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Thematische Bibliographien / Clarinet with string quartet / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Clarinet with string quartet“

Autor: Grafiati

Veröffentlicht am 24. Juni 2021

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1

Rosen, Jerome, Harrison Birtwistle, Jules Langert, Burrill Phillips, Thomas Read, Gunther Schuller und Ellen Taaffe Zwilich. „Clarinet Quintet; For Clarinet and String Quartet“. Notes 44, Nr. 2 (Dezember 1987): 365. http://dx.doi.org/10.2307/941597.

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2

Roseberry, Eric, Mandelring Quartet, Ib Hausmann und Kolja Lessing. „Berthold Goldschmidt: String Quartet; Piano Sonata; Clarinet Quartet“. Musical Times 133, Nr. 1797 (November 1992): 588. http://dx.doi.org/10.2307/1002597.

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3

Rushton, Julian, Mozart, Marc Schachman, Eric Hoeprich und Antaria Quartet. „Oboe Quartet: Clarinet Quartet; String Quartet in D, K.575“. Musical Times 135, Nr. 1816 (Juni 1994): 387. http://dx.doi.org/10.2307/1003231.

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4

Conway, Paul. „Michael Berkeley: recent world premières and CD releases“. Tempo 57, Nr. 225 (Juli 2003): 39–40. http://dx.doi.org/10.1017/s0040298203230242.

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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.

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5

Rickards, Guy. „MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE“. Tempo 58, Nr. 229 (Juli 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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6

Rickards, Guy. „New Releases of music by Women Composers“. Tempo 59, Nr. 231 (Januar 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.

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7

Hall, Michael. „Birtwistle's ‘Pulse Shadows’“. Tempo, Nr. 204 (April 1998): 12–13. http://dx.doi.org/10.1017/s0040298200006264.

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By alternating his Nine Movements for String Quartet with his Nine Settings of Paul Celan (for soprano, two clarinets, viola, cello and double bass) to produce Pulse Shadows, Harrison Birtwistle created not only his longest work for the concert hall but also his most moving and affirmative.

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8

Rickards, Guy. „Hindemith, et al. - HINDEMITH ‘Artist & Educator’: 41 Pieces for 2 violins from ‘Geigen-Schulwerk’; Sonatas for solo violin, op. 31 nos. 1–2. Ida Bieler (vln), Georg Sarkisjan (vln 2). Coviello Contemporary COV61114. - ‘Icelandic String Quartets’. PÁLSSON: Theme with Variations and Fugue. NORDAL: From Dream to Dream. HAUKUR TÓMASSON: A Long Shadow. MAGNÚSSON: String Quartet No 21. 1Stefania Ólafsdóttir (vla). Ethos String Quartet. Smekkleysa SKM65. - PENDERECKI: String Trio; String Quartets Nos. 1–3; Der unterbrochene Gedanke for string quartet; Clarinet Quintet1. 1Arkadiusz Adamski (cl), DAFÔ String Quartet. Dux 0770. - PISTON: String Quartets Nos. 1, 3 & 5. Harlem String Quartet. Naxos 8.559630. - POHJOLA: String Quartets Nos. 1–4. Kamus String Quartet. Alba SACD ABCD 334. - ‘Bow 56’. OLOFFSON: Higgs Boson: Capriccio for string sextet and electronics. PARMERUD: String Quintet No 1. HÅKAN LARSSON: Marks, for string quintet. ANDERS NILSSON: Host, for string sextet. Uppsala Chamber Soloists. Phono Suecia PSCD 190.“ Tempo 67, Nr. 264 (April 2013): 87–92. http://dx.doi.org/10.1017/s0040298213000247.

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9

Smirnov, Dmitri. „Marginalia quasi una Fantasia: on the Second Violin Sonata by Alfred Schnittke“. Tempo, Nr. 220 (April 2002): 2–10. http://dx.doi.org/10.1017/s0040298200008998.

