4/21/2024 0 Comments Sibelius string quartets![]() ![]() A more impetuous sort of figuration is prominent in the fiery finale, with more than a hint of folk fiddling. Like the first scherzo, the second scherzo is motivically related to the first movement, and it also shares the opening movement's murmuring figures. It was over these chords that Sibelius wrote the words "voces intimae" in a friend's score, suggesting a personal reference. Uncertainty is immediately apparent harmonically in this Adagio, and as the music slithers into a new key area, there are suddenly three detached, soft chords in E minor, remote from any of the previous harmonic implications. A fleetly ricocheting scherzo in A major follows directly, further linked to the first with motivic connections.Ī soulful quest for serenity in F major lies at the center of the work. The work begins with an introductory bit of dialog between first violin and cello, leading into a movement punctuating murmurous figuration with firm chords. The subtitle, "Intimate Voices," suggests both the conversational quality of chamber music and the inwardness of Sibelius' ruminations. Often spare and brooding, the five-movement Quartet anticipates the Fourth Symphony far more than it reflects the brighter rituals of the Third Symphony. One of the last pieces he wrote on a four-year contract with the publisher Robert Lienau, it was premiered in Berlin in January 1910. The String Quartet, "Voces intimae," was composed in winter 1908-09, between the Third and Fourth Symphonies and during a time of health and financial crises. Only one, though, dates from his artistic maturity. Grand Ave.įor future events, call was a middling violinist himself, and he wrote a fair amount of chamber music in his student years, including at least three full string quartets and a number of shorter pieces for four string players. ![]() SIBELIUS : String Quartet in D minor, Op. And because of the superb acoustics in the Hall, the sound is so close and rich it feel like a private, personal performance for just one listener.Ī pre-concert wine reception - sponsored by Cobblestone Wine - is included, beginning at 6:30 in BP Hall. 80) with its anguished outcries and frightening dissonances. ![]() You will encounter the composer in styles that are characteristic of a broader view of his musical expression with the serious and contemplative E Minor (op. The two different teams - also excellent LA Phil players, each a virtuoso - will offer a well-chosen sampling of Mendelssohn with No. Mendelssohn’s string quartets are disputably the best examples of the genre between Schubert and Brahms, offering an exceptional balance between that Romantic emotion and the Classical sophistication, between drama and form, and two of them will open the program at Disney Hall. Still, there is a profoundly individual personality from movement to movement, and while the chordal progressions may conjure up Beethoven, the rawboned melodic lines, inner dissonances, and twisted textures should evoke Bartok. Yet the patchwork that connects all five movements of the 31-minute “Voces Intimae” is superficial, as each movement starts with an adjustment of material from those that came before. The scale of the work suggests Beethoven’s influence on the Finnish master, especially the former’s economical tendency to conserve all opening materials in some form as the work progresses. These players worked together with amazing beauty, grace, fire and syncopation for Tchaikovsky’s Souvenir de Florence at the last chamber concert. First Associate Concertmaster Nathan Cole and his wife Assistant Concertmaster Akiko Tarumoto (pictured below) will be on violins Assistant Principal Ben Ullory on viola and Assistant Principal Dahae Kim on cello. And this is the work which will close LA Phil’s Chamber Concert this Tuesday, Octoat 8. ![]() He wrote it in between the Third and Fourth symphonies, but as with the latter it is far more introspective, suggested by the subtitle, “Intimate Voices.” It has a deeply personal, even shadowy, air that would be almost impossible to achieve in a symphony. Indeed, it’s the only substantial chamber work he produced after the turn of the century. 56 (1908-1909) is one of his most mature, significant, and inspirational chamber works. Sibelius’s String Quartet in D minor, Op. ![]()
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