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Journal articles on the topic 'Quartets'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 February 2023

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1

Johnson, Bret. "David Diamond String Quartets." Tempo 59, no. 234 (September 21, 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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2

Graubart, Michael. "Schoenberg's String Quartets." Tempo 58, no. 229 (July 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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3

Morabito, Fabio. "Rehearsing the Social." Journal of Musicology 37, no. 3 (2020): 349–82. http://dx.doi.org/10.1525/jm.2020.37.3.349.

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The history of Beethoven’s late quartets has usually been told by separating (and redeeming) the composer’s aesthetic priorities from the difficulties encountered by the works’ early performers, publishers, and listeners. This article weaves together Beethoven’s interests with those of his publisher Maurice Schlesinger and the violinist Pierre Baillot, whose ensemble first performed the late quartets in Paris between 1827 and 1829. I navigate the traffic among these parties to reassess what was difficult about this music and, on this basis, test new routes to explore early nineteenth-century string quartet culture. One issue these different agents faced—whether in presenting the quartets to the Viennese public (Beethoven), selling them in Paris (Schlesinger), or performing them (Baillot)—was that the late quartets seemed to call for a new kind of ensemble rehearsal. The genre’s proverbial sociability, historically supporting an almost immediate and shared grasp of the performers’ interplay, was compromised in Beethoven’s late quartets by a loss in topicality. The erosion of topical references and familiar textures in these quartets made it harder for performers to predict how to coordinate their moves. Musical topics, I argue, functioned as a means of communication not only with listeners but also among performers within an ensemble. In contrast, the sociability of Beethoven’s late quartets had to be patiently engineered through dedicated rehearsals, a step that distanced this music from past quartet cultures and shaped a new notion of making music together.

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4

Cibişescu-Duran, Iulia. "Architecture and language in the seven String Quartets by Iulia Cibişescu-Duran." Artes. Journal of Musicology 21, no. 1 (March 1, 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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5

Szatylowicz, Halina, Paulina H. Marek, Olga A. Stasyuk, Tadeusz M. Krygowski, and Miquel Solà. "Substituted adenine quartets: interplay between substituent effect, hydrogen bonding, and aromaticity." RSC Advances 10, no. 39 (2020): 23350–58. http://dx.doi.org/10.1039/d0ra04585c.

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Substituent effects on hydrogen bonds in adenine quartets and aromaticity of adenine rings depend on the quartet type. A₄-N3 and A₄-N7 quartets are more responsive to the electronic nature of substituents than A₄-N1.

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6

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, no. 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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7

Venn, Edward. "Maxwell Davies Naxos Quartets 3 and 4." Tempo 59, no. 234 (September 21, 2005): 58–59. http://dx.doi.org/10.1017/s0040298205240329.

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8

Conway, Paul. "Pascal Dusapin round-up." Tempo 59, no. 234 (September 21, 2005): 59–61. http://dx.doi.org/10.1017/s0040298205250325.

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PASCAL DUSAPIN: Perelà, uomo di fumo. Orchestre National de Montpellier c. Alain Altinoglu. Naïve MO 782168 (2-CD set).DUSAPIN: 7 Études pour piano; À quia (piano concerto). Ian Pace (pno), Orchestre de Paris c. Christoph Eschenbach. Naïve MO 782164.DUSAPIN: Granum Sinapis; Umbrae Mortis; Dona eis. Choeur de Chamber Accentus, Ensemble Ars Nova c. Laurence Equilbey. Naïve MO 782116.DUSAPIN: String Quartets Nos. 1 and 4. Danel String Quartet. Accord 476 1919.DUSAPIN: String Quartets Nos. 2 ‘Time Zones’ and 3. DUTILLEUX: Ainsi la Nuit. Arditti String Quartet. Naïve MO 782125.

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9

Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.

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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.

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10

Miller, Malcolm. "Norgard's Quartets." Musical Times 131, no. 1769 (July 1990): 377. http://dx.doi.org/10.2307/965771.

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11

Griffiths, Paul. "Modern Quartets." Musical Times 130, no. 1752 (February 1989): 93. http://dx.doi.org/10.2307/966371.

