By Edith Eisler
During this choice of in-depth interviews, cutting-edge 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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Additional resources for 21st-Century String Quartets, Vol. 1
458 (MusicMasters 67171). Mozart: Complete String Quartets (MusicMasters 67194, 6 CDs). Prokofiev: Quartet No. 1 in B Minor, Op. 50; Quartet No. 2 in F Major, Op. 92 (MHS 512302Z). Tsontakis: Quartet No. 3, “Coraggio”; Quartet No. 4, “Beneath The Juilliard String Quartet, one of America’s best-known chamber-music groups, has traveled throughout the world, playing the classical repertoire and also championing contemporary composers. The group’s long and successful association with the Juilliard School has brought them renown as teachers, and their commitment to coaching young chamber musicians comes through clearly in this 1989 interview.
The first time the Emerson used this approach was in 1981 at New York’s Alice Tully Hall, for a performance of the six Bartók quartets—all in a single evening. The reason, Finckel explains, was that “if you split them between two programs, one becomes too short, the other too long. ” The resulting marathon of three hours and 40 minutes created a sensation. Finckel recalls that concert with a chuckle, saying, “I had only been with the quartet a couple of years, and it nearly killed me. ” The group repeated the program at Carnegie Hall in 1988 and at Avery Fisher Hall in 1995 as part of the Bartók commemoration, and has taken it all over the world.
Players who create and maintain the personal and musical relationships necessary in a fine quartet have achieved a special kind of magic. The 11 quartets profiled in this book represent some of the most talented chamber musicians of our time. They are passionate in their discussions of the most famous—and at times the most problematic—works in the genre: the quartets of Beethoven, Shostakovich, Janácek, Bartók, Schoenberg, and others. Their explanations of how they work through the music, from the practice room to the stage, can inform and inspire.
21st-Century String Quartets, Vol. 1 by Edith Eisler