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The Second Violin Sonata for violin and piano (1968), subtided Quasi una Sonata, is one of Alfred Schnittke's most popular works, and it is one of my personal favourites among his pieces (alongside his First Symphony, First String Quartet, First Hymn, Second and Third Violin Concerti, Three Madrigals, etc). I discovered Schnittke's music in April 1969 at an underground concert given in the Gnessin Institute in Moscow by Alexei Lyubimov (piano), Boris Berman (piano), Lev Mikhailov (clarinet) and a few string players. This half-forbidden concert, organized by Alexander Ivashkin, was all that remained of a whole festival, which had been cancelled at the last moment by the authorities. The concert was split into three parts, the first two of them dedicated to the music of the Soviet avant-garde, with compositions by the likes of Edison Denisov, Tigran Mansurian, Valentin Silvestrov, Viktor Ekimovsky and Kuldar Sink etc. At the end of the second part there was a perfonnance of Schnittke's Serenade for five musicians. This very cheerful and fanny piece, entangled with hundreds of short quotations, sounded very different from the rest of the program. The final part of the concert contained works of Schoenberg, Berg and Webern, played for the first time in Brezhnev's Soviet Union.

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10

Mottershead, Tim. „Gerard Schurmann - ‘CHAMBER MUSIC VOLUME 2’: GERARD SCHURMANN String Quartet no. 1 & 2; Trio for Clarinet, Cello and Piano; Fantasia for Cello and Piano. Lyris Quartet, Håkan Rosengren (cl.), Clive Greensmith (vc), Mikhail Korzhev (pno). Toccata Classics TOCC0220“. Tempo 68, Nr. 270 (04.09.2014): 94–95. http://dx.doi.org/10.1017/s0040298214000503.

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11

Berrett, Joshua, Donald Martino und Fred Lerdahl. „String Quartet“. American Music 8, Nr. 2 (1990): 241. http://dx.doi.org/10.2307/3051956.

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12

Conway, Paul. „Matthew Taylor - MATTHEW TAYLOR: String Quartet No. 5, op. 351; String Quartet No. 6, op. 362; String Quartet No. 7, op. 373. 1Dante String Quartet, 2Allegri String Quartet, 3Salieri String Quartet. Toccata Classics TOCC 0144.“ Tempo 67, Nr. 266 (Oktober 2013): 122–24. http://dx.doi.org/10.1017/s0040298213001204.

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13

Rickards, Guy. „Icarus Soaring: the music of John Pickard“. Tempo, Nr. 201 (Juli 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.

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14

Wright, David. „Schnittke: String Trio; Piano Quartet; Stille Musik; String Quartet No.2“. Musical Times 133, Nr. 1797 (November 1992): 591. http://dx.doi.org/10.2307/1002604.

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15

Laporta, Mark S., und Seymour Shifrin. „String Quartet No. 5“. Notes 44, Nr. 1 (September 1987): 165. http://dx.doi.org/10.2307/941011.

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16

Fennelly, Brian, und Elliott Carter. „String Quartet no. 4“. Notes 48, Nr. 2 (Dezember 1991): 689. http://dx.doi.org/10.2307/942093.

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17

Kearns, William, und George Whitefield Chadwick. „String Quartet No. 1“. American Music 8, Nr. 3 (1990): 378. http://dx.doi.org/10.2307/3052108.

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18

Poulson, Christian F., und Stanley C. Abraham. „The Portland String Quartet“. Journal of Management Inquiry 5, Nr. 3 (September 1996): 197–206. http://dx.doi.org/10.1177/105649269653002.

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19

Ribizel, Tjaša. „Božidar Kos: String Quartet“. Musicological Annual 50, Nr. 1 (15.07.2014): 77–85. http://dx.doi.org/10.4312/mz.50.1.77-85.

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Božidar Kos, composer, teacher and theorist, has through his work, become worldwide known. His compositional output is variegated, intended for different setting, which include also his chamber works. This part of his oeuvre is presented by a detailed wxamination of his String Quartet.

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20

Palmer, Peter. „Further reviews“. Tempo 60, Nr. 238 (Oktober 2006): 48–49. http://dx.doi.org/10.1017/s0040298206320311.

