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Kai Christiansen
. . . a set of string quartets that would set a new high water mark in the genre. It is natural, therefore . . . -) String Quartet No. 1, Noche del Amor Insomne, 2014 (World premiere) Night of sleepless love A full moon . . . of Lorca's poems. This string quartet was composed between February and April 2014 as a commission . . . , golden glow. The string quartet proves to be an admirably "colorful" ensemble for rendering this . . . , Vieuxtemps even composed three string quartets. The mid-19th century was also an era of intimate salon
Kai Christiansen
. . . Schubert to Ravel, from Vienna to Paris, from the 19th to the 20th century, and from high Classical . . . Romanticism to modern Neo-Classicism, Impressionism and proto-jazz. The program immerses us in the musical . . . the final works – the piano sonatas, symphonies and quartets – and held him in the highest esteem. Schubert . . . Beethoven, Schubert entered his "last year", one of the most astonishing in the history of classical . . . including the three late piano sonatas, two towering piano trios, the transcendent string quintet and drafts
Kai Christiansen
. . . , the string quartets are the most sublime and transcendent music this more private genre has to offer. With . . . 's fugues and Beethoven's sonatas nonetheless seem almost as utopian ideals: it is hard to ever imagine . . . evoke something more dramatically human and personal. Like the symphonies and quartets, the piano . . . similar superlative authority, the piano sonatas occupy yet another distinct place in the classical . . . classical music. They arrived at a time in musical history where the culture, economics and sociology of
Kai Christiansen
. . . contemporary, Fanny Mendelssohn, sister of Felix, had already written a piano quartet and a string quartet . . . become a significant composer in the European tradition of classical music before the 20th century, there . . . and influential female musicians of the 19th century if not the history of European classical . . . such classic composers as Bach, Scarlatti, Beethoven and Schubert. Schumann also frequently programmed . . . , counterpoint, fugue and composition with some of the finest teachers throughout Germany. Clara Schumann was
Kai Christiansen
. . . the famous slow movement of Schubert's "Death and the Maiden" for string quartet. Typical for Schubert . . . leading to some few late works of extraordinary craft, expression and high classical poise. The essence . . . harmony, classical balance and a singing, coloratura line with elaboration and ornament growing into rich . . . the finale. The finale permutes the primary theme once again forming the subject for a surging fugue that . . . voices, Schubert's fugue is not quite as strict as one from either Beethoven or Bach but is really
Kai Christiansen
. . . , a violin sonata and a fugue for string quartet), in 1932, at the age of 29, still a student, Khachturian . . . European "classical" art music with striking elements of Eastern Eurasian folk music in a vivid nationalism . . . years in Moscow, it is masterful and unique, a perfect showcase for Khachaturian's blend of classical
Kai Christiansen
. . . three string quartets, a string sextet (Souvenir de Florence) and the epic Piano Trio in A minor . . . Ilyich Tchaikovsky ranks among the most popular and beloved in the classical tradition. Known primarily . . . for winning lyricism, passionate expressivity, brilliant color and a blend of classic European . . . instinct and inspiration that follows its own natural shape without worrying about precise classical . . . , a waltz with a different tune but the theme as a countermelody, an elaborate fugue, a salon-style mazurka
Kai Christiansen
. . . composed his glorious Octet for strings in 1825 when he was merely 16 years old. Today, it is regarded as . . . Quartet reveals that a more mature Mendelssohn somewhat substantially edited the score before its final . . . part is virtuosic throughout. The Octet is a full-scale four-movement work in the classical style . . . -part fugue working through the entire ensemble from bottom to top followed by a theme that reminds many . . . permutation of voices provided by the eight string players. Such mastery derives from the numerous string
Kai Christiansen
. . . the Maiden" for string quartet. Typical for Schubert, the music ranges from dirge to tender hope with . . . expression featuring his melodic gifts and evocation of mood more than extensive classical development or . . . theme once again forming the subject for a surging fugue that begins in the base with a powerful thrust . . . of forward momentum. After the initial exposition in three voices, Schubert's fugue is not quite as . . . strict as one from either Beethoven or Bach but is really a delightful mixture of fugue subject and
Kai Christiansen
. . . 's only complete string quartet may have influenced Debussy, both written in the same year of 1893 . . . . Shostakovich, Fugue in E minor, Op. 87 No. 4 In yet another notable example of modern neo-classical "looking . . . other arrangements without losing its essence. The integrity and innate expression of these classics . . . music. The first of two "neo-classical" dance suites on the program tonight, Debussy takes its title from an exotic . . . for solo piano, Grieg transcribed it for string orchestra, the most familiar arrangement heard today
