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Journal articles on the topic 'String quartets'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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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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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

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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4

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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5

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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6

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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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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8

Carey, Christian. "NARRATOLOGY IN THE PRACTICE SESSION MODEL OF ELLIOTT CARTER'S STRING QUARTET NO. 5." Tempo 77, no. 305 (July 2023): 17–25. http://dx.doi.org/10.1017/s0040298223000062.

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AbstractElliott Carter's programme notes for his String Quartet No. 5 describe it as being about the embodiment of human interaction within the rehearsal process. This article develops this concept, evaluating the musical figures that are foreshadowed by the fragments that Carter suggests are rehearsal outtakes. Certain motives are reiterated and developed through slight variations, thus exemplifying the rehearsal process, and perhaps the editorial process, in detail. Interactions within this model are suggestive of the character types that Carter has delineated in his previous string quartets, notably No. 2. Using the Practice Session model also alludes to the real-life circumstances of the preparation of previous quartets by ensembles, and anecdotes about the Juilliard Quartet's rehearsals for the premiere of the String Quartet No. 3 can enhance a narratological understanding of the No. 5's construction. Finally, String Quartet No. 5 is considered as an example of one of the transitional works that initiate Carter's late style and its consolidation of material; its use of all-interval chords, their subsets and supersets reflects the constructive elements of human interaction that Carter has stressed as a principal thematic element.

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9

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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10

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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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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12

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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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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14

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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15

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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16

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, no. 264 (April 2013): 87. http://dx.doi.org/10.1017/s0040298213000235.

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17

Autexier, Philippe A., and Wolfgang Amadeus Mozart. "The Six 'Haydn' String Quartets." Revue de musicologie 75, no. 1 (1989): 125. http://dx.doi.org/10.2307/928986.

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Pollack, Howard, and Walter Piston. "String Quartets, Nos. 1-5." American Music 5, no. 1 (1987): 119. http://dx.doi.org/10.2307/3051879.

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19

Renat, Maryla. "String Quartets by Władysław Żeleński." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 12 (2017): 9–51. http://dx.doi.org/10.16926/em.2017.12.01.

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20

Whittall, Arnold, Mathias, Medea Quartet, Wood, and Chilingirian Quartet. "String Quartets Nos. 1-3." Musical Times 136, no. 1827 (May 1995): 248. http://dx.doi.org/10.2307/1003920.

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21

O'Neill, D. "String quartets by Bedrich Smetana." BMJ 344, may18 1 (May 18, 2012): e3499-e3499. http://dx.doi.org/10.1136/bmj.e3499.

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22

Drabkin, William. "Fingering in Haydn's string quartets." Early Music XVI, no. 1 (February 1988): 50–57. http://dx.doi.org/10.1093/earlyj/xvi.1.50.

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23

Murray, S. E. "Three String Quartets Op. 44." Music and Letters 87, no. 3 (August 1, 2006): 500–503. http://dx.doi.org/10.1093/ml/gci229.

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24

Fox, Christopher. "Some Recent British String Quartets." Contemporary Music Review 33, no. 3 (May 4, 2014): 266–80. http://dx.doi.org/10.1080/07494467.2014.975548.

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Druce, D. "Jadin and Hansel string quartets." Early Music 40, no. 3 (August 1, 2012): 514–15. http://dx.doi.org/10.1093/em/cas072.

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26

Balshin, Vladimir Vladimirovich. "The string quartet in the works of Beethoven and Shostakovich: thematic and intonation links." PHILHARMONICA. International Music Journal, no. 5 (May 2023): 9–20. http://dx.doi.org/10.7256/2453-613x.2023.5.68840.

