GENRE-STYLISTIC MODALITY OF THE PIANO QUARTET OP. 47 R. SCHUMANN

2020 ◽  
pp. 52-58
Author(s):  
D. V. Kutluieva
Keyword(s):  
Piano Quartet

Brahms, Rhythm, and the Renaissance

2012 ◽  
Vol 8 ◽  
Author(s):  
Eleanor Heisey
Keyword(s):  
Compositional Style ◽  
The Past ◽  
Piano Quartet ◽  
Look Back ◽  
Variations On A Theme

Johannes Brahms’s deep engagement with the past contributed to his compositional style in many ways. This article considers Brahms techniques that look back to and expand on those of Renaissance composers, in particular metric conflict and cadences, voice displacement, changes in proportion, rhythmic augmentation and diminution, and the hocket. Examples are taken from Brahms’s Academic Festival Overture, Variations On A Theme By Haydn, Piano Quartet in A Major, and Symphony No. 3 in F Major.

scholarly journals Judith Weir's Instrumental Music as Description

Per Musi ◽  
2016 ◽  
pp. 59-78
Author(s):  
Kheng K. Koay
Keyword(s):  
Instrumental Music ◽  
Piano Quartet ◽  
Musical Motion

Abstract This study explores Judith Weir's abstract descriptive technique in her instrumental music, Distance and Enchantment (1988) for piano quartet and Musicians Wrestle Everywhere for ten instruments (1994). Folksongs and a location used and described in the music, respectively, are interpreted and "produced" through musical characters and mood. In most cases musical characters and gestures have a tendency to associate musical motion to arouse images. The decisions, ideas and styles in these compositions may be applied to works in other genres and her later works, as well.

Piano Quartet

1993 ◽  
Vol 134 (1805) ◽  
pp. 409
Author(s):  
Andrew Thomson ◽  
Richard Strauss ◽  
Ames Piano Quartet ◽  
Widor
Keyword(s):  
Piano Quartet

CONSTANT AND VARIABLE IN THE STYLE OF A RUSSIAN PIANO QUARTET

2020 ◽  
Vol 1 (2) ◽  
pp. 69-74
Author(s):  
N. K. Samoilova ◽  
Keyword(s):  
Chamber Music ◽  
New Techniques ◽  
Functional Roles ◽  
Russian Music ◽  
Piano Quartet ◽  
Music Making ◽  
The Difference ◽  
The Stability ◽  
Transformation Processes ◽  
Different Levels

The process of the steady rooting of invariant genre features of a piano quartet is considered through the ratio between stable and mobile features. Here there is either the complete independence of the instruments, but on the principles of equal participation in the embodiment of musical content, or the variability in the relations of instrumental parts. As the main ones in the genre, the musical norms of the classic-romantic style and the stability of the timbre composition are established. It is noted that in Russian music the evolution of the piano quartet passed through different phases: genre stabilization and recovery, temporary stop and subsequent active development. Transformation processes went through different levels: structure, content, instrumental- timbre solutions, rethinking the functional roles of partner instruments. The movement from the traditional normativity of instrumental compositions to the difference of timbre combinations in the XXth–XXIst centuries was primarily predetermined by such factors as polyphonization of texture, the active introduction of polyphonic forms, new techniques of instrumentation. In the modern piano quartet, the central idea of chamber music making, the idea of co-creation generates both an extremely individualized form of embodiment and a free timbre composition. In conclusion, it is noted that the piano quartet genre has the ability to accumulate the leading style trends in chamber music of different eras.

Piano Quartet; String Quartet Op.11

1983 ◽  
Vol 124 (1690) ◽  
pp. 755
Author(s):  
John Tyrrell ◽  
Suk ◽  
Suk Quartet ◽  
Stepan
Keyword(s):  
String Quartet ◽  
Piano Quartet

London, Royal Academy of Music, Pēteris Vasks Piano Quartet

Tempo ◽  
2004 ◽  
Vol 58 (228) ◽  
pp. 76-77
Author(s):  
Martin Anderson
Keyword(s):  
Royal Academy ◽  
Piano Quartet ◽  
The Rich

Latvian Independence Day, 18 November (commemorating the day 85 years ago when Latvia proclaimed its independence from Russia), was marked in London by a mini-concert in the Royal Academy of Music: a handful of Romantic songs by Emils Dārziņş, delivered in the rich bass voice of Pauls Putninş, and the first UK performance of Pēteris Vasks's Piano Quartet, composed in 2000.

