teaching at the Marlboro Music Festival until his passing in 1985.

In 1977, Sasha unexpectedly departed from Marlboro without providing reasons but maintained a close relationship with Serkin. Boris succumbed to cancer in 1969; Joe died from a heart attack in 1974; and Sasha passed away from heart failure in 1993 after performing almost until his final days.

The Budapest String Quartet left an enduring mark on chamber music both within the United States and internationally. After relocating to America in the late 1930s, they gradually attracted large audiences through concerts, radio appearances, and recordings. Their success brought both recognition and financial security while establishing exemplary performance standards for future quartets.

Among their notable recordings is the Budapest String Quartet’s 1977 interpretation of Beethoven’s "Cavatina" from Quartet No. 13 in B-flat major, Op. 130—selected by NASA for inclusion on the Voyager Golden Record. This cultural artifact was launched into space as a testament to Earth’s artistic heritage.

Jascha Heifetz famously commented: "One Russian is an anarchist. Two Russians are a chess game. Three Russians are a revolution. Four Russians are the Budapest String Quartet."

Recordings

The recordings listed here commence from 1932, marking the period when Josef Roisman assumed the role of first violinist, succeeding Emil Hauser, and Alexander Schneider joined as second violin. Apart from István Ipolyi, who remained until 1936, the ensemble established its definitive four-Russian member formation, which became the foundation of its enduring renown.

Most entries are sourced from LPs, CDs, liner notes, or other trustworthy references, with additional information drawn from an internal Sony Classical discography used for inventory purposes. This discography contains occasional inaccuracies concerning recording dates, personnel, and works performed; any data that cannot be verified is indicated by an asterisk [*].

Initials in square brackets denote the violist or second violinist involved (for example, [Va=II] refers to István Ipolyi). Some recording dates remain uncertain. Early sessions were originally released on shellac 78 rpm discs and later reissued on vinyl LPs and compact discs. Subsequent recordings were first issued directly on LP format. Unless otherwise specified as stereo, all recordings are in monophonic sound.

Recordings for HMV/Victor, 1932–1938

First Violin: Josef Roisman; Second Violin: Alexander Schneider; Viola: István Ipolyi or Boris Kroyt; Cello: Mischa Schneider

  • Bartók: Quartet No. 2 in A minor, Op. 17 (recorded 25/4/1936 [*Va=II]; reissued on LP Odyssey Y4-34643).
  • Beethoven: Quartet No. 2 in G major, Op. 18 No. 2 (recorded 1/6/1938 [*Va=BK]; reissued on LP Odyssey Y3-35240).
  • Beethoven: Quartet No. 3 in D major, Op. 18 No. 3 (recorded 30/4/1935 [*Va=II]; reissued on LP Odyssey Y3-35240).
  • Beethoven: Quartet No. 8 in E minor, Op. 59 'Rasumovsky' No. 2 (recorded 24/4/1935 [Va=II]; reissued on LP Odyssey Y4-34643; CD reissues Sony SBK-47665, Portrait SBK-46545, Biddulph 80222).
  • Beethoven: Quartet No. 13 in B flat major, Op. 130 (recorded 10/8/1933 & 4/4/1934 [Va=II]; reissued on LP Odyssey Y4-34643; CD Biddulph 80222).
  • Brahms: Quartet No. 2 in A minor, Op. 51 No. 2 (recorded 30/4-1/5/1935 [Va=II]; CD Biddulph LAB-120/1).
  • Brahms: Quartet No. 3 in B flat major Op. 67 (recorded November 1933 or possibly ’32? [Va=II]; reissued on LP Odyssey Y4-34643; CDs Portrait MPK-45553, Biddulph LAB-120/1).
  • Brahms: String Quintet No. 1 in F major, Op. 88 with Alfred Hobday (recorded 8/2/1937 [Va=BK]; CD Biddulph LAB-120/1).
  • Brahms: String Quintet No. 2 in G major, Op. 111 with Hans Mahlke (recorded November 1932 [Va=II]; CD Biddulph LAB-120/1).
  • Brahms: String Sextet in G major, Op. 36 with Alfred Hobday & Anthony Pini (recorded 8/2/1937 [Va=BK]; CD Biddulph LAB-120/1).
  • Mendelssohn: Quartet No. 1 in E flat major, Op.12 (recorded 29/4/1935 [Va=II]; reissued on LP Odyssey Y4-34643).
  • Mozart: Quartet No.19 in C major, K465 'Dissonance' (recorded14/11/1932 [Va=II]; LPs Odyssey Y3-33324 & Y3-35240; CD EMI CDH-63697).
  • Mozart: Quartet No.20 in D major, K499 'Hoffmeister' (recorded5/4/1934 [Va=II]; LP Odyssey Y4-34643; CD EMI CDH-63697).
  • Mozart: Quartet No.23 in F major, K590 (recorded29/4/1935 [*Va=II]; LP Odyssey Y3-35240).
  • Mozart: Clarinet Quintet in A major, K581 with Benny Goodman (recorded25/4/1938 [Va=BK]; CD EMI CDH-63697; Naxos Hist 8.111238).
  • Schubert: Quartettsatz in C minor, D703 (DB2221) (recorded4/4/1934 [*Va=II]; LP Odyssey Y4-34643).
  • Sibelius: Quartet in D minor, Op.56 Voces Intimae (recorded8/8/1933 [Va=II], Sibelius Society Volume 3).
  • Wolf: Italian Serenade in G major (1887) (recorded18/11/1932 [*Va=II]; LP Odyssey Y4-34643).