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The article explores the genre of string quartet on the example of Beethoven and Shostakovich in the aspect of intonation and thematic connections, as well as the parallels of creativity of both composers. The author gives examples of thematic, interval, intonation and textural-melodic quoting of Beethoven's works in Shostakovich's quartets. Russian culture and Beethoven's influence is revealed, in particular, in relation to working with the material of Russian songs in quartets written by order of Count Razumovsky. The author reveals Shostakovich's attraction to Beethoven's work, the closeness of his compositional style and ideas in terms of conceptuality, architectonics, the use of musical and expressive means and a tendency to dynamic onslaught. The methodology of the research is based on the analysis of historical materials, musical articles, concepts of outstanding historians and music theorists. The main contribution of this study is the identification of thematic and semantic connections between the quartets of Beethoven and Shostakovich. The author concludes that Shostakovich often turned to Beethoven's work, used his methods and techniques of working with the material, the structure of the cycle, included allusions to themes, intonations in his quartets, and even used whole textured excerpts from Beethoven's music – and he made it through the prism of his creative style. The novelty of the article lies in the identification of the connection between Beethoven's work and Russian music, the composer's use of melodies of Russian songs in "Russian Quartets", as well as intonation-thematic parallels between the quartets of Beethoven and Shostakovich. In addition, the article reveals the special role of the performer in the work on the quartet of both Beethoven and Shostakovich.

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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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Wing, Alan M., Satoshi Endo, Adrian Bradbury, and Dirk Vorberg. "Optimal feedback correction in string quartet synchronization." Journal of The Royal Society Interface 11, no. 93 (April 6, 2014): 20131125. http://dx.doi.org/10.1098/rsif.2013.1125.

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Control of relative timing is critical in ensemble music performance. We hypothesize that players respond to and correct asynchronies in tone onsets that arise from fluctuations in their individual tempos. We propose a first-order linear phase correction model and demonstrate that optimal performance that minimizes asynchrony variance predicts a specific value for the correction gain. In two separate case studies, two internationally recognized string quartets repeatedly performed a short excerpt from the fourth movement of Haydn's quartet Op. 74 no. 1, with intentional, but unrehearsed, expressive variations in timing. Time series analysis of successive tone onset asynchronies was used to estimate correction gains for all pairs of players. On average, both quartets exhibited near-optimal gain. However, individual gains revealed contrasting patterns of adjustment between some pairs of players. In one quartet, the first violinist exhibited less adjustment to the others compared with their adjustment to her. In the second quartet, the levels of correction by the first violinist matched those exhibited by the others. These correction patterns may be seen as reflecting contrasting strategies of first-violin-led autocracy versus democracy. The time series approach we propose affords a sensitive method for investigating subtle contrasts in music ensemble synchronization.

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Høffding, Simon, Wenbo Yi, Eigil Lippert, Victor Gonzales Sanchez, Laura Bishop, Bruno Laeng, Anne Danielsen, Alexander Refsum Jensenius, and Sebastian Wallot. "Into the Hive-Mind: Shared Absorption and Cardiac Interrelations in Expert and Student String Quartets." Music & Science 6 (January 2023): 205920432311685. http://dx.doi.org/10.1177/20592043231168597.

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Expert musicians portray awe-inspiring precision, timing, and phrasing and may be thought to partake in a “hive-mind.” Such a shared musical absorption is characterized by a heightened empathic relation, mutual trust, and a sense that the music “takes over,” thus uniting the performers’ musical intentions. Previous studies have found correlations between empathic concern or shared experience and cardiac synchrony (CS). We aimed to investigate shared musical absorption in terms of CS by analyzing CS in two quartets: a student quartet, the Borealis String Quartet (BSQ), and an expert quartet, the Danish String Quartet (DSQ), world-renowned for their interpretations and cohesion. These two quartets performed the same Haydn excerpt in seven conditions, some of which were designed to disrupt their absorption. Using multidimensional recurrence quantification analysis (MdRQA), we found that: (1) performing resulted in significantly increased CS in both quartets compared with resting; (2) across all conditions, the DSQ had a significantly higher CS than the BSQ; (3) the BSQ's CS was inversely correlated with the degree of disruption; 4) for the DSQ, the CS remained constant across all levels of disruption, besides one added extreme disruption—a sight-reading condition. These findings tentatively support the claim that a sense of shared musical absorption, as well as group expertise, is correlated with CS.