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FRITZ BRUN: Symphony No. 9; Aus dem Buch Hiob (Symphonische Dichtung). Moscow Symphony Orchestra c. Adriano. Guild GMCD 7306.SCHOECK: String Quartet No. 2 in C major. FRITZ BRUN: String Quartet No. 3 in F major. Amar Quartett. Musiques Suisses MGB CD 6238.HANS SCHAEUBLE: String Quartet op.19. MEINRAD SCHÜTTER: String Quartet. ERICH SCHMID: String Quartet op. 4. casalQUARTETT Zurich. Guild GMCD 7303.

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21

Anderson, Martin. „Adolf Busch“. Tempo 60, Nr. 235 (Januar 2006): 40–42. http://dx.doi.org/10.1017/s0040298206280045.

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ADOLF BUSCH String Sextet in G, op. 40. BRAHMS String Sextet No. 1 in B flat major, op. 18. Kölner Streichsextett. Raumklang/Marc Aurel Edition CMN 006.ADOLF BUSCH: Quartet in One Movement in B minor, op. 29. KAMINSKI: String Quartet in F major. SCHULHOFF: String Quartet No. 1. ULLMANN: String Quartet No. 3. Casal Quartet. Telos Music Records TLS 111.ADOLF BUSCH: Organ Works. Ludger Lohmann (organ). Motette CD 13101.

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22

Clarke, Colin. „George Perle - GEORGE PERLE: String Quartet No. 2; String Quartet No. 5; Windows of Order (String Quartet No. 8); Molto Adagio. Daedalus Quartet. Bridge 9398.“ Tempo 68, Nr. 268 (20.03.2014): 102–3. http://dx.doi.org/10.1017/s0040298213001861.

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23

Graubart, Michael. „Schoenberg's String Quartets“. Tempo 58, Nr. 229 (Juli 2004): 41–46. http://dx.doi.org/10.1017/s0040298204210221.

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SCHOENBERG: String Quartets Nos.1–4; String Quartet in D major; Presto in C major; Scherzo in F major. Aron Quartet (Ludwig Müller, Barna Kobori, Georg Hamann, Christophe Pantillon) with Anna Maria Pammer (sop). Preiser Records PR 90572 (3-CD set).

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24

Cibişescu-Duran, Iulia. „Architecture and language in the seven String Quartets by Iulia Cibişescu-Duran“. Artes. Journal of Musicology 21, Nr. 1 (01.03.2020): 130–55. http://dx.doi.org/10.2478/ajm-2020-0008.

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AbstractWritten between 1990 and 2009, my seven works for string quartet: Poems for string Quartet and 6 numbered Quartets approach different modal languages, from prepentatonic or pentatonic structures to heptachordic or dodecaphonic configurations, sometimes overlapping musical languages, generating those polymorphous languages, with moments of overlapping or juxtaposing of syntaxes, with a motivic cycling determinant of a conceptual unit of works linked to synthetic, elaborate thinking. Pluripartite, seen as suites of miniatures (String Quartet No. 3, Poems for string quartet), tripartite (Quartets No. 2, 4, 5, 6) or monopartite (Quartet No. 1), the 7 String Quartets are written in the sphere of formal patterns caused by construction based on dramaturgy inspired by literary works (see Quartet No. 5 inspired by Winter at Lisbon by Antonio Munoz Molina, see Poems for string quartet and Quartet no. 3 inspired by my own poems from the volumes Hiding places of Masks and Egyptian Mystery), from the contemplation of the chordal sonorities of some tonal-functional relations or of some jazz sonorities (Quartet No. 4), of a Byzantine song or children’s songs (Quartet No. 3), of philosophical meditations (see Quartet No. 1), of sonorities belonging to the Romanian song and dance (Quartet No. 6) or of some concision and refinement as reflections of Webern’s music, overlaying on small temporal spaces different musical languages belonging to different tuning systems (Poems for string quartet). The first audition of String quartets was at the International Festivals of the Musical Autumn of Cluj and Cluj Modern Festival (1990, 1993, 1999, 2001, 2003, performers: Concordia Quartet: Albert Markos, Grigore Botar, Olimpiu Moldovan, Adalbert Torok), as well as at the International Meridian Festival, Bucharest (2018, Quartet No. 6 played by the Ad Hoc Quartet: Vlad Răceu, Diana Man, Ovidiu Costea, Vlad Rațiu, musical management: Matei Pop).

