Quartet in G, Op. 11, no. 1, for Flute and String Trio

David Ossenkop; Francois Devienne; J. C. Bach; Joseph Haydn

doi:10.2307/894636

Brian Cherney’s String Trio: Transcendent Pedagogy and the Spiritualization of Technique

Intersections Canadian Journal of Music ◽

10.7202/1059890ar ◽

2019 ◽

Vol 37 (1) ◽

pp. 105-118

Author(s):

Arlan N. Schultz

Keyword(s):

Pedagogical Approach ◽

String Trio ◽

Human Emotions ◽

Teaching Composition ◽

Spiritual Expression

Brian Cherney’s pedagogical and compositional philosophy is examined from the perspective of transcendent intention. Both in teaching composition and in his own works, Cherney emphasizes technique, attention to details, a convincing formal architecture, and the power of music to give expression to fundamental human emotions and experiences. Drawing upon the philosopher Henri Bergson’s concepts about the “nature of creative consciousness,” the author finds striking parallels between Bergson’s ideas and Cherney’s music. Analytical observations on Cherney’s String Trio are tied to the composer’s pedagogical approach, which profoundly influenced the author both as a composer and as a teacher. Cherney’s String Trio confronts the listener with a work in which the spiritual expression of a universal impermanence is manifested in the music itself in various ways that are illuminated and discussed using specific musical examples.

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Structure in Charles Wuorinen's String Trio

Perspectives of New Music ◽

10.7757/persnewmusi.56.2.0113 ◽

2018 ◽

Vol 56 (2) ◽

pp. 113

Author(s):

Kuchera-Morin

Keyword(s):

String Trio

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Symphonies Reframed

10.22501/nmh-ar.481294 ◽

2018 ◽

Author(s):

Gjertrud Pedersen

Keyword(s):

Chamber Music ◽

String Quartet ◽

Chamber Ensemble ◽

Educational Value ◽

Chamber Ensembles ◽

String Trio ◽

Original Works ◽

The Difference ◽

Core Questions ◽

First Time

Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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Density

Lyric Cousins ◽

10.3366/edinburgh/9781474402927.003.0006 ◽

2016 ◽

Author(s):

Fiona Sampson

Keyword(s):

String Trio ◽

The Way

This chapter explores the ‘vertical’ or the simultaneous way in which non-denotative elements contribute to a piece or poem. This simultaneous quality is referred to as ‘density’. As so often with abstract forms, density is more easily spotted in music than in verse, as it is easier to believe there just is more going on at any one moment of a thickly orchestrated symphony than of a string trio: more diversity, even though not necessarily more in the way of musical ideas, and above all simply more noise. In poetry, however, the chapter sums up the principle of poetic density through an equation: D = CV (or, density = content × versification).

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Ghosts and Shadow Sounds

Sonic Overload ◽

10.1093/oso/9780197541258.003.0009 ◽

2021 ◽

pp. 254-292

Author(s):

Peter J. Schmelz

Keyword(s):

Piano Sonata ◽

Viola Concerto ◽

Violin Concerto ◽

String Trio ◽

Artificial Nature ◽

The Grotesque

Chapter 9 begins studying Alfred Schnittke’s lengthy retreat from polystylism by looking at several of his key compositions from the 1980s, among them his Piano Sonata no. 2, Violin Concerto no. 4, String Trio, and Viola Concerto. In these works, polystylism began to fade as Schnittke emphasized the grotesque, artificial nature of his quotations. He also began speaking more about what he called “shadow sounds,” which soon took precedence in his aesthetic schema, largely replacing polystylism. Yet by the end of the 1980s, as polystylism dissipated, it remained a central category for critics and listeners. Schnittke himself became more unrooted; he emigrated from the USSR to Germany but continued to express a deep ambivalence about his true home.

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