Columbia Recordings from 1940 Onward

1st Violin: Josef Roisman; 2nd Violin: Alexander Schneider, Edgar Ortenberg, or Jac Gorodetzky; Viola: Boris Kroyt; Cello: Mischa Schneider

  • Beethoven: String Quartet No. 1 in F major, Op. 18 No. 1:
  • recorded 9 September 1940 [2V=AS]; Sony CD reissue MH2K-62870.
  • recorded 5–9 May 1952 [2V=JG]; CD reissues CBS MP2K-52531, United Archives NUA01.
  • stereo recording from 1958 [2V=AS]; LP Columbia M3S-606; CD reissue Sony 88697776782.
  • Beethoven: Quartet No. 2 in G major, Op. 18 No. 2:
  • recorded 5–9 May 1952 [2V=JG]; CD reissues CBS MP2K-52531, United Archives NUA01.
  • stereo version from 1958 [2V=AS]; LP Columbia M3S-606; CD reissue Sony 88697776782.
  • Beethoven: Quartet No. 3 in D major, Op. 18 No. 3:
  • recorded 29 November 1951 [2V=JG]; CD reissues CBS MP2K-52531, United Archives NUA01.
  • stereo recording from 1958 [2V=AS]; LP Columbia M3S-606; CD reissue Sony 88697776782.
  • Beethoven: Quartet No. 4 in C minor, Op. 18 No. 4:
  • recorded 9–10 January 1941 [2V=AS]; Sony CD reissue MH2K-62870.
  • recorded 2 December 1951 [2V=JG]; CD reissues CBS MP2K-52531, United Archives NUA01.
  • stereo recording from 1958 [2V=AS]; LP Columbia M3S-606; Sony CD reissue 88697776782.
  • Beethoven: Quartet No. 5 in A major, Op. 18 No. 5 (Minuet only):
  • recorded 15 September 1941 [2V=AS]; Sony CD MH2K-62873.
  • recorded 2 May 1951 [2V=JG]; CD reissues CBS MP2K-52531, United Archives NUA01.
  • stereo version from 1958 [2V=AS]; LP Columbia M3S-606; Sony CD reissue 88697776782.
  • Beethoven: Quartet No. 6 in B flat major, Op.18 No.6:
  • recorded 2 April 1945 [2V=EO]; Sony CD MH2K-62870.
  • recorded 26 November 1951 [2V=JG]; CBS MP2K-52531 and United Archives NUA01 CDs.
  • stereo recording from 1958 [2V=AS]; LP Columbia M3S-606; Sony CD reissue 88697776782.
  • Beethoven: Quartet No.7 in F major, Op.59 'Rasumovsky' No.1:
  • recorded May 5–9,1952 [2V=JG]; LP Odyssey Y3-33316; United Archives NUA01 CD.
  • stereo recording November1959 [2V=AS]; Sony CDs SBK-46545,88697776782.
  • Beethoven: Quartet No.8 in E minor, Op.59 'Rasumovsky' No.2:
  • recorded May1951? [2V=JG]; Odyssey Y3-33316 LP; United Archives NUA01 CD.
  • stereo version November1959 [2V=AS]; Sony CDs SBK-46545,88697776782.
  • Beethoven: Quartet No.9 in C major, Op.59 'Rasumovsky' No.3:
