By Edith Eisler
During this number of in-depth interviews, ultra-modern prime performers get to the guts of 1 of the main loved different types of classical song: the string quartet. Representing either younger teams and longstanding favorites, all of them have insights into the thrill and hardships of expressing themselves as a part of a tight-knit ensemble. How they perform, how they arrive to consensus, their functionality secrets and techniques and anxieties, what strikes and evokes them - all this and extra involves lifestyles during this sequence of unveiling interviews with participant and constitution Strings journal contributor Edith Eisler.
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Extra resources for 21st-Century String Quartets, Vol. 1
51; Schoenberg: String Quartet Concerto. New York Chamber Symphony, Gerard Schwarz, cond. (Nonesuch 9-79126). 157 (MusicMasters 67109). 171 (MusicMasters 67125). 575 (MusicMasters 67160). 458 (MusicMasters 67171). Mozart: Complete String Quartets (MusicMasters 67194, 6 CDs). Prokofiev: Quartet No. 1 in B Minor, Op. 50; Quartet No. 2 in F Major, Op. 92 (MHS 512302Z). Tsontakis: Quartet No. 3, “Coraggio”; Quartet No. 4, “Beneath The Juilliard String Quartet, one of America’s best-known chamber-music groups, has traveled throughout the world, playing the classical repertoire and also championing contemporary composers.
Originally, we tried to switch at intermission, but we couldn’t keep that up. ” Choosing who was to play which part was, according to Setzer, very simple. “At one point early on, we sat down with the whole repertoire and divided everything right down the middle; there’s no expert in any style. If one of us feels strongly about playing first violin in a particular piece, fine, he’ll do it; otherwise, we let it depend on how the programs shape up. ” This leads to a discussion of their programs, which have always been extraordinarily imaginative.
It’s in the same key as the fifth symphony and the third piano concerto and, with its brooding and obsessive feeling, represents a real breakthrough in the early quartets. We also picked movements that had a story connected to them and lent themselves to being talked about, like the Cavatina from Op. 130. Beethoven is said to have been moved to tears while writing it and on his deathbed referred to it as his favorite work. ” Setzer adds, “Let’s say the pieces we talked about are no more important than the rest, but by choosing some that had a personal aspect, we hoped to bring the audience in closer contact with Beethoven himself.
21st-Century String Quartets, Vol. 1 by Edith Eisler