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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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Sidorova, Elena V. "Masterpieces made to order: Beethoven’s late string quartets." Contemporary Musicology, no. 1 (2020): 45–88. http://dx.doi.org/10.56620/2587-9731-2020-1-045-088.

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Making music to order is a common practice for many composers. At the same time, as one explores specific music pieces a question inevitable begs itself: how writing music to order affects the creative process and the final result. How do such things as the personality of a customer and the relevance of the order to personal aspirations of the composer contribute to the emergence of a musical masterpiece? In this regard, special mention should be given to Ludwig van Beethoven’s last string quartets (Op. 127, 130, 131, 132, 133 “Big Fugue”, 135). These pieces have already received a considerable degree of attention in the research literature. Nevertheless, questions remain about the reasons for this or that turn in the sequence of events and the development of Beethoven’s creativity that impacted the originality of his later works. It is known that the quartets emerged due to an external impulse – an order of the Russian philanthropist, cellist, and a music critic N. B. Golitsyn. Beethoven’s extensive correspondence with Golitsyn, publishing houses, musicians, and friends recreates the sequence of events and the main milestones in the composition of quartets – from the conception to the publication of musical opuses. Of particular interest is the unusual story behind Op. 130. Its grandiose scale, complexity and unusual content created a lot of controversy in assessments and judgments among Beethoven's contemporaries. As a result, at the insistence of the publisher М. Artaria, the finale was replaced, and this piece received an independent existence and a special name – Grand Fugue for String Quartet” (Op. 133). This masterpiece has not lost its relevance even today: it still sparks interest and debate about ideological and figurative content of Quartet Op. 133.

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Conway, Paul. "Michael Berkeley: recent world premières and CD releases." Tempo 57, no. 225 (July 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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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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Locke, Derek. "Numerical Aspects of Bartok's String Quartets." Musical Times 128, no. 1732 (June 1987): 322. http://dx.doi.org/10.2307/1193733.

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Dixon, Gail. "The String Quartets of Barbara Pentland." Canadian University Music Review 11, no. 2 (1991): 94. http://dx.doi.org/10.7202/1014109ar.

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Wright, David, Ives, Emerson String Quartet, Emerson String Quartet, and Samuel Barber. "String Quartets Nos. 1 & 2." Musical Times 134, no. 1805 (July 1993): 409. http://dx.doi.org/10.2307/1003109.

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37

Grave, Floyd K. "Concerto Style in Haydn's String Quartets." Journal of Musicology 18, no. 1 (January 1, 2001): 76–97. http://dx.doi.org/10.1525/jm.2001.18.1.76.

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Follet, Robert. "The String Quartets of Beethoven (review)." Notes 63, no. 2 (2006): 353–55. http://dx.doi.org/10.1353/not.2006.0143.

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Harley, James. "The String Quartets of Iannis Xenakis." Tempo, no. 203 (January 1998): 2–10. http://dx.doi.org/10.1017/s0040298200049470.

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He clung to the few experiences he had shared with her: the gift of a flute whose sounds had astonished him, her wish that he should enjoy music and especially play the cello. He refused to let her go.If the tenderness of Anton Webern's musical expression at the loss of his mother is difficult for some listeners to hear in his scores, how much more so for the iconoclastic music of Iannis Xenakis? Be that as it may, Matossian's revelation of this intimate memory from his childhood provides a clue to the composer's attraction to the cello, and, by extension, to the chamber string genre, particularly the string quartet. This perhaps surprising personal inspiration is reinforced in the recently published interviews with Bálint András Varga.

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40

Németh, Zsombor. "Béla Bartók and the Pro Arte Quartet." Studia Musicologica 63, no. 3-4 (June 19, 2023): 173–96. http://dx.doi.org/10.1556/6.2022.00011.

