Composing, Performing and Publishing: The ‘Haydn’ String Quartets and Other Chamber Music for Publication, 1784–1786

2017 ◽  
pp. 220-280
Author(s):  
Simon P. Keefe
Keyword(s):  
Chamber Music ◽  
String Quartets

London, Wigmore Hall: Maxwell Davies's new ‘Naxos Quartets’ (and earlier works on CD)

Tempo ◽  
2004 ◽  
Vol 58 (228) ◽  
pp. 68-69
Author(s):  
Paul Conway
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Large Scale ◽  
String Quartets ◽  
Individual Character ◽  
The Individual ◽  
Peter Maxwell Davies ◽  
Original Approach

In a project that will be completed in 2007, Sir Peter Maxwell Davies has been commissioned by the Naxos recording company to write ten string quartets. Large-scale ambitions already realized, the intimacy of chamber music offers an opportunity not only to consolidate but also to probe and quest with the precision of scaled-down forces. It is timely, then, to be reminded that, although it has not been a major preoccupation such as opera, concerto and symphony writing, the quartet form has drawn from him some significant examples evincing an original approach. A recent Metier release usefully gathers together on one disc all Max's works for string quartet prior to the Naxos series. In these persuasive recordings, the members of the Kreutzer Quartet display a keen understanding of the individual character of each piece, the circumstances of its creation and the purpose for which it was intended.

scholarly journals Women of American Chamber Music

2019 ◽  
Vol 4 ◽  
Author(s):  
Laena Batchelder ◽  
Class of 2019
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Women Composers ◽  
Classical Music ◽  
String Quartets ◽  
Death Valley ◽  
Current Status ◽  
Violin Sonata ◽  
Program Notes ◽  
History Of

On February 20, 2019, Laena Grace Batchelder, with her colleagues, performed a recital of three chamber pieces by American women composers. The first was Amy Beach’s Violin Sonata played with Mr. Edward Newman. The other two pieces were string quartets performed by the Uproar String Quartet, which included Batchelder’s fellow TCU students: Manuel Ordóñez, Ashley Santore, and Manuel Papale. They played Missy Mazzoli’s Death Valley Junction and Jennifer Higdon’s An Exaltation of Larks. In addition to the performance, Batchelder researched the current status of women in classical music, the history of American female composers, and the three composers she programmed and their pieces. From this research, she wrote detailed program notes for the audience to read.

Notes on Sonata Cycle of Cross-Cutting Development in Brahms' Chamber Music

10.34690/136 ◽  
2021 ◽  
pp. 156-169
Author(s):  
Наталия Семёновна Шлифштейн
Keyword(s):  
Chamber Music ◽  
String Quartets ◽  
Cycle Structure ◽  
Development Cycle ◽  
Sonata Cycle ◽  
The Law ◽  
The Cross ◽  
Law Of Attraction ◽  
Instrumental Ensembles ◽  
Clarinet Quintet

Развитие искусства, по словам Пастернака, подчиняется закону притяжения. Один из многочисленных примеров этому - бетховенская идея цикла сквозного развития, мимо которой не прошел ни один из последующих композиторов: от Шопена (Соната b-moLL) до Брукнера и Малера. Значительное место в этом процессе принадлежит Брамсу. В публикуемых «Заметках...» на примере шести различных по составу и времени написания камерно-инструментальных ансамблей композитора - фортепианных трио op. 8 (вторая редакция) и op. 40, струнных квартетов op. 51 и op. 67, Кларнетового квинтета op. 115 - обнаруживается разнообразие воплощений этой идеи: в одном случае ключевым моментом образования сквозной структуры цикла оказывается взаимодействие тональностей - одноименных и параллельных; в другом - взаимодействие метроритмов; и, наконец, импульс к построению сквозной композиции цикла может исходить от лаконичной темы, наделенной функцией эпиграфа. Перефразируя известную мысль Асафьева, можно сказать: идея одна, а форм ее претворения множество. The deveLopment of art, according to Pasternak, obeys the Law of attraction. One of the various exampLes is the idea of the cross-cutting deveLopment cycLe by Beethoven; none of the Later composers from Chopin (Sonata b flat minor) to Bruckner and MahLer passed by this idea. Brahms occupies a significant pLace in this process. One can discover a variety of embodiments of the idea in this articLe on the exampLe of six chamber and instrumentaL ensembLes of the composer, different by number of instruments and time of writing: piano trios op. 8 (2 version) and op. 40, string quartets op. 51 and op. 67, CLarinet Quintet op. 115. In one case, the interaction of keys - paraLLeL and reLative ones-is the centerpiece of the formation of the cross-cutting cycLe structure. In another case, the point is the interaction of metre-rhythms. And finaLLy, the impuLse to the buiLding of the cross-cutting cycLe composition can come from a concise theme endowed with the function of the epigraph. To paraphrase an idea of Asafiev, it can be stated that the idea is the same, but the forms of embodiments are muLtipLe.