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12

Walsh, Stephen. "Bartok Quartets." Musical Times 130, no. 1753 (March 1989): 162. http://dx.doi.org/10.2307/1193832.

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13

Drakeford, Richard, Georges Onslow, and Coull String Quartet. "String Quartets." Musical Times 134, no. 1810 (December 1993): 720. http://dx.doi.org/10.2307/1002957.

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14

Anderson, Robert. "Romantic Quartets." Musical Times 126, no. 1707 (May 1985): 290. http://dx.doi.org/10.2307/961320.

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15

Anderson, Robert. "Quartets, Quintets." Musical Times 126, no. 1706 (April 1985): 228. http://dx.doi.org/10.2307/962190.

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16

Theißen, Günter, and Heinz Saedler. "Floral quartets." Nature 409, no. 6819 (January 2001): 469–71. http://dx.doi.org/10.1038/35054172.

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17

Mermaz, Michel C. "Quartets reexamined." Physical Review C 53, no. 4 (April 1, 1996): 1613–17. http://dx.doi.org/10.1103/physrevc.53.1613.

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18

BEBBINGTON, W. G. "Four Quartets?" Essays in Criticism XXXIX, no. 3 (1989): 234–41. http://dx.doi.org/10.1093/eic/xxxix.3.234.

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19

Williamson, James R. "Guanine quartets." Current Opinion in Structural Biology 3, no. 3 (June 1993): 357–62. http://dx.doi.org/10.1016/s0959-440x(05)80106-x.

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20

Launer, John. "Supervision quartets." Postgraduate Medical Journal 88, no. 1037 (February 7, 2012): 185–86. http://dx.doi.org/10.1136/postgradmedj-2012-130793.

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21

Snir, Sagi, and Satish Rao. "Quartets MaxCut: A Divide and Conquer Quartets Algorithm." IEEE/ACM Transactions on Computational Biology and Bioinformatics 7, no. 4 (October 2010): 704–18. http://dx.doi.org/10.1109/tcbb.2008.133.

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22

Graham, Stephen. "String quartets at the Wigmore Hall (October 2013): Arditti Quartet and Diotima Quartet." Tempo 68, no. 268 (March 20, 2014): 82–83. http://dx.doi.org/10.1017/s0040298213001757.

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The string quartet retains the pull of intimacy and the promise of prestige it has held for composers since the late eighteenth century. Unlike, say, the historically over-determined piano sonata, there is a degree of flexibility and adaptability in the form that has allowed a wide range of modern composers, from Xenakis to Shostakovich to Rihm, to make distinctive marks on it.

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23

Smith, S. E., and R. P. Murphy. "Relationships between inbreeding, meiotic irregularity, and fertility in alfalfa." Canadian Journal of Genetics and Cytology 28, no. 1 (February 1, 1986): 130–37. http://dx.doi.org/10.1139/g86-017.

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Fertility (seed production) in alfalfa (Medicago sativa L.) is severely depressed by inbreeding; however, little is known of the factors directly responsible for this depression. Irregularities in meiotic behavior could be partially responsible for the inbreeding depression in fertility observed. This study considered relationships between fertility, inbreeding, and irregularity in microsporogenesis. Fertility declined markedly with inbreeding in the materials examined (S0–S3). Irregularity in microsporogenesis, as measured by the percent irregular quartets, (i.e., quartets with micronuclei, supernumerary microspores, or irregular cytokinesis) increased significantly with inbreeding. Increases in quartet irregularity were associated with increases in the number of univalents per pollen mother cell observed at metaphase I. Considering all materials studied, the percentage of irregular quartets was negatively and significantly correlated with fertility as both a seed and a pollen parent. In more detailed analyses, it was observed that the percent irregular quartets was negatively associated with fertility as a pollen parent only when levels of irregularity were relatively high. No association was observed between the percent irregular quartets and fertility when levels of irregularity were relatively low.Key words: Medicago, microsporogenesis, seed production, breeding, fertility.