Piano Quartet in G Minor, Op.25

1972 ◽  
Vol 113 (1547) ◽  
pp. 51
Author(s):  
Robert Anderson ◽  
Brahms ◽  
Gilels ◽  
Amadeus Quartet
Keyword(s):  
Piano Quartet

Swiss Music

Tempo ◽  
2003 ◽  
Vol 57 (226) ◽  
pp. 54-56
Author(s):  
Peter Palmer
Keyword(s):  
Royal Academy ◽  
Symphony Orchestra ◽  
Big Band ◽  
Wind Quintet ◽  
Piano Quartet ◽  
Women's Choir ◽  
Oboe D'amore ◽  
Concert Choir ◽  
Jazz Band ◽  
Bohuslav Martinu

NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.

Study, Copy, and Conquer

2013 ◽  
Vol 30 (3) ◽  
pp. 369-423 ◽  
Author(s):  
Julie Hedges Brown
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Expressive Power ◽  
Main Theme ◽  
Sonata Form ◽  
Compositional Process ◽  
Piano Works ◽  
Piano Quartet ◽  
A Minor ◽  
Critical Writings

Schumann's 1842 chamber music exemplifies a common theme in his critical writings, that to sustain a notable inherited tradition composers must not merely imitate the past but reinvent it anew. Yet Schumann's innovative practices have not been sufficiently acknowledged, partly because his instrumental repertory seemed conservative to critics of Schumann's day and beyond, especially when compared to his earlier experimental piano works and songs. This essay offers a revisionist perspective by exploring three chamber movements that recast sonata procedure in one of two complementary ways: either the tonic key monopolizes the exposition (as in the first movement of the Piano Quartet in E♭ major, op. 47), or a modulating main theme undercuts a definitive presence of the tonic key at the outset (as in the first movement of the String Quartet in A major, op. 41, no. 3, and the finale of the String Quartet in A minor, op. 41, no. 1). Viewed against conventional sonata practice, these chamber movements appear puzzling, perhaps even incoherent or awkward, since they thwart the tonal contrast of keys so characteristic of the form. Yet these unusual openings, and the compelling if surprising ramifications that they prompt, signal not compositional weakness but rather an effort to reinterpret the form as a way of strengthening its expressive power. My analyses also draw on other perspectives to illuminate these sonata forms. All three movements adopt a striking thematic idea or formal ploy that evokes a specific Beethovenian precedent; yet each movement also highlights Schumann’s creative distance from his predecessor by departing in notable ways from the conjured model. Aspects of Schumann’s sketches, especially those concerning changes made during the compositional process, also illuminate relevant analytical points. Finally, in the analysis of the finale of the A-minor quartet, I consider how Schumann’s evocation of Hungarian Gypsy music may be not merely incidental to but supportive of his reimagined sonata form. Ultimately, the perspectives offered here easily accommodate—even celebrate—Schumann’s idiosyncratic approach to sonata form. They also demonstrate that Schumann’s earlier experimental tendencies did not contradict his efforts in the early 1840s to further advance his inherited classical past.

scholarly journals Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)

2018 ◽  
Vol 59 (3-4) ◽  
pp. 301-308
Author(s):  
David Vondráček
Keyword(s):  
String Quartet ◽  
Franz Schubert ◽  
Formal Concept ◽  
Antonin Dvorak ◽  
Piano Quintet ◽  
The Third ◽  
Piano Quartet ◽  
Double Function ◽  
A Minor ◽  
Symmetric Structures

Abstract Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's opening is a homage to Beethoven's late String Quartet in A Minor (op. 132). While the latter works on a sub-thematic level, Dohnányi presents an elaborated theme in fugal technique, which in 1914 was a more conservative approach than Beethoven's in 1825. For Dohnányi, the symmetric structures are not a way out of traditional tonality (unlike for Bartók, who also frequently used symmetries), but rather are a way of extending it. The formal concept is no less interesting. The recapitulation of the first movement's material within the third is evocative of the double-function form used by Franz Liszt. While Liszt conflated the traditional multi-movement form into a new one-movement form, Dohnányi – so to speak – concealed the characteristics of the new one-movement form inside a traditional three-movement form. Thus, one could ask if the accusations against Dohnányi for being a traditionalist are justified. Perhaps instead we should reconsider how traditionalism and modernity are situated in our own set of aesthetic values.

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