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Rapoport, Paul. „Benjamin Johnston - BENJAMIN JOHNSTON : String Quartet No. 7; String Quartet No. 8; String Quartet No. 6; Quietness1. Kepler Quartet, 1Benjamin Johnston (voice). New World Records 80730-2“. Tempo 70, Nr. 278 (28.09.2016): 98–99. http://dx.doi.org/10.1017/s0040298216000498.

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26

Carbon, John, Bruce Taub und Louis Karchin. „Variations Four String Quartet (1973)“. Notes 46, Nr. 3 (März 1990): 819. http://dx.doi.org/10.2307/941459.

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27

Avshalomov, Daniel, Colin Matthews, David Epstein und Morton Subotnick. „String Quartet No. 1 (1979)“. Notes 42, Nr. 2 (Dezember 1985): 403. http://dx.doi.org/10.2307/897457.

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28

Frank, Andrew, und Dominic Muldowney. „String Quartet No. 1 (1973)“. Notes 42, Nr. 1 (September 1985): 160. http://dx.doi.org/10.2307/898275.

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29

Holzaepfel, John, und David Macbride. „Three Dances for String Quartet“. American Music 15, Nr. 1 (1997): 118. http://dx.doi.org/10.2307/3052706.

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30

Scholl, Sharon L. „String Quartet Performance as Ritual“. American Journal of Semiotics 9, Nr. 1 (1992): 115–29. http://dx.doi.org/10.5840/ajs19929136.

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31

Carter, Elliott. „Fragment for string quartet (1994)“. Tempo, Nr. 192 (April 1995): 1–8. http://dx.doi.org/10.1017/s0040298200010366.

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32

Payne, Anthony. „Britten and the String Quartet“. Tempo, Nr. 163 (Dezember 1987): 2–6. http://dx.doi.org/10.1017/s0040298200023548.

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THAT BENJAMIN BRITTEN already possessed in his early twenties a most astonishing technical assurance has never been in doubt; nor that he commanded a range of feeling and a stylistic integrity which proclaimed a uniquely precocious maturity. So much was evident from early published scores like the Sinfonietta, Phantasy for oboe quartet, Variations on a theme of Frank Bridge, and Our Hunting Fathers. The route by which he had reached this early maturity, however, was not generally known until comparatively recently, and the book which was for decades to remain the most reliable and perceptive guide to his music—the symposium of 1952 edited by Donald Mitchell and Hans Keller—said little about the pre-opus 1 works, or about influences.

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Johnson, Bret. „David Diamond String Quartets“. Tempo 59, Nr. 234 (21.09.2005): 65–66. http://dx.doi.org/10.1017/s0040298205290320.

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DIAMOND: String Quartets (complete); Concerto for String Quartet; Night Music for Accordion and String Quartet1. Potomac String Quartet with 1Carmelo Pino (acc). 4-CD set (each disc available separately): Albany TROY 504 (Nos. 3 and 8, Concerto), 540 (Nos. 2, 9 and 10), 613 (Nos. 1, 5 and 6) and 727 (Nos. 4 and 7, Night Music).

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34

Шлифштейн, Наталия Семёновна. „Notes on Sonata Cycle of Cross-Cutting Development in Brahms' Chamber Music“. Музыкальная академия, Nr. 1(773) (31.03.2021): 156–69. http://dx.doi.org/10.34690/136.

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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.

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35

Conway, Paul. „London, Wigmore Hall and R.A.M.: String Quartets by Hans Abrahamsen, Rebecca Saunders, Colin Matthews, Graham Williams and John Hawkins“. Tempo 67, Nr. 264 (April 2013): 75–77. http://dx.doi.org/10.1017/s0040298213000156.