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AbstractBéla Bartók's relationship with the Pro Arte Quartet was not as personal as the composer-pianist's relationship with the Waldbauer-Kerpely Quartet, the New Hungarian Quartet, or even the Kolisch Quartet. Professionally, however, it was equally fruitful. This study describes the relationship between the composer and the quartet, mainly based on the surviving correspondence between Bartók and the impresario Gaston Verhuyck-Coulon, and between Bartók and the Viennese publisher Universal Edition. It discusses in detail the circumstances surrounding the dedication of String Quartet no. 4, the commissioning of String Quartet no. 5, and the background to the surviving recordings of String Quartets nos. 1 and 5. It also takes stock of the plans that went up in smoke: the exclusive performance rights of String Quartet no. 3, a concerto for string quartet and orchestra, the studio recording of String Quartet no. 4, and the fact that the ensemble never met Bartók in person.

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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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Conway, Paul. "Brighton: Denis ApIvor's String Quartets Nos. 2 and 3." Tempo 58, no. 230 (October 2004): 62. http://dx.doi.org/10.1017/s0040298204280317.

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Denis ApIvor, who died at the age of 88 on 27 May 2004, was one of the most versatile composers of his generation. Just over a month before his death, though gravely ill, he attended a New Music Brighton concert at Brighton Unitarian Church featuring the world première of his Second and Third String Quartets, given by the Kingfisher Quartet. His presence lent a special significance to the event and the image of the ailing composer, his wheelchair stationed directly at the feet of the players, experiencing the first readings of his own works is one that resonates in the memory.

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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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Nowak, Anna. "Kwartety smyczkowe Hanny Kulenty. Pamięć gatunku a współczesne środki ekspresji." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 80–94. http://dx.doi.org/10.2478/prm/2022-0009.

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ABSTRACT In the work of Hanna Kulenty, a string quartet appears as a significant form of artistic expression. Its successive incarnations (6 quartets created in 1983-2014) illustrate the evolution of the musical language of composers, her approach to the problem of form, time, space, and sound. The article is an attempt to capture the idiomatic features of this music, presented in the context of Bakhtin’s theory of genre as a representative of creative memory, and to indicate the place of quartets in contemporary chamber music by Polish composers.

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Nowak, Anna. "Kwartety smyczkowe Hanny Kulenty. Pamięć gatunku a współczesne środki ekspresji." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 80–94. http://dx.doi.org/10.2478/prm-2022-0009.

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Abstract:

ABSTRACT In the work of Hanna Kulenty, a string quartet appears as a significant form of artistic expression. Its successive incarnations (6 quartets created in 1983-2014) illustrate the evolution of the musical language of composers, her approach to the problem of form, time, space, and sound. The article is an attempt to capture the idiomatic features of this music, presented in the context of Bakhtin’s theory of genre as a representative of creative memory, and to indicate the place of quartets in contemporary chamber music by Polish composers.

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Sauvé, Sarah. "Investigating Melodic Annotation Disagreements in String Quartets." Musicologica Olomucensia 29, no. 1 (June 11, 2019): 34–50. http://dx.doi.org/10.5507/mo.2019.003.

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Karwaszewska, Monika. "String Quartets – Górecki’s Testament Rooted in Tradition." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 9 (2014): 113–30. http://dx.doi.org/10.16926/em.2014.09.08.

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Sabin, James E. "Behavioral Health Care Parity and String Quartets." Psychiatric Services 50, no. 12 (December 1999): 1529. http://dx.doi.org/10.1176/ps.50.12.1529.

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November, Nancy. "The String Quartets of Joseph Haydn (review)." Notes 63, no. 4 (2007): 831–33. http://dx.doi.org/10.1353/not.2007.0088.

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Schlegel, Ellen Grolman, and Helga U. Winold. "The String Quartets of Cristiano Giuseppe Lidarti." American String Teacher 43, no. 2 (May 1993): 70–73. http://dx.doi.org/10.1177/000313139304300221.

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