Record Review

Tempo ◽  
1997 ◽  
pp. 29-49
Keyword(s):  
Chamber Music ◽  
Piano Music ◽  
String Quartets ◽  
List Type ◽  
Samuel Barber ◽  
Thea Musgrave ◽  
Record Review

Lepo Sumera's Fifth Symphony Mike SeabrookStephen Montague David DentonWeinberg's War Trilogy Paul RapoportBritish String Quartets Guy RickardsPerspectives in New Piano Music Raymond Head‘Isolamenti’ John WaterhouseThea Musgrave David DentonSwiss operas, Rhaetian and French Peter PalmerSamuel Barber Piano Music Calum MacDonaldHenri Sauguet's Symphonies Bret JohnstonIieder by Reger and Schoeck Peter PalmerBritish Chamber Music Tristram PuginToshio Hosokawa John Warnaby

Musical Canons

2020 ◽  
pp. 318-342
Author(s):  
William Weber
Keyword(s):  
Nineteenth Century ◽  
Chamber Music ◽  
Classical Music ◽  
String Quartets ◽  
Economic Base ◽  
Musical Culture ◽  
Musical Life ◽  
Public And Private ◽  
Popular Songs ◽  
English Music

This chapter analyzes the process by which separate musical canons emerged during the nineteenth century, dividing musical culture along lines still in existence today. Musical life expanded in both economic and aesthetic terms, creating a set of separate worlds governed by contrasting taste and cultural authority: orchestral and chamber music; operas in contrasting genres; and popular songs sung in public and private contexts. These cultural worlds developed separate canons and canonic repertories which interacted through competing ideologies. The opera world, which emerged as the main economic base of musical life, ended up focused on a repertory of old works in diverse genres. The classical music world took higher ground intellectually, with concerts by orchestras, string quartets, and vocal or instrumental. Popular music concerts related closely with the opera world, but developed their own events in the English music halls, French café-concerts, and German Variety shows.

Michael Berkeley: recent world premières and CD releases

Tempo ◽  
2003 ◽  
Vol 57 (225) ◽  
pp. 39-40 ◽  
Author(s):  
Paul Conway
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
String Quartets ◽  
Joint Commission ◽  
String Quintet ◽  
String Trio ◽  
The City ◽  
Clarinet Quintet

Michael Berkeley's choral and operatic successes have tended to obscure his accomplishments in the field of chamber music, which include a serialist String Trio (1978), two String Quartets and a Clarinet Quintet from the 1980s and the string quartet Torque and Velocity (1997). His latest essay in the genre, Abstract Mirror, for string quintet, was premièred on 11 February 2003 at Bishopsgate Hall by the Chilingirian Quartet, with cellist Stephen Orton. The work was a joint commission by the players and the City Music Society.

Audience and Style in Brahms’s String Chamber Music

2017 ◽  
Author(s):  
Marie Sumner Lott
Keyword(s):  
Chamber Music ◽  
Johannes Brahms ◽  
String Quartets ◽  
Chamber Works ◽  
Late Style ◽  
Systematic Exploration ◽  
High Maturity ◽  
String Quintets ◽  
First Maturity

This chapter discusses Johannes Brahms' string chamber music. Brahms' seven chamber works for strings alone fall neatly into three categories according to chronology and genre. They reflect the gradual changes evident in their composer's style at significant stages in his compositional development: the two sextets stem from his “first maturity,” the three string quartets represent what might be called a “high maturity” that flourished in Brahms' early Viennese years, and the two string quintets demonstrate a “late” style developing in the 1880s and 1890s. The chapter then looks at the connections between Brahms's systematic exploration of these genres and the audiences he chose to address in them.

Narratives of Structural Pacing in Mozart's String Quartets and Quintets

KronoScope ◽  
2009 ◽  
Vol 9 (1-2) ◽  
pp. 61-80
Author(s):  
Katharina Clausius
Keyword(s):  
Eighteenth Century ◽  
Chamber Music ◽  
Spatial Dynamics ◽  
Structural Models ◽  
String Quartets ◽  
Critical Perspective ◽  
Ferdinand De Saussure ◽  
Late Eighteenth Century ◽  
Late Eighteenth

AbstractThe sonata and rondo forms of Mozart's chamber music for strings rely on specific temporal-spatial dynamics that evade simple comparison to generic structural models. I rely on an understanding of the dual interaction of “real” and “musical” time, here defined as musical “pacing,” in order to examine the role of temporality in the linear narratives of typical late eighteenth-century forms. The linguistic theory of syntax and paratax proposed by structuralist Ferdinand de Saussure suggests a critical perspective clarifying the interdependent dynamics that define Mozartian forms. Within this structuralist context, the linearity of temporal progression ultimately escapes through music's vertical moment of resolution. The temporal impulse of Mozart's tonal structures both defines and liberates itself through his narratives of musical pacing.

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