  • recorded15 September1941[2V=AS]; Sony CDs MH2K-62870, SBK-47665.
  • recorded28 November1951[2V=JG]; Odyssey Y3-33316 LP; Sony MPK-45551 and United Archives NUA01 CDs.
  • stereo recording May1960[2V=AS]; CDs Sony SBK-47665 and Sony88697776782.
  • Beethoven: Quartet No.10 in E flat major, Op.74 'Harp':
  • recorded between1940–44[2V=AS]; Sony CD SBK-47665.
  • recorded May1951?[2V=JG]; Odyssey Y3-33316,Y3-35240 LPs; Sony MPK-45551 and United Archives NUA01 CDs.
  • stereo version May1960[2V=AS]; CDs Sony SBK-47665,CBS MPK-45551,Sony8869776782.
  • Beethoven: Quartet No.11 in F minor, Op.95 'Serioso':
  • recorded December1941[2V=AS]; Sony MH2K62870 CD.
  • recorded December1951[2V=JG]; Odyssey Y3-33316 LP; United Archives NUA01 CD.
  • stereo recording1960[2V=AS]; CDs Sony SBK46545,CBS MPK45551,Sony8869776782.
  • Beethoven: Quartet No.12 in E flat major, Op.127:
  • recorded February1942[2V=AS]; Sony MH262873 CD.
  • recorded May1952[2V=JG]; United Archives NUA01 CD.
  • stereo version1961[2V=AS]; Columbia LP M5S677; Sony CD8869776782.
  • Beethoven: Quartet No.13 in B flat major, Op.130:
  • recorded May1951[2V=JG]; United Archives NUA01 CD.
  • stereo recording1961[2V=AS]; Columbia LP M5S677; Sony CD8869776782.
  • Beethoven: Quartet No.14 in C sharp minor, Op.131:
  • recorded September & October1940[2V=AS]; Sony MH262873 CD.
  • recorded December1951[2V=JG]; United Archives NUA01 CD.
  • stereo version1961[2V=AS]; Columbia LP M5S677; Sony CD8869776782.
  • Beethoven: Quartet No.15 in A minor, Op.132:
  • recorded April1942[2V=AS]; Sony MH28K6273 CD
  • recorded May1952[2V=JG] United Archives NUA01 CD
  • stereo release1961 Columbia LP M5S677; Sony CD88697767872
  • Beethoven: Quartet No.16 in F major, Op.135:
  • recorded September1940[AS] Sony MH28k6273 CD
  • recorded November1951[JG] United Archives NUA01 CD
  • stereo release1960 Columbia LP M5S677; Sony CD88697767872
  • Beethoven: Grosse Fuge in B flat major, Op.133:
  • early recordings from the1920s with different members
  • recorded May1951[JG] United Archives NUA01 CD
  • stereo recording May1961[AS] CDs Sony SBK47665,CBS MPK45551,Sony88697767872

recorded April1945[EO] Sony MH28k6270 CD

stereo sessions from early to mid1960s broadly available on Columbia and CBS labels

  • Debussy: Quartet in G minor, Op.10:

