Frank Martin, 1890-1974 The 20th century Swiss composer Frank Martin is not even mentioned in standard “listener’s guides” to Classical music, chamber music or otherwise. A descendant of French Huguenots (devout Calvinists who fled persecution in France and resettled in various places including Geneva), Martin would turn to composing deeply religious choral and instrumental music in his final years producing some of the most highly regarded sacred vocal works of the 20th century. But his instrumental music is equally marvelous. Martin’s most widely known work is the novel Petite symphonie concertante featuring piano, harpsichord, harp and two small string orchestras. Martin played piano and harpsichord and throughout all of his music he displays a great sensitivity to timbre and its combinations in dazzling ensemble textures. Even in a symphonic concerto, he displays a masterful chamber music sensibility. Posted in| Comments Off. The American Quartet. Haydn String Quartet in G, Op. 76/1; Saylor Keeping Watch: A Seascape (Commissioned in honor of Jim Greene, World Premiere); Beethoven String Quartet in F minor, Op. 94; Ravel Sting Quartet in F. PROGRAM NOTES. Franck's Piano Quintet in F minor was composed in the winter of 1878-1879, a time during which some biographers suggest he was infatuated with one of his students. An ultra-expressive work – Nadia Boulanger said it contains more ppp and fff markings than any other chamber piece – it may have been. Paul TullochLudwig van Beethoven (1770-1827), 1824-1825 Beethoven’s Op. 127 is the first of his legendary “late quartets,” six string quartets that comprise Beethoven’s final and perhaps greatest musical achievement. Besides some aborted sketches, he had not worked significantly in the genre for over a decade since the Op. 95 “Serioso” quartet of 1810. Kameleon urc 8040 manual. Its the seconds link down, and offers a PDF with full instructions. Cheapest price on ebay is £10, so grab a bargain from me at £5. To find manual, search Google for URC-8040. I have 2 of these for sale, so you can chose which one. In the interim, Beethoven composed his final piano sonatas, the Missa Solemnis and the 9th Symphony, all magnificent works of a towering stature. The last piano sonatas, “late” in the same profound sense as the late quartets would be, inaugurated several of the stylistic traits of his final period: innovative forms bordering on fantasia, sublime beauty, deeply intimate emotion, epic lengths, superhuman virtuosity and a beautiful obsession with seemingly inexhaustible variation. Beethoven’s final music seems to plumb the depths from the personal to the universal and still, somehow, beyond: transcendental. Posted in| Comments Off. Paul Hindemith (1895-1963), 1921 The chamber music of Paul Hindemith is rare on the concert stage these days. This is somewhat ironic, perhaps doubly so. For most of his life in the first half of the 20th century, Hindemith was considered one of Germany’s greatest composers. In addition, one of his chief aesthetic concerns was Gebrauchsmusik, music for use in everyday life with a practical purpose. In opposition to the increasingly arcane and alienating music from a musical ivory tower pursing “art for art’s sake,” Hindemith hoped to engage the common man, fulfilling his need to make and enjoy music as a natural capacity. Nonetheless, after his death, Hindemith and his prolific output have seemed to largely elude both the avant-garde and the man on the street. Hindemith was an immensely gifted and multifaceted musician. Showing early promise and becoming a working professional by his early teens, he eventually learned to play just about every instrument in the orchestra, performed as a soloist (viola and violin), toured with a string quartet for several years (the original Amar Quartet which he founded), conducted, taught, became a pioneer in early music performance, wrote numerous books and still managed to compose prolifically and skillfully in every standard musical genre. Posted in| Comments Off. Family Business For a program by the Musical genius can be found in musicians and composers from all kinds of circumstances, even against all odds. But history shows a vivid pattern of musical families, even dynasties. The latest research suggests that musical aptitude and talent is rooted in nature, in our genes to some extent, as well as nurture: how that musical proclivity is encouraged, supported and nourished.
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