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Due to Hurricane Sandy, the New York-based JACK Quartet were unable to cross the Atlantic to join forces with the Arditti Quartet at London's Wigmore Hall on 31 October 2012 for the British premières, now postponed, of 2012-S for two string quartets by James Clarke and the string octet Kampf zwischen Karneval und Fasten by Mauro Lanza. In lieu, the Ardittis substituted James Clarke's String Quartet No. 1 (2002–03) and Wolfgang Rihm's String Quartet No. 13 (2011), joining the first performances in the UK, as originally advertised, of quartets by Danish composer Hans Abrahamsen and British-born, Berlin-domiciled Rebecca Saunders.

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Venn, Edward. „Manchester, RNCM: Robin Holloway's String Quartet, op. 97“. Tempo 58, Nr. 228 (April 2004): 64–66. http://dx.doi.org/10.1017/s0040298204270152.

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The world première of Robin Holloway's String Quartet, given by the Endellion Quartet at the RNCM on 13 October 2003, came in the midst of a number of concerts around the country marking the composer's 60th birthday. (Let us not forget, too, Claridge Press's publication of Holloway's writings, also coinciding with this anniversary.) Clever programming between Haydn's quartet op. 76 no. 4 and Brahms's op. 51 no. 2, enabled one to appreciate Holloway's first essay in this genre in the context (on the one hand) of a composer for whom the string quartet was seemingly an effortless medium, and (on the other) of a composer on whom the quartet tradition weighed heavily. For Holloway too, the string quartet proved problematic, and almost unassailable – his highly biographical programme-note revealed an initial inability to engage with ‘this most hallowed of the classic media, with its incomparably rich literature’. This inhibition threatened to stifle work altogether, for it was only a final attempt in August 2003, after three ‘sterile years’ of trying, that Holloway found a way through the problems the string quartet posed him.

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Whittall, Arnold. „Contemporary German composers“. Tempo 59, Nr. 231 (Januar 2005): 67–69. http://dx.doi.org/10.1017/s0040298205210070.

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LACHENMANN: Das Mädchen mit den Schwefelhölzern (Tokyo Version, 2000) c. Sylvain Cambreling. ECM New Series 1858/9 (2-CD set).DÖHL: Sound of Sleat; Bruchstücke zur Winterreise for piano; String quintet: Winterreise; Notturno. James Tocco (pno), Hugo Noth (accordion), Ovidiu Dabila (double bass), Auryn Quartet with Boris Pergamenschikov (vlc), Lasalle Quartet. Dreyer-Gaido 21013.HÖLLER: Piano Works. Kristi Becker, Pi-hsien Chen (pnos). cpo 999 954-2.PINTSCHER: Figura I–V; String Quartet No. 4, Portrait of Gesualdo; Dernier espace avec introspecteur. Theodoro Anzelotti (accordion), Arditti String Quartet. Winter & Winter 910 097-2.

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Cross, Jonathan. „Birtwistle - BIRTWISTLE: The Complete String Quartets. String Quartet: The Tree of Strings (2007); 9 Movements for String Quartet (1991–96). Arditti Quartet. Aeon AECD 1217.“ Tempo 67, Nr. 264 (April 2013): 87. http://dx.doi.org/10.1017/s0040298213000235.

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39

Lister, Rodney. „Milton Babbitt“. Tempo 58, Nr. 229 (Juli 2004): 47–49. http://dx.doi.org/10.1017/s0040298204240220.

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BABBITT: String Quartet No. 61; Occasional Variations for synthesizer; String Quartet No. 22; Composition for Guitar3. 1The Sherry Quartet; 2The Composers Quartet; 3William Anderson (gtr). Tzadik TZ7088.BABBITT: Quatrains1; Manifold Music2, My Ends Are My Beginnings3; Soli e Duettini4; Swan Song No. 15. 1Tony Arnold (sop), Charles Neidich, Ayako Oshima (cls); 2Gregory D'Agostino (org); 3Allen Blustine (cl); 4William Anderson, Oren Fader (gtrs); 5Cygnus Ensemble c. Jeffrey Milarsky. Bridge 9135.

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40

Schwartz, Elliott, Richard Rodney Bennett, Nicholas Sackman und Michael Blake Watkins. „Travel Notes 1; For String Quartet“. Notes 41, Nr. 4 (Juni 1985): 792. http://dx.doi.org/10.2307/940895.

