Béla Bartók Cuarteto de cuerda n.° 3 Vídeos
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Enesco Béla Bartók Alban Berg László Pro Arte Quartet 1925 1926 1927 1928 1929 1998
The String Quartet No. 4 by Béla Bartók was written from July to September 1928 in Budapest. It is one of six string quartets by Bartok. This work, like the String Quartet No. 5, and several other pieces by Bartók, exhibits an "arch" structure — the first movement is thematically related to the last, and the second to the fourth with the third movement standing alone. Also, the outer four movements feature rhythmic sforzandos that cyclically tie them together in terms of climactic areas. The quartet shares a similar harmonic language to that of the String Quartet No. 3, and as with that work, it has been suggested that Bartók was influenced in his writing by Alban Berg's Lyric Suite (1926) which he had heard in 1927. The quartet employs a number of extended instrumental techniques. For the whole of the second movement all four instruments play with mutes, while the entire fourth movement features pizzicato. In the third movement, Bartók sometimes indicates held notes to be played without vibrato, and in various places he asks for glissandi (sliding from one note to another) and so-called Bartók pizzicati (a pizzicato where the string rebounds against the instrument's fingerboard). The work is dedicated to the Pro Arte Quartet but its first public performance was given by the Waldbauer-Kerpely Quartet in Budapest on March 20, 1929. It was first published in the same year by Universal Edition. A study of the manuscript sources, as published by László Somfai finds that Bartók originally intended the quartet to have four movements, not five. Recording made in 1998, with the record label "Pierre Verany" Picture : Vassily Kandinsky, "Jaune-Rouge-Bleu" (1925)
Enesco Béla Bartók Alban Berg László Pro Arte Quartet 1926 1927 1928 1929 1952 1998
The String Quartet No. 4 by Béla Bartók was written from July to September 1928 in Budapest. It is one of six string quartets by Bartok. This work, like the String Quartet No. 5, and several other pieces by Bartók, exhibits an "arch" structure — the first movement is thematically related to the last, and the second to the fourth with the third movement standing alone. Also, the outer four movements feature rhythmic sforzandos that cyclically tie them together in terms of climactic areas. The quartet shares a similar harmonic language to that of the String Quartet No. 3, and as with that work, it has been suggested that Bartók was influenced in his writing by Alban Berg's Lyric Suite (1926) which he had heard in 1927. The quartet employs a number of extended instrumental techniques. For the whole of the second movement all four instruments play with mutes, while the entire fourth movement features pizzicato. In the third movement, Bartók sometimes indicates held notes to be played without vibrato, and in various places he asks for glissandi (sliding from one note to another) and so-called Bartók pizzicati (a pizzicato where the string rebounds against the instrument's fingerboard). The work is dedicated to the Pro Arte Quartet but its first public performance was given by the Waldbauer-Kerpely Quartet in Budapest on March 20, 1929. It was first published in the same year by Universal Edition. A study of the manuscript sources, as published by László Somfai finds that Bartók originally intended the quartet to have four movements, not five. Recording made in 1998, with the record label "Pierre Verany" Picture : Victor Vasarely, "Zint" (1952)
Enesco Béla Bartók Alban Berg László Pro Arte Quartet 1908 1926 1927 1928 1929 1998
The String Quartet No. 4 by Béla Bartók was written from July to September 1928 in Budapest. It is one of six string quartets by Bartok. This work, like the String Quartet No. 5, and several other pieces by Bartók, exhibits an "arch" structure — the first movement is thematically related to the last, and the second to the fourth with the third movement standing alone. Also, the outer four movements feature rhythmic sforzandos that cyclically tie them together in terms of climactic areas. The quartet shares a similar harmonic language to that of the String Quartet No. 3, and as with that work, it has been suggested that Bartók was influenced in his writing by Alban Berg's Lyric Suite (1926) which he had heard in 1927. The quartet employs a number of extended instrumental techniques. For the whole of the second movement all four instruments play with mutes, while the entire fourth movement features pizzicato. In the third movement, Bartók sometimes indicates held notes to be played without vibrato, and in various places he asks for glissandi (sliding from one note to another) and so-called Bartók pizzicati (a pizzicato where the string rebounds against the instrument's fingerboard). The work is dedicated to the Pro Arte Quartet but its first public performance was given by the Waldbauer-Kerpely Quartet in Budapest on March 20, 1929. It was first published in the same year by Universal Edition. A study of the manuscript sources, as published by László Somfai finds that Bartók originally intended the quartet to have four movements, not five. Recording made in 1998, with the record label "Pierre Verany" Picture : Arkhip Kuinji, "Night Watch" (1908)
Juilliard String Quartet Bartók String Quartet Kneisel Quartet Beethoven Béla Bartók Antonín Dvořák Franz Kneisel 1894 1946 1949 2011 2018 2019 2021
Please enjoy the last movement of Beethoven's String Quartet in E Minor, Op. 59, No. 2 from our new album, available now on Sony Classical! Please visit (http•••) to download, purchase or stream the album. / The Grammy Award-winning Juilliard String Quartet celebrates the 75th anniversary of its founding with a new recording from the heart of the quartet repertoire, featuring works by Beethoven, Bartók and Dvořák that resonate with the legacy of chamber music at the ensemble’s home, New York’s Juilliard School of Music. Sony Classical will release the new recording on April 2, 2021. Included are Ludwig van Beethoven’s String Quartet in E Minor, Op. 59, the second of the composer’s three “Razumovsky” quartets; Béla Bartók’s String Quartet No. 3, Sz. 87; and Antonín Dvořák’s String Quartet in F Major, Op. 96 “American”. This recording is the first by the Juilliard String Quartet to include Areta Zhulla, who became its first violinist in 2018. Like her colleagues – Ronald Copes, second violin; Roger Tapping, viola; and Astrid Schween, cello – Zhulla also teaches at the Juilliard School, where the ensemble is in permanent residence. Winner of four Grammy Awards – including a 2011 Lifetime Achievement Award, a unique achievement by a chamber ensemble – the Juilliard String Quartet has enjoyed international acclaim since its formation in 1946. A large part of its recorded legacy since 1949 is available on Sony Classical, including groundbreaking, Grammy-winning cycles of the Beethoven and Bartók quartets. In fact, all three works on the new recording reflect Juilliard’s rich and influential legacy in chamber music. The Dvořák “American” Quartet – written in Spillville, IA, where the composer was summering with the Czech community there – received its world premiere in Boston in 1894 by the Kneisel Quartet. Just over a decade later, that ensemble’s founder, the violinist Franz Kneisel, would become the first head the violin department at the newly formed Institute of Musical Arts, later renamed the Juilliard School of Music. Recent reviews attest to the current Quartet’s vigorous renewal of its distinguished tradition, which led the Boston Globe to describe it as “the most important American quartet in history.” “What particularly stood out in this performance was the way in which this diversified foursome is reclaiming some of the old Juilliard Quartet verve,” wrote Strings Magazine’s critic of a 2019 performance. The same year, a Washington Post review hailed one of the Quartet’s performances as “decisive and uncompromising,” noting that “Juilliard’s confidently thoughtful approach, rhythmic acuity and ensemble precision were on full display.”
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