CD reissued by CBS MPK44843

stereo recordings from mid to late1960s on Columbia label

  • Haydn: String Quartets (Op76 set):

Mid-1950s recordings by the Budapest String Quartet with second violinist JG; accessible through United Archives

  • Mozart: String Quartets and Quintets collaborating with Walter Trampler and others:

Recorded early to mid1950s and mid1960s; distributed by Columbia/Sony labels

Mid-century recordings widely issued by Columbia and the Naxos Historic series

Late1950s stereo recording on Columbia/Sony label

  • Ravel and Schubert Quartets and Quintets:

Selected early to mid20th-century recordings available on Columbia and Odyssey labels

Recordings from early50s and early60s on Columbia and Naxos Historic respectively

This comprehensive discography demonstrates the Budapest String Quartet’s enduring collaborations with distinguished soloists and prestigious labels such as Columbia and Sony—highlighting their extensive classical repertoire spanning numerous decades and cementing their legacy within the classical music recording industry.

Additional live recordings

First Violin: Josef Roisman; Second Violin: Alexander Schneider or Edgar Ortenberg; Viola: Boris Kroyt; Cello: Mischa Schneider

  • Beethoven: String Quartets Nos. 1–6 and 10–16, including the Grosse Fuge, Op. 133 (live performances from 1940 to 1962 at the Library of Congress; reissued on CD Bridge 9072, 9099, 9342).
  • Beethoven: Piano Trio No. 9 in G major, Op. 121a 'Kakadu Variations', featuring George Szell (recorded live on May 16, 1946; CD reissue Intaglio INCD 7191).
  • Brahms: Piano Quintet in F minor, Op. 34, with George Szell (live recording dated October 11, 1945; available on CD Bridge 9062).
  • Dvořák: Piano Quintet in A major, Op. 81, alongside Artur Balsam (live New York session from 1959; CD reissue Documents LV 931/32).
  • Mozart: Quartet No. 16 in E-flat major, K. 428 (live performance in New York, 1959; reissued on Documents LV 931/32).
  • Schubert: Quartet in D minor, D. 810 'Death and the Maiden' (live New York recording from 1959; CD reissue Documents LV 931/32).
  • Schubert: Piano Quintet in A major, D. 667 'The Trout', performed with George Szell (live recording from May 16, 1946; CD reissued by Intaglio INCD 7191).

Sources

  • R.D. Darrell, The Gramophone Shop Encyclopedia of Recorded Music (New York, 1936).
  • E. Sackville-West and D. Shawe-Taylor, The Record Year 2 (Collins, London, 1953).
  • Photograph featured in R. Stowell (Ed), Cambridge Companion to the String Quartet (2003).
  • CD Biddulph 80222-2 (P)2005, UPC 744718022229 [Beethoven recordings from 1933-1935 on 78rpm].
  • CD Sony MH2K-62870 and MH2K-62873 two-disc sets (P)1997, UPCs 074646287026 and 0074646287323 [Beethoven recordings from 1940-1945 on 78rpm].
  • CD United Archives NUA01 eight-disc set (P)2010, UPC 5494239160010 [Mono Beethoven recordings from 1951-1952 on vinyl LP].
  • CD Sony Classical Masters eight-disc set (P)&(C)2010, UPC 886977767821 [Stereo Beethoven recordings from 1958-1961 on vinyl LP].
  • CDs Sony SBK 46545 and SBK 47665 (C)1991 UPCs 07464465452 and 07464476652 [Stereo Beethoven recordings from the period of 1959-1961 on vinyl LP].

External links

  1. ↑ Brandt pp 52–53
  2. ↑ Brandt pp 53–59
  3. ↑ Brandt pp 59–62
  4. ↑ Brandt pp 60–62
  5. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named B62
  6. ↑ Brandt pp 64–78
  7. ↑ Brandt pp 78–80
  8. ↑ Brandt pp 52, 84, 95, 96
  9. ↑ Brandt pp 3–6, 81–83
  10. ↑ Brandt pp 86–88
  11. ↑ Brandt pp 12–26
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