Béla Bartók Quartetto d'archi n. 4 Video
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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)
Béla Bartók Rabin Hamel Buckley Bartók String Quartet 1881 1909 1928 1939 1945
Béla Bartók +••.••(...)) String Quartet No. 4 in C Major I. Allegro II. Prestissimo, con sordino III. Non troppo lento IV. Allegretto pizzicato V. Allegro molto Bartók composed six string quartets between 1909 and 1939. While he was an extremely introverted person, his work was gaining fame throughout the world in the late 1920s. He had great passion for folk music, and incorporated many folk aspects in his own compositions throughout his life. He completed his fourth string quartet in 1928, and it is widely considered one of his greatest achievements in chamber music. This five-movement work is prudent, straightforward, and almost mathematical in design. The form is structurally symmetrical, beginning with a theme that returns again in the final movement, the second movement relating to the fourth, and a standalone third movement that sits at the peak of this symmetrical curve. The outer movements are striking and energetic, incorporating many recognizably folk aspects. There are moments of obscurity in the first movement, an unsettling sense that we have lost our way, only to return to a sense of unity soon thereafter. The fifth movement is robust, powerful, and relentlessly emphatic. The second and fourth movements are almost weightless. The second movement is quick and quiet, and one might find themselves leaning in closer, and the pizzicato fourth movement is rhythmically inviting and playful. The center movement is ethereal and solitary, the upper voices entering one-by-one to create a vast universe for the solo cello to speak out to. The first violin enters nervously, gaining energy that gives way to an almost electric second violin solo, where the viola joins erratically before falling back into stillness. The movement ends much like it begins, with each individual voice’s exit, until silence. Performance by the Rabin Quartet in Collins Hall at the Hamel Music Center. Euimin Shin, violin Sahada Buckley, violin Kayla Patrick, viola Ben Therrell, cello
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