Kai Christiansen
. . . Gershwin's Rhapsody in Blue. Op. 81b is an arrangement of the five-movement ballet for string quartet and . . . discordant. The fugue is bright, sassy and rhythmically jaunty with a subject featuring the classic blues . . . piano. It is a remarkable example of early Jazz impressions influencing a Classical sensibility. Rather . . . astonishingly, it begins with a prelude and fugue. The prelude is atmospheric, tense, melancholic and mildly . . . bluesman might: he opts for the more classical major 7th in the manner of his friend, contemporary and
Kai Christiansen
. . . of Bach's preludes and fugues from the keyboard to a string chamber ensemble. Beethoven played . . . of novel treatments: jazz, vocalese, moog synthesizer, string quartet, as well as the traditional . . . piano as well? And what about synthesizer, vocalize, string quartet or any other sort of transcription . . . specifically, the vital tradition of the string quartet. Given this, it might seem odd that earsense should be . . . partners. Among other things, the string quartet is a medium par excellence for polyphonic and contrapuntal
Kai Christiansen
. . . particularly prodigious with his monumental cycles of 15 symphonies and 15 string quartets. Indeed, despite his . . . quintet of 1940. Impressed with his first string quartet, the Moscow-based Beethoven quartet asked . . . the entire quintet. The first two movements supply a massive prelude and fugue in the finest Bachian sense . . . . Shostakovich was a skillful and artistic contrapuntalist with masterful fugues all through his oeuvre. Directly . . . fugues for piano, again, a modern voice within an ancient tradition. Here, the prelude and fugue acquire
Kai Christiansen
. . . " classical style. A collection of 26 mature works includes duo sonatas, piano trios, string and piano . . . quartets, piano and string quintets, two sextets and the four final works featuring the clarinet. All 26 . . . violins, two violas and cello, that is, a string quartet with an added viola often called a "viola quintet . . . ." Compared with his works including the piano and even two of the three string quartets, the quintets have . . . Brahms, String Quintet No. 1 in F major, Op. 88
Kai Christiansen
. . . string quartets and the string quintets of Mozart and Schubert, Beethoven’s quintet is rarely performed . . . his previous string trios and quartets and, like Mozart’s quintets, features an expansive richness due . . . Beethoven, String Quintet in C major, Op. 29, "Storm" . . . Ludwig van Beethoven (1770-1827) String Quintet in C Major, Op. 29, “The Storm” (1801) When . . . Beethoven composed his only full-length string quintet in 1801, he was beginning a transition between his
Kai Christiansen
. . . string quartets, a piano trio, the innovative piano quintet and the piano quartet. The Piano Quartet in E . . . Schumann, Piano Quartet in E-flat Major, Op. 47 . . . Robert Schumann, 1810-1856 Piano Quartet in E-flat Major, Op. 47, 1842 1842 is often called . . . for the piano, it is not surprising that the piano quartet and piano quintet remain the most popular . . . his chamber works. Of the two, the quartet, with is smaller ensemble, is naturally more intimate, its
Kai Christiansen
. . . George Enescu, Octet for Strings . . . George Enescu (1881-1955) String Octet, Op. 7, 1900 (published in 1905, premiered in 1909) Enescu . . . of epic proportions. Enescu composed his String Octet in 1900 when he was between 18 and 19 years . . . sinews of classic counterpoint and polyphony, and then, within the well defined containers of the four . . . , the Octet is indeed an entity (like Verklärte Nacht, and later, Schoenberg’s First Quartet). Enescu revealed
Kai Christiansen
. . . Beethoven, String Quartet No. 10 in E-flat Major, Op. 74, "Harp" . . . Ludwig van Beethoven, 1770-1827 String Quartet No. 10 in E-flat Major, Op. 74, "Harp", 1809 Its . . . appear more frequently on concert stages. Yet Beethoven's String Quartet No. 10 in E-flat Major is . . . feels that Beethoven's "Harp" quartet is somehow overlooked. A definite "middle period" work, it is . . . followed quickly by the more innovative "Serioso" and then the late quartets, and it is preceded by
Kai Christiansen
. . . Haydn, String Quartet in D major, Op. 20, Sun, No. 4, Hob.III:34 . . . Joseph Haydn (1732-1809) String Quartet in D Major, Op. 20, No. 4 (1772) Though the Op. 20 set . . . fugues and other polyphonic techniques abounding, the quartets incorporate complex counterpoint to a new . . . degree. As for the string quartet as a medium for intelligent “conversation” and collegial interplay . . . measure or standard, these quartets offer a stunning place to inaugurate a showcase. The fourth string
Edition Silvertrust
. . . Camille Saint-Saëns, String Quartet No. 2 in G major, Op. 153 . . . two string quartets to his credit, but he also wrote three works for piano trio, a serenade for piano . . . first string quartet until 1899, at the ripe old age of sixty four. His second effort in the medium didn . . . ’t materialize until he was eighty four! The Second Quartet was composed in 1919. Although written on . . . -classical style. The second movement, Molto adagio, has traces of North African melody and of harmonic