Arnold Schönberg Streichquartett Nr. 4, Op. 37 Videos
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Leon Kirchner Arnold Schoenberg Morrison Orion String Quartet 1958 2007
The Orion String Quartet: Daniel Phillips and Todd Phillips, violins Steven Tennenbom, viola Timothy Eddy, cello from Albany TROY1030 (http•••) Definitive performances of this distinguished American composer's complete string quartets. Leon Kirchner's life was liberally peppered with moments of recognition for his powerful and innovative music. Both the first and second quartets heard on this recording received the Critics Circle Prize; the third received the Pulitzer. While still an undergraduate, he was accepted into Arnold Schoenberg's graduate composition seminar at UCLA. He received many honors and prizes, including membership in the American Academy of Arts and Letters. He was a professor at Harvard University for 25 years. This recording includes his fourth string quartet, written in 2007 when Kirchner was 87, for the Orion String Quartet, who are able champions of his music. Contents: Leon Kirchner, composer String Quartet No. 1 Orion String Quartet Leon Kirchner, composer String Quartet No. 2 Orion String Quartet Leon Kirchner, composer String Quartet No. 3 Orion String Quartet Leon Kirchner, composer String Quartet No. 4 Orion String Quartet Review: "...impeccable craft, a real sense of drama, an ability to move the music forward and at the same time create islands of repose. .. Enthusiastically endorsed. You owe it to yourself to hear some Kirchner..." (Scott Morrison) "The Orion Quartet plays each score as if inhabiting its unique expressive world....It would be difficult to imagine Kirchner's string quartet music treated with more loving attention." (Gramophone) "Kirchner's four quartets...are among the pinnacles of his art and the sequence of all four among the most significant quartet cycles of the past century. (American Record Guide)
Arnold Schoenberg Schönberg Lasalle Elizabeth Sprague Coolidge Rudolf Kolisch Aron Lasalle Quartet 1874 1896 1922 1927 1934 1936 1937 1951 1969 1978
- Composer: Arnold Schönberg {Schoenberg after 1934} (13 September 1874 / 13 July 1951) - Performers: LaSalle Quartet - Year of recording: 1969 String Quartet No. 4, Op. 37, written in 1936. 00:00 - I. Allegro molto, Energico 09:16 - II. Comodo 16:31 - III. Largo 24:09 - IV. Allegro Schoenberg composed his Fourth String Quartet, Op. 37, on a commission from Elizabeth Sprague Coolidge, an American patron of the arts who had created a foundation in her name at the Library of Congress. The première of the Fourth Quartet was given in 1937 in Los Angeles by the Kolisch Quartet, founded, as the Wiener Streichquartett, by first violinist Rudolf Kolisch +••.••(...)) in 1922. By 1927, the name of the ensemble was changed to the Kolisch Quartet. Both the Kolisch Quartet and Ms. Coolidge received the dedication of the Fourth String Quartet. Composed in April-July 1936, the Fourth Quartet was one the first pieces Schoenberg began after immigrating to the United States and settling in Brentwood, CA. It is also one of his first twelve-note compositions since his work on the opera Moses und Aron, after which he began to re-explore the tonal idiom. In a letter to Elizabeth Coolidge, Schoenberg describes the Fourth Quartet as "more pleasant" than the Third Quartet, Op. 30, of 1927. The four movements of the quartet are based on a single, twelve-note row, although the style is somewhat more free than that of the Third Quartet and certainly of Schoenberg's earliest twelve-note works. - The first movement, marked Allegro molto, energico, is in an abstract sonata form. The main theme is one of Schoenberg's most nearly periodic in years. Numerous repeated tones reveal the composer's free approach to the use of row forms, while the varied repetitions of the theme somewhat obscure the overall organization of the movement. Occasionally the only recognizable aspect of the theme is a group of four repeated eighth notes. Transitions are generally built around a hesitant, chromatically sighing theme that first appears in the first violin. Schoenberg's developmental skill comes to the fore as a motive from the main theme appears in the cello as an accompaniment to a prominent viola passage. - Marked Comodo (leisurely), the second movement is an intermezzo in A-B-A form. Although the central section presents new material, the combination of this material with preceding elements gives it a developmental function. The arpeggio-based main theme finds itself combined with numerous connecting motives, creating a dense contrapuntal texture before the recapitulation, which itself includes some of the combinations of the developmental section. - The recitative-like main theme of the Largo third movement first sounds in unison. Individual instruments begin to break away with their own lines, and a gradual decrescendo leads to a genuine secondary theme. In contrast to the first theme, the secondary theme is regular, periodic, and has an arch shape comprising six measures. The movement is in a binary form (ABAB) and the final return of the opening unison is in inversion. - Variation technique is prominent in the rondo finale, marked Allegro. Transformations of the main theme are so great that it is occasionally difficult to recognize its return. In the first such instance, the theme is inverted and Schoenberg sets it to a different row form. Near the end of the movement, the main theme appears in variations much closer to the original in a pseudo-recapitulatory fashion.
Quatuor Diotima Arnold Schoenberg Alban Berg Anton Webern Peng Zhao Franck Chevalier Sandrine Piau Marie Nicole Lemieux 1874 1883 1885 1897 1905 1935 1945 1951 2016
5-CD set - naïve Release on 26 February 2016 / Arnold Schoenberg +••.••(...)) Presto in C major Scherzo in F major String quartet, in D major (1897) String quartet no.1 in D minor, op.7 String quartet no.2 in F sharp minor, with soprano, op.10* String quartet no.3, op.30 String quartet no.4, op.37 / Alban Berg +••.••(...)) String quartet, op.3 Lyric suite for string quartet, version with voice** / Anton Webern +••.••(...)) Langsamer Satz String quartet (1905) Rondo for string quartet Five movements for string quartet, op.5 Six bagatelles for string quartet, op.9 String quartet, op.28 QUATUOR DIOTIMA Yun-Peng Zhao (violin I) Constance ronzatti (violin II) Franck Chevalier (viola) Pierre Morlet (cello) Sandrine Piau (soprano*) Marie-Nicole Lemieux (contralto**) ////////// Quatuor Diotima celebrates its 20th anniversary in 2016! This boxset dedicated to the Viennese School of Music is the first of the two recording events that have been planned to mark that special year - along with the release of a new series of contemporary composer portraits. This Schoenberg | Berg | Webern set gathers the complete works for string quartet composed by those three iconic composers. This is a major achievement and the result of years of concerts and research by the quartet, which is now consi- dered as a leading performer of this repertoire. ////////// web www.quatuordiotima.fr facebook quatuor-diotima
Giacinto Scelsi Schoenberg Scriabin 1905 1939 1950 1961 1988
Piano Sonata No. 3 (1939) Giacinto Scelsi +••.••(...)) was an extraordinary Italian composer whose important place in music history is not yet widely acknowledged. In his youth, he was one of the few Italian disciples of Schoenberg and an enthusiast of contemporary music. His early works from the 1930s/40s reveal a plethora of 20th-century aesthetics from dodecaphony, futurism, neo-classicism, to a kind of mysticism comparable to late-period Scriabin. From 1950 on, Scelsi explored Eastern, especially Tibetan, pantheism and theosophy, which greatly influenced his music. In some of his later works such as the Four Pieces for Orchestra (1961), he often focuses on reiterating single pitches while varying the rhythm, attack, timbre, and microtonal inflections. In other later works (String Quartet No. 4), his music is static and characterized by glissandi, trills, and microtonal harmonies. Much of his music was not composed on paper but improvised; it was left to assistants under his direction to transcribe the recordings and realize them as orchestral scores.
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