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24

Whittall, Arnold. "Hosokawa et al. - HOSOKAWA: String Quartets. Quatuor Diotima, Mayumi Miyata (shō). NEOS 11072. - SCIARRINO: String Quartets Nos. 7 and 8; Six Short Quartets. Quartetto Prometeo. Kairos 0013212KAI." Tempo 67, no. 265 (July 2013): 117–18. http://dx.doi.org/10.1017/s0040298213000740.

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25

Drabkin, William. "Review: 6 String Quartets, Opus 20; 6 String Quartets, Opus 33; 6 String Quartets, Opus 50." Music and Letters 85, no. 1 (February 1, 2004): 155–59. http://dx.doi.org/10.1093/ml/85.1.155.

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26

Farmer, Adrian. "LETTERS TO THE EDITOR." Tempo 57, no. 223 (January 2003): 57. http://dx.doi.org/10.1017/s0040298203220052.

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27

Liu, Haining, and James W. Gauld. "Protonation of guanine quartets and quartet stacks: insights from DFT studies." Phys. Chem. Chem. Phys. 11, no. 2 (2009): 278–87. http://dx.doi.org/10.1039/b811717a.

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28

Venn, Edward. "Peter Maxwell Davies new and classic." Tempo 59, no. 233 (June 21, 2005): 79–80. http://dx.doi.org/10.1017/s0040298205260254.

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MAXWELL DAVIES: Miss Donnithorne's Maggot; Eight Songs for a Mad King. Jane Manning (sop), Kelvin Thomas (bar), Psappha. PSA CS 1001MAXWELL DAVIES: Naxos Quartets Nos. 1 and 2. Maggini Quartet. Naxos 8.557396

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29

O'Loughlin, Niall. "Mozart Clarinet Quartets." Musical Times 128, no. 1731 (May 1987): 278. http://dx.doi.org/10.2307/965130.

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30

Heyde, Neil. "‘Period’ string quartets." Early Music XXIX, no. 4 (November 2001): 664–66. http://dx.doi.org/10.1093/earlyj/xxix.4.664.

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31

Behague, Gerard. "String Quartets (review)." Latin American Music Review 24, no. 2 (2003): 293–94. http://dx.doi.org/10.1353/lat.2003.0016.

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32

Gilbert, David. "Fauré's Piano Quartets." Notes 69, no. 1 (2012): 154–55. http://dx.doi.org/10.1353/not.2012.0123.

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33

Avni, Eliran, Reuven Cohen, and Sagi Snir. "Weighted Quartets Phylogenetics." Systematic Biology 64, no. 2 (November 19, 2014): 233–42. http://dx.doi.org/10.1093/sysbio/syu087.

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34

Dempsey, Laurie A. "Targeting by quartets." Nature Immunology 16, no. 7 (June 18, 2015): 688. http://dx.doi.org/10.1038/ni.3221.

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35

Mirka, D. "Analysing Haydn's quartets." Early Music 35, no. 1 (January 16, 2007): 122–25. http://dx.doi.org/10.1093/em/cal137.

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36

Ferraguto, Mark. "Beethoven à la moujik:." Journal of the American Musicological Society 67, no. 1 (2014): 77–124. http://dx.doi.org/10.1525/jams.2014.67.1.77.

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Beethoven's treatments of the Russian folksongs in the “Razumovsky” String Quartets, Op. 59, nos. 1 and 2, have long elicited sharp criticism. A closer look at these treatments allows for a reappraisal of the quartets and the circumstances of their commission. Beethoven's setting of “Ah, Whether It's My Luck, Such Luck” (Opus 59, no. 1/fourth mvt.) juxtaposes folk and learned styles in ways that complicate the traditional relationship between “nature” and “artifice.” His quasi-fugal treatment of the famous “Slava” tune (Opus 59, no. 2/third mvt.) engages this relationship from the perspective of self-conscious critique. Both settings recall the “synthetic” approach to art championed by Herder; they also evince a cosmopolitan aesthetic with wider cultural and political implications. The settings seem especially designed to appeal to the quartets' dedicatee, Count Andrey Razumovsky, a European Russian whose intense interest in serious music has been understated. These conclusions are brought to bear on Opus 59, no. 3, the only quartet in the opus lacking a labeled thème russe. Rather than returning to the Lvov-Pratsch Collection (1790/1806) for material, Beethoven appears to have incorporated a Russian folksong from a German source in the Andante's main theme. The movement fulfills in an unexpected way his pledge to weave Russian melodies into all three quartets.

