Rodolfo Halffter et al. - RODOLFO HALFFTER: Chamber Music, Volume 2. Giga, op. 31; Tres piezas breves, op. 13a2; Dos sonatas de El Escorial, op. 23; Homenaje a Antonio Machado, op. 133; Divertimento, op. 7a4-13; Laberinto, op. 343; Capricho, op. 409; Epinicio, op. 423,4; Secuencia, op. 393. 1Miguel Ángel Jimenez (gtr), 2Beatriz Millán (hp), 3Francisco José Segonia (pno), 4Cinta Vrea (fl), 5Vicente Fernández (ob), 6Nerea Meyer (cl), 7Francisco Mas (bn), 8César Asensi (tpt), 9Victor Arriola (vln), 10Paulo Vieira (vln), 11Alexander Trotchinsky (vla), 12Rafael Domínguez (vlc), c. 13Manuel Coves. Naxos 8.572419 - RODOLFO HALFFTER: Chamber Music, Volume 3. String Quartet, op. 241; Cello Sonata, op. 262. Tres Movimientos, op. 281; Ochos tientos, op. 351. 1Bretón String Quartet, 2John Stokes (vlc), Francisco José Segonia (pno). Naxos 8.572420 - NORDIN: Undercurrents1,2; Surfaces Scintillantes2; Cri du Berger1; The Aisle2; Pendants I-III2. 1Benjamin Carat (vlc). 2Gageego!/Pierre-Andre Valade. Phono Suecia PSCD 192 - SUNLEIF RASMUSSEN: Dancing Raindrops; Suite for guitar and effect processor; Andalag #2; Like the Golden Sun; Mozaik/Miniature. Aldubarán. Dacapo 8.226567. - WEINBERG: Sonatas for violin and piano Nos. 1, op. 12; 4, op. 39; Sonata for violin solo No. 1, op. 82. Sonatina for violin and piano, op. 46. Yuri Kalnits (vln), Michael Csányi-Wills (pno). Toccata Classics TOCC 0007. - ‘Dedicated to Trio’. SVEN-DAVID SANDSTRÖM: 5 Pieces. ÖSTERLING: Lundi1. MONNAKGOTLA: 5 Pieces. HEDELIN: Akt. TALLY: Winter Island. 1Dan Laurin (rec), Trio Zilliacusperssonraitinen (ZPR). Phono Suecia PSCD 189. - HENZE: ‘Hommages’. Sonata for 6 players; Margareten-Walzer; Ländler; La mano sinistra; Epitaph; Toccata mistica; String Trio; Ode al dodicesimo apostolo; An Brenton; Klavierstück für Reinhold; Serenade; Adagio, adagio. Ensemble Recherche. Wergo WER 6727 2. - ‘Silver Tunes’. VON KOCH: Silver Tunes. LANGLAIS: 5 Pieces. AUGUSTA READ THOMAS: Angel Tears and Earth Prayers. DEBUSSY: Syrinx. LIEBERMANN: Air, op. 106. LÖFBERG Sonata-I Choral (plus works by ROMAN, GLUCK, HILDEGARD VON BINGEN). Elivi Varga (fl), Ole Långström (org). Sterling CDA 1676-2.

Tempo ◽  
2013 ◽  
Vol 67 (265) ◽  
pp. 112-117
Author(s):  
Guy Rickards
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Hildegard Von Bingen ◽  
Antonio Machado ◽  
String Trio ◽  
Violin And Piano ◽  
Cello Sonata

Symphonies Reframed

2018 ◽  
Author(s):  
Gjertrud Pedersen
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Chamber Ensemble ◽  
Educational Value ◽  
Chamber Ensembles ◽  
String Trio ◽  
Original Works ◽  
The Difference ◽  
Core Questions ◽  
First Time

Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

Endre Szervánszky

Tempo ◽  
1969 ◽  
pp. 2-5
Author(s):  
Ferenc Halmy
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Violin And Piano ◽  
Minor Works

Endre Szervánszky (b. 1911) is one of the outstanding figures on the Hungarian musical scene since Bartók and Kodály. He had his first notable success with his first string quartet. When this was performed by the Végh Quartet in Budapest in 1943, the distinguished music critic Dénes Bartha wrote: “The quartet must be considered by far the best, most original, forceful and mature creation of contemporary Hungarian chamber music”. Completed five years earlier, in 1938, it was Szervanszky's first work of significance, and although he modestly described it in the printed programme as an “essay on Bartók”, it already gives clear evidence of his creative individuality. For various reasons however, including of course the war, he did not go on to any comparable achievement until after 1945, although he did write a number of minor works for piano (Sonatina, Little Suite), as well as a Sonata for violin and piano (1945), of somewhat atonal character.

