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The Radio 3 Boards > The Music Boards > Music Through The Ages > String Quartets - the ultimate in serious music
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Author Topic: String Quartets - the ultimate in serious music  (Read 1231 times)
time_is_now
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« Reply #75 on: 12:34:52, 25-09-2008 »
Quote from: richard barrett on 10:23:10, 25-09-2008
Quote from: time_is_now on 19:53:10, 24-09-2008
Quote from: richard barrett on 11:33:16, 24-09-2008
"Sinfonietta" (five woodwinds, four brass, percussion, piano and string quintet)
Four woodwinds, three brass, surely? I'm off-topic (but the rest of this post isn't!).
Oops, yes, four woodwinds, but four brass too - horn, trumpet, trombone, tuba - are normal aren't they?
I didn't think the tuba was part of the standard Sinfonietta line-up (do any of Birtwistle's 3 or 4 LS pieces have one, for example?). I may be wrong.

Oops, I'm off-topic again. Where were we? Oh yes ... I saw Hugh Wood wandering along Old Compton Street on Saturday night. He looked a bit lost. Is that on-topic?
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
stuart macrae
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ascolta
« Reply #76 on: 13:39:45, 25-09-2008 »

Off-T: Sinfonietta :4 woodwind, 3 brass (tuba is extra), 5 strings, harp, piano, percussion.

On-T: I love the Janáček quartets - fantastically inventive textural writing (lots of alternating-pitch tremolos  Smiley ) and many features characteristic of other late Janáček, such as the melodic writing and use of repetetive figures.
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time_is_now
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« Reply #77 on: 14:07:44, 25-09-2008 »
Quote from: rauschwerk on 18:27:31, 23-09-2008
Quote from: time_is_now on 18:22:09, 23-09-2008
Quote from: rauschwerk on 18:16:05, 23-09-2008
Sadly, the only detailed treatise I have found so far is a book on Op 50 in the Cambridge Music Guides series. Does anyone know where I might get hold of the Doblinger study scores which incorporate the discoveries from the recently discovered autographs of No 3-6?
'Sadly'? It may be the only one, but that wonderful little book is by my former teacher, who IMHO is far and away the most interesting scholar currently writing on 18th-century music (his big study of Scarlatti's keyboard sonatas comes highly recommended, by me at least!).

Send me a private message if you want me to ask him about the Doblinger scores. I don't know anything about them myself but I'm sure he'd be happy to answer your question.

Many thanks! I shall take you up on that. I wish I had more books of the quality of Dr Sutcliffe's - hence my sadness.
An email from New Zealand reveals:

Well, in fact, as it turns out, the Dobliner edition doesn't quite incorporate all of the differences revealed in the autographs of Op. 50. Before too long the Joseph Haydn Werke edition will come out, edited by James Webster (Henle), and that will be the one to have. The Doblinger scores might well be out of print, so a library perhaps the best place to ask.
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
rauschwerk
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« Reply #78 on: 17:40:43, 25-09-2008 »
Quote from: Ron Dough on 10:16:07, 25-09-2008
A question concerning the homogeneity or monochrome quality of the string quartet sound. Can we really take that as read since the quartets of Bartok (which I'd tentatively suggest as the most important and influential cycle since Beethoven's)? Varieties (and sometimes even extremities) of instrumental colour are an inherent part of their fabric, and the whole notion of the musical principles by which writing for a quartet had hitherto proceeded are radically overhauled and even ignored.

Indeed, and that is just what attracted me to the Bartok quartets when I knew little or no other chamber music. (Mind you, I was a Bartok freak already.) My devotion to earlier examples of the genre was not to come about for some years, probably just because I found classical quartets 'monochrome' by comparison.
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