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41

Avshalomov, Daniel, Netty Simons, Nikolai Karetnikov, Brian Ferneyhough und Vinko Globokar. „Facets 4; For String Quartet (1962)“. Notes 44, Nr. 2 (Dezember 1987): 370. http://dx.doi.org/10.2307/941600.

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Century, Paul, und Roberto Sierra. „Triptico for Guitar and String Quartet“. Notes 49, Nr. 1 (September 1992): 363. http://dx.doi.org/10.2307/897264.

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43

Steiner, Fred, und Miklos Rozsa. „String Quartet no. 1, op. 22“. American Music 9, Nr. 1 (1991): 116. http://dx.doi.org/10.2307/3051543.

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44

Willson, R. B. „Review: The Twentieth-Century String Quartet“. Music and Letters 84, Nr. 2 (01.05.2003): 324–27. http://dx.doi.org/10.1093/ml/84.2.324.

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45

Provost, Richard, und Kerry Arlt. „Music for Guitar and String Quartet“. American String Teacher 37, Nr. 1 (Februar 1987): 58–60. http://dx.doi.org/10.1177/000313138703700118.

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46

Winter, Michael. „On James Tenney'sArbor Vitaefor string quartet“. Contemporary Music Review 27, Nr. 1 (Februar 2008): 131–50. http://dx.doi.org/10.1080/07494460701671566.

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47

Burton-Page, Piers. „Malcolm Arnold and the String Quartet“. Musical Times 127, Nr. 1723 (Oktober 1986): 551. http://dx.doi.org/10.2307/964386.

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48

Branscombe, Peter, W. A. Mozart, Albi Rosenthal und Alan Tyson. „String Quartet in F Major, K168“. Musical Times 132, Nr. 1785 (November 1991): 565. http://dx.doi.org/10.2307/966213.

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49

Ureche, Alexandru. „ECHOES OF D. SCHOSTAKOVICH’S COMPOSITIONAL STYLE IN BORIS DUBOSARSCHI’S STRING QUARTET NO.2“. Akademos 60, Nr. 1 (Juni 2021): 137–45. http://dx.doi.org/10.52673/18570461.21.1-60.19.

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The String Quartet nr. 2 by the foremost Moldovan composer Boris Dubosarschi (1947–2017), as well as his entire string quartet work, was composed under the decisive influence of the work of Dmitri Schostakovich (1906–1975). The string quartet work of B. Dubosarschi, comprized of four titles, is saturated with the usage of the Dmitri Schostakovich’s musical signature – DSCH, which often serves as the thematic core of the entire cycle. The reflection of the compositional style of D. Schostakovich in the string quartet work of B. Dubosarschi, nevertheless, is not confined to the usage of the DSCH monogram, but rather encompasses a broad range of compositional techniques characteristic of the Russian composer’s work such as the use of specific modes and tonal-modal relations, of the characteristic intervals and chords, the usage of leitmotifs and monothematic principles, as well as of the full spectrum of polyphonic techniques. This article describes the compositional tehniques used in the String Quartet nr. 2 by Boris Dubosarschi that echo the compositional style of D. Schostakovich.

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50

Yudkin, Jeremy. „Beethoven's Mozart Quartet“. Journal of the American Musicological Society 45, Nr. 1 (1992): 30–74. http://dx.doi.org/10.2307/831489.

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The literary critic Harold Bloom coined the term "anxiety of influence" to cover stages in the emancipation of poets from their powerful forebears. Much has been written on the shadow cast by Beethoven over later nineteenth-century composers, but Beethoven too had to come to terms with powerful influences. It has long been recognized that the slow movement of Beethoven's String Quartet, op. 18, no. 5, is modeled on that of Mozart's String Quartet in A major, K. 464. Here it is shown that in fact, the imitation involves not only the slow movement but all four of the movements. This provides an opportunity to examine in detail Beethoven's technique of reinterpreting his model. Indeed an examination of Beethoven's "anxiety" at different stages of his career may lead us to a closer understanding of his creative development. Toward the end of his life Beethoven imitated one of the movements from K. 464 again. Here may be seen the final stage in the confrontation of his anxiety.

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