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.

Practicing Efficiently—For Teachers

1994 ◽  
Vol 44 (2) ◽  
pp. 49-51
Author(s):  
Katrina Wreede ◽  
Karen Ritscher
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Free Jazz ◽  
Youth Orchestras ◽  
String Trio

Katrina Wreede has an active career as a performer, teacher, and composer. Formerly the violist with the Turtle Island String Quartet, she performs with chamber music groups, a viola/piano duo, and a string trio, all of which explore free jazz sensibilities inside the chamber music form. While violist with TISQ, she performed to critical acclaim in more than 40 states and nine countries, appearing in numerous television specials. She teaches both privately and for several youth orchestras and presents workshops on improvisation and composition to children and adults. She also composes in her “Improvisational Chamber Music” style.

Haydn, String Quartet in G, op. 76 no. 1/i (Allegro con spirito)

2021 ◽  
pp. 105-119
Author(s):  
James Hepokoski
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Ongoing Process ◽  
The Moment ◽  
Cultural Role

Not all classical expositions are “two-part expositions,” that is, one divided in half by a medial caesura. Another, less common option was that of the “continuous exposition,” lacking a medial caesura and hence (in Sonata Theory’s view) lacking a “secondary theme” proper. This chapter considers a chamber work with an exemplary continuous exposition, the first movement of Haydn’s String Quartet in G, op. 76 no. 1. The chapter’s historical backdrop also considers the cultural role and implications of the chamber music of the era, drawing from, among other sources, Klorman’s recent study of chamber music characterizing it as an ongoing, mutual conversation “among friends.” The opening of Haydn’s quartet is a particularly apt illustration of that idea, with each of the players joining in, one by one. The bulk of the chapter is given over to a phrase-by-phrase analysis of the movement that emphasizes the ongoing process of musical elaboration and close motivic development that is characteristic of Haydn’s style. Special attention is given to the moment where presumed expectations for a two-part exposition are overridden and one realizes that the exposition will be continuous. Alternative readings of this moment are also considered.

Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations

1994 ◽  
Vol 44 (2) ◽  
pp. 79-80
Author(s):  
Pamela Ryan ◽  
Heidi Castleman
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Symphony Orchestra ◽  
Associate Professor ◽  
Brooklyn College ◽  
State University ◽  
The North ◽  
The Arts ◽  
North Carolina School ◽  
Cincinnati College

Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed with the Bowling Green String Quartet at Carnegie Hall and in Mexico City. Recently, she has performed on chamber music radio broadcasts in New Orleans and with the Louisiana Philharmonic. She now serves as principal violist of the Tallahassee Symphony Orchestra.

Kodály's Melody

Tempo ◽  
1963 ◽  
pp. 12-16
Author(s):  
András Szőllősy
Keyword(s):  
Chamber Music ◽  
Folk Music ◽  
Close Contact ◽  
Detailed Examination ◽  
Folk Song ◽  
The Other ◽  
Organic Part ◽  
Violin And Piano ◽  
Shed Light

It is a generally accepted view that the most striking features of Kodály's melodic structure may be explained by the influence of folk song. This is not borne out, however, by more detailed examination. It is true that there are certain features in his melodic types which later undergo a change, and of these a prime example is the precise periodic articulation of the melodies, which is much more consistent in his later compositions than in those of his youth. Such characteristics may indeed be attributed to the influence of folk music, but in general the typical Kodály melody existed before he could have come into close contact with folk music in the year when he made his first folk song collecting trip. Of his compositions from the years 1904–1906, the only work we can consider from the viewpoint of melodic structure is the ‘Adagio’ for violin and piano; the other two compositions, Evening for mixed voice choirs and Summer Evening for orchestra, are known only in their later revised form of 1930. This, however, is sufficient to convince us that the expansive declamation and the structural ornamentation which is an organic part of its idiom continue an instrumental tradition whose origin may well go back to chamber music of the Baroque age, with its broad-flowing slow movements. This also seems to be substantiated by the piano part, which replaces impressionistic harmonies with those which may be analysed in accordance with classical harmonic principles. This characteristic harmonisation requires mention here, although it is not closely connected with the problem of melodic structure, since even the most complicated of Kodály's harmonies, when stripped of their embellishments, reveal pure ‘classical’ chords as their basis. The role of the melody in this problem serves merely to emphasise that with Kodály, perhaps more than any other composer, harmony is never an end in itself, but is always the result of the movement of the melody. If the word did not have more significance than we wish to attribute to it here, we might say that Kodály's harmony is only secondary to melody. This word ‘secondary’, however, does not refer to expression, but merely attempts to shed light on the matter of origin, by stressing the supreme importance of melody for Kodály.

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.

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