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37

Ivanov, L. M., C. A. Collins, and T. Margolina. "On modulation instability in a system of jets, waves and eddies off California." Nonlinear Processes in Geophysics Discussions 1, no. 1 (February 20, 2014): 97–129. http://dx.doi.org/10.5194/npgd-1-97-2014.

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Abstract. SSH altimetry observations for 1992 to 2009 off Central and Southern California are used to show that observed quasi-zonal jets were likely driven by near-resonance interactions between different scales of the flow. Quartet (modulational) instability dominated and caused non-local transfer of energy from waves and eddies to bi-annual oscillations and quasi-zonal jets. The total number of quartets induced off California was approximately 10 times larger than the number of existing triads, and quartet amplitudes in general were larger than triad amplitudes. The spectral centroid regularly shifted into the domain of low-order modes. Local "negative" viscosity probably did not generate a classical inverse cascade because the spectrum of SSHs did not demonstrate power behavior. Two types of quartets were identified: (a) quasi-zonal jets, annual and semi-annual Rossby waves and eddies, and (b) bi-annual oscillations, semi-annual Rossby waves and eddies. For a case with bottom friction, quartet instability required the existence of a certain level of dissipativity in the flow.

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38

JONES, DAVID WYN. "HAYDN'S FORGOTTEN QUARTETS: THREE OF THE ‘PARIS’ SYMPHONIES ARRANGED FOR STRING QUARTET." Eighteenth Century Music 8, no. 2 (July 25, 2011): 287–305. http://dx.doi.org/10.1017/s147857061100008x.

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ABSTRACTIn 1787 Artaria, Haydn's publisher in Vienna, issued three versions of The Seven Last Words: the original orchestral version, a quartet arrangement prepared by the composer and a keyboard arrangement sanctioned by him. A year later, in September 1788, Artaria issued three of the recent ‘Paris’ Symphonies, Nos 84, 85 and 86, in an arrangement for quartet. While the quartet version of The Seven Last Words has always been accepted as part of the canon, the three quartet arrangements of the symphonies have been ignored. Sympathetic consideration of a range of evidence, including the bibliographical, historical and text-critical, suggests that Haydn may have been the author of these three quartets.

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39

Conway, Paul. "London, Wigmore Hall and Wilton's Music Hall: James Clarke and Jeremy Dale Roberts." Tempo 67, no. 266 (October 2013): 85–87. http://dx.doi.org/10.1017/s0040298213000995.

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In October 2012, Hurricane Sandy prevented the New York-based JACK quartet from crossing the Atlantic to join forces with the Arditti Quartet in the UK première of James Clarke's 2012-S. So the belated first performance within these shores of Clarke's new piece for two string quartets, which took place at a Wigmore Hall recital on 6 May 2013, had been much anticipated.

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40

Segall, Christopher. "Sergey Ivanovich Taneyev - Sergey Ivanovich Taneyev. Complete String Quartets, vol. 1, String Quartets Nos. 1 and 3. Carpe Diem String Quartet. Naxos 8570437, 2007 (1 CD: 61 minutes). - Sergey Ivanovich Taneyev. Complete String Quartets, vol. 2, String Quartets Nos. 2 and 4. Carpe Diem String Quartet. Naxos 8572421, 2010 (1 CD: 67 minutes). - Sergey Ivanovich Taneyev. Complete String Quartets, vol. 3, String Quartets Nos. 5 and 7. Carpe Diem String Quartet. Naxos 8573010, 2012 (1 CD: 62 minutes)." Nineteenth-Century Music Review 11, no. 2 (December 2014): 375–77. http://dx.doi.org/10.1017/s1479409814000470.

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41

Vikárius, László. "Bartók: The String Quartets •." Studia Musicologica 62, no. 3-4 (June 28, 2022): 193–95. http://dx.doi.org/10.1556/6.2021.00014.

