String Quartets Nos 1 and 2

1968 ◽  
Vol 109 (1504) ◽  
pp. 547
Author(s):  
Wilfrid Mellers ◽  
Ives ◽  
Juilliard Quartet
Keyword(s):  
String Quartets

The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí

2020 ◽  
Vol 60 (1-4) ◽  
pp. 243-262
Author(s):  
Gloria A. Rodríguez-Lorenzo
Keyword(s):  
Twentieth Century ◽  
String Quartets ◽  
Musical Theatre ◽  
Turn Of The Century ◽  
Going Public ◽  
Spanish Music ◽  
Written Performance

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.

Ernest Bloch's Second String Quartet

Tempo ◽  
1959 ◽  
pp. 11-16
Author(s):  
Frederick Rimmer
Keyword(s):  
String Quartet ◽  
String Quartets ◽  
The Other ◽  
Sonata Form ◽  
Musical Expression ◽  
The Right

The four string quartets* of Bloch are a convenient medium for assessing both the strength and weakness of his unusual talent, revealing, as they do, an imperfect endowment of those processes of thought and feeling from which, in the right amalgam, a masterpiece of musical expression can emerge. Only the second quartet represents him at his best. It is one of the few works where inspiration and emotion are under the control of the intellect. There are weaknesses in the other quartets largely brought about by preoccupation with cyclic procedures—a notorious and dangerous expedient for a composer unable by nature to accept the traditional usages and disciplines of sonata form.

Building a Music Library: 3. Haydn String Quartets

1986 ◽  
Vol 127 (1715) ◽  
pp. 21
Author(s):  
Denis McCaldin
Keyword(s):  
String Quartets

scholarly journals Learning Sonata Form Structure on Mozart’s String Quartets

2019 ◽  
Vol 2 (1) ◽  
pp. 82-96
Author(s):  
Pierre Allegraud ◽  
Louis Bigo ◽  
Laurent Feisthauer ◽  
Mathieu Giraud ◽  
Richard Groult ◽  
...  
Keyword(s):  
String Quartets ◽  
Sonata Form

String Quartets Nos 1-8

1970 ◽  
Vol 111 (1533) ◽  
pp. 1119
Author(s):  
Robert Anderson ◽  
Mozart ◽  
The Heutling Quartet
Keyword(s):  
String Quartets

Jean-Luc Godard’s Prénom: Carmen (1983)

2021 ◽  
Vol 15 (1) ◽  
pp. 3-35
Author(s):  
MICHAEL BAUMGARTNER
Keyword(s):  
String Quartets ◽  
Artistic Expression ◽  
Primary Concern ◽  
Music Making ◽  
Hands On ◽  
Simultaneous Sounds ◽  
Film Sound

In an interview discussing Prénom: Carmen (1983), Jean-Luc Godard underlines the correlation between the processes of music and filmmaking: ‘Making a film is like performing a quartet’. The emphasis on such a relationship between these two virtually different modes of artistic expression, the act of reflecting upon art in general, and the final artwork, represents Godard’s primary concern in this film. In order to emphasise this self-reflexive stance in Prénom: Carmen, the footage of the Quatuor Prat rehearsing Ludwig van Beethoven’s string quartets is intertwined with fictional material narrating a contemporary version of the Carmen myth. With this alternation, Godard conveys that his conception of cinema emerges from observing how performers create music. Music-making is thus as much a hands-on endeavour as filmmaking itself. Since we are limited to having two hands to edit the soundtrack and mix and arrange the different sounds, we consequently can hear only two sounds at the same time. With this self-inflicted limitation, Godard shapes the soundtrack of Prénom: Carmen with only two simultaneous sounds. Such an overtly self-conscious approach to film sound shifts the focus onto Beethoven’s music, not only as an artistic key device, but also as an alien within the surprisingly complex soundscape and more generally also within the contemporary Carmen story.

Six String Quartets, Opus 32 and Opus 33

10.31022/c042 ◽  
1994 ◽  
Author(s):  
Leopold Kozeluch
Keyword(s):  
String Quartet ◽  
String Quartets

Kozeluch, Mozart's greatest rival in Vienna, published his only string quartets in 1790 and 1792, at a time when he was being described by the lexicographer Gerber as “the most loved among living composers.” A study of these works offers much-needed insights into this significant composer, the string quartet genre, and the fascinating decade that saw the musical shift from classicism to romanticism.

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