By Edith Eisler
During this selection of in-depth interviews, trendy best performers get to the guts of 1 of the main loved different types of classical track: the string quartet. Representing either younger teams and longstanding favorites, all of them have insights into the fun and hardships of expressing themselves as a part of a tight-knit ensemble. How they perform, how they arrive to consensus, their functionality secrets and techniques and anxieties, what strikes and evokes them - all this and extra involves lifestyles during this sequence of showing interviews with participant and constitution Strings journal contributor Edith Eisler.
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Extra info for 21st-Century String Quartets, Vol. 1
Basically, we were looking for movements that we felt contained some of Beethoven’s most important writing, or had a special dimension, either of profundity or programmatic content,” Drucker explains. “For example, we chose the slow movement of Op. 18, No. 1, because it’s supposed to be based on the tomb scene in Romeo and Juliet, and the first movement of Op. 18, No. 4, because it shows Beethoven’s stormy side. It’s in the same key as the fifth symphony and the third piano concerto and, with its brooding and obsessive feeling, represents a real breakthrough in the early quartets.
458; Quartet in C, K. 465; Haydn: Quartet in C, Op. 76, No. 3 (DG 427 657). Mozart: Quartet in G, K. 387; Quartet in D Minor, K. 421 (DG 439 861). Piston: Concerto for String Quartet, Winds and Percussion. With the Juilliard Orchestra (S-248). Prokofiev: Quartet No. 1 in B Minor, Op. 50; Sonata for Two Violins, Op. 56; Quartet No. 2 in F, Op. 92 (DG 431 772). Rorem: Quartet No. 4; Edgar Meyer: String Quintet. With Edgar Meyer, double bass (DG 453 606). Schubert: String Quintet; Late Quartets. With Mstislav Rostropovich, cello (DG 459 151).
Also, we had fewer concerts then; now, any work we offer may have to be repeated 30 or 40 times. ” When I confess that the connection between their name and their repertoire had never occurred to me, they laugh. “Good! Keep it that way! We don’t want to be labeled,” says Geber with a smile. If there was ever a danger of that, there certainly isn’t any more. Some years ago, the group presented a cycle of the complete Beethoven quartets, a major undertaking in the career of any string quartet [they are performing that cycle again in the 1999–2000 season, along with contemporary American pieces].