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42

Chang, S. "F. Mendelssohn. Piano Quartets." Университетский научный журнал, no. 57 (2020): 184–201. http://dx.doi.org/10.25807/pbh.22225064.2020.57.184.201.

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43

Bates, Paula, Jean‐Louis Mergny, and Danzhou Yang. "Quartets in G‐major." EMBO reports 8, no. 11 (September 28, 2007): 1003–10. http://dx.doi.org/10.1038/sj.embor.7401073.

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44

Spitzer, Michael. "Haydn symphonies and quartets." Early Music XXVII, no. 3 (August 1999): 502–6. http://dx.doi.org/10.1093/earlyj/xxvii.3.502.

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45

SON, Ki-Pyo. "Alchemy and Four Quartets." Journal of the T. S. Eliot Society of Korea 23, no. 2 (December 30, 2013): 47–74. http://dx.doi.org/10.14364/t.s.eliot.2013.23.2.47-74.

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46

Quinn, Peter. "Tigran Mansurian string quartets." Tempo 60, no. 236 (March 23, 2006): 82. http://dx.doi.org/10.1017/s004029820628015x.

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47

ALON, NOGA, JÁNOS KÖRNER, and ANGELO MONTI. "String Quartets in Binary." Combinatorics, Probability and Computing 9, no. 5 (September 2000): 381–90. http://dx.doi.org/10.1017/s0963548300004375.

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48

Fitch, Lois. "Brian Ferneyhough's String Quartets." Contemporary Music Review 33, no. 3 (May 4, 2014): 290–317. http://dx.doi.org/10.1080/07494467.2014.975545.

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49

Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.

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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) ‒ in the historical and cultural situation of the last third of the 18th century, including the genre (string quartet and piano concerto), structural and compositional (sonata form), organological (instrument condition), performing (pianism development). I. Byaly (1989) and I. Polskaya (2001) consider the trio principle as the basis of ensemble genres, including the piano quartet. A conjunction of these opinions let us perceive the piano quartet as the result of the synthesis of various compositional and genre principles of ensembles, which formed the basis of the classical structure of the genre. Its creators are believed to be W. A. Mozart, the author of two piano quartets: No. 1 g-moll KV478 and No. 2 Es-dur KV493 (1785; 1786), and L. Beethoven, who composed four piano quartets: WoO 36 № 1 Es-dur, № 2 D-dur, № 3 C-dur (1785) and op. 16 Es-dur (1801). In these compositions of the classical era the defining attributes of the genre were multitimbrality, which manifests in keyboard and string instruments; ensemble players equality; signs of various types of utterance, including those inherent in a string quartet and clavier concerto involving a group of strings; sonatas and symphonies; as well as the type of composition, built on the model of “fast-slow-fast” with the obligatory sonata Allegro in the first position. In the romantic era, the boundaries of the genre expand in terms of content, structure, interpretation of the ensemble. The first attempt to increase the scale of the cycle belongs to C. M. Weber, who brought it closer to the composition of the string quartet through the introduction of Menuetto. However, the final fourpart cycle is set by F. Mendelssohn, who replaced Menuetto with Scherzo, which becomes the normative model for the romantic tradition of the genre. Objectives. The purpose of this article is to determine the role of F. Mendelssohn’s piano quartets in the evolution of the genre in general, and in the romantic era in particular. Results. Three piano quartets by F. Mendelssohn present a picture of his youthful attitude. The musician’s early composing ability allowed him to turn to the creation of works of this genre without fear. This genre usually attracts the attention of artists in their mature period of creativity, having mastered various genres, including chamber-instrumental ensembles (W. A. Mozart, R. Schumann, J. Brahms). It is easy to observe the commonalities of F. Mendelssohn and young Beethoven, who also composed the piano quartets in the early days of his oeuvre. F. Mendelssohn has composed three piano quartets: No. 1 c-moll (1882), dedicated to Prince Antoine Radziwill, No. 2 f-moll (December 1823), dedicated to Karl Zelter, and No. 3 h-moll (January 1823) – to Goethe. The skill of using large structures, the depth of musical thought, and even the sings of his future style are starting to find expression in Mendelssohn’s youth compositions. The four-part structure of the composition cycles reveals the young composer’s interest in the works of L. Beethoven, in particular in his piano sonatas. Distinctly clear analogies are also found in «Aurora» op. 53 and «Appassionata» op. 57. R. Larry Todd (2003) also points to the similarity of the original themes of the Piano quartet No. 1 c-moll by F. Mendelssohn and the piano sonata in the same key KV457 by W. A. Mozart. It defined by the initial course of the sounds of the basic triad, as well as the use of symmetrical question-answer constructions, contrasting in mood. The connections between these two compositions are even more evident in the finale, which begins with a theme directly borrowed from the last part of W. A. Mozart’s sonata (as identified by the author of this article). In Quartet No. 2 f-moll, connections with the music of L. Beethoven are not limited to allusions to the famous piano sonatas of the Viennese classic. The first part of F. Mendelssohn’s cycle contains several definite signs of Beethoven’s influences: the development of the code is significantly expanded in the sonata form, and in a monumental reprise the young author defines the extreme dynamic level fff. In Adagio (Des-dur) there is a wide enharmonic palette, including several sharp keys. The next part, labeled as Intermezzo, provides a transition to the «explosive» finale, which opens with a «rocket-like» theme, driven by an ascending line of chromatic bass. Piano Quartet No. 3 h-moll is the work that determined the choice of F. Mendelssohn’s professional composer career, which was highly appreciated by L. Kerubini. Mastery of the musical form is manifested in a significant expansion of the scope of the cycle and each of its parts. Adhering to the strategy of virtuoso interpretation of the piano part, which was chosen in the first two opuses, the author, at the same time, subordinates the tasks of demonstrating the pianist’s instrumental possibilities to the purpose of disclosure the dramatic idea of the work. At the same time, he does not brake the principle of equality of ensemble members, borrowed from his predecessors in any of his piano quartets. Conclusions. The analysis revealed the following indicators of the romanticization of the piano quartet genre in the work of F. Mendelssohn. These are: the scale of the content and composition of the cycle; the large coda sections in the first and final parts; the poetic completion of the lyrical second parts, as it is in “songs without words”; brilliance of the final parts; dominance of minor keys; equality of ensemble members with the “directorial” function of the piano and others. The high artistic qualities of F. Mendelssohn’s piano quartets attract the attention of many performers, among which the Foret Quartet demonstrates the most adequate interpretation of these works.

