Berger’s Duo for Cello and Piano (1951), called “diatonic Webern” by Milton Babbitt, focuses on C major and shows a synthesis of traits from the Quartet for Winds: large melodic leaps, Baroque rhythm and counterpoint, and a dance-like lilt (found in the second movement of both works). The Duo for Oboe and Clarinet (1952) intensifies these same traits. [Source]
[via Thomas Bjørnseth]
Lyric Suite is a six-movement work for string quartet written by Alban Berg between 1925 and 1926 using methods derived from Schoenberg’s twelve tone technique. Though publicly dedicated to Alexander von Zemlinsky (from whose Lyric Symphony it quotes), the work has recently been revealed to possess a ‘secret dedication’ and outline a ‘secret programme’. Berg himself arranged three of the movements for string orchestra.
From a Deutsche Grammophon recording released ca. 1976 by the Lasalle Quartet.
[via atonality.net]
Estonian composer René Eespere: “Triangulum” (2011) for piano, violin and cello
Marina Katarzhnova (Vn),
Petr Kondrashin (Cello)
Petr Aidu (Piano)
“Эстонские дни”, Tallinn, “Eesti musika paevad”
[via @kammermusik]
Toronto’s Cecilia String Quartet were in a radio studio performing songs from their repertoire including this one, ‘String Quartet Op. 106, 3rd Movement’ composed by Dvořák.
The Cecilia String Quartet are playing live in Berlin Konzerthaus tonight:
Joseph Haydn Streichquartett g-Moll op. 20 Nr. 3 Hob III:33
Ana Sokolovic “Commedia dell’arte” für Streichquartett
Antonín Dvorák Streichquartett Nr. 13 G-Dur op. 106
More information here.
Arnold Schoenberg: String Quartet No. 5 (1949) (unfinished fragments). Performed by the Rangzen String Quartet. These are fragmentary sketches for the beginning of each of the four movements of a fifth string quartet by Arnold Schoenberg. All the movements are dated June 1, 1949 except for the 4th movement which is mistakenly dated June 1, 1948. The 1st movement consists of only the 1st 18 bars in condensed score format. The 2nd movement consists of only the 1st 11 bars in short score. The 3rd movement consists of only the 1st 14 bars in score format. The 4th movement consists of 29 bars of a single line melody. There are also two large sheets with 6 printed staves written in pencil. One contains a fragmentary draft of the 1st 12 bars of the 4th movement in short score. The other contains row sketches on 4 staves.
[via Thomas Bjørnseth]