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Zeil, Catharina, Michael Widmann, Silvia Fademrecht, Constantin Vogel, and Jürgen Pleiss. "Network Analysis of Sequence-Function Relationships and Exploration of Sequence Space of TEM β-Lactamases." Antimicrobial Agents and Chemotherapy 60, no. 5 (February 16, 2016): 2709–17. http://dx.doi.org/10.1128/aac.02930-15.

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ABSTRACTThe Lactamase Engineering Database (www.LacED.uni-stuttgart.de) was developed to facilitate the classification and analysis of TEM β-lactamases. The current version contains 474 TEM variants. Two hundred fifty-nine variants form a large scale-free network of highly connected point mutants. The network was divided into three subnetworks which were enriched by single phenotypes: one network with predominantly 2be and two networks with 2br phenotypes. Fifteen positions were found to be highly variable, contributing to the majority of the observed variants. Since it is expected that a considerable fraction of the theoretical sequence space is functional, the currently sequenced 474 variants represent only the tip of the iceberg of functional TEM β-lactamase variants which form a huge natural reservoir of highly interconnected variants. Almost 50% of the variants are part of a quartet. Thus, two single mutations that result in functional enzymes can be combined into a functional protein. Most of these quartets consist of the same phenotype, or the mutations are additive with respect to the phenotype. By predicting quartets from triplets, 3,916 unknown variants were constructed. Eighty-seven variants complement multiple quartets and therefore have a high probability of being functional. The construction of a TEM β-lactamase network and subsequent analyses by clustering and quartet prediction are valuable tools to gain new insights into the viable sequence space of TEM β-lactamases and to predict their phenotype. The highly connected sequence space of TEM β-lactamases is ideally suited to network analysis and demonstrates the strengths of network analysis over tree reconstruction methods.

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