Podcasts about quartettsatz

This week's episode is unusual because 4 musicians are featured, the members of the Euclid Quartet. They are a world-class string quartet celebrating their 25th anniversary with a fantastic album of short pieces, entitled Breve, and we are featuring several pieces from that album as part of this episode. Breve album: https://breve.hearnow.com/ You'll get to know each member of the quartet, which is in residence at Indiana University South Bend: Jameson Cooper, violinist and founding member originally from England; you'll hear about his experiences as a student of Dorothy Delay, and Roland and Almita Vamos. He also talked about the formative years of the quartet and the nuts and bolts of learning repertoire. The other violinist in the quartet is Aviva Hakanoglu, who holds degrees from Harvard, Indiana University and Stony Brook university and was a student of Philip Setzer, and it was really interesting to hear about her experience auditioning for the quartet and her perspectives on community outreach and as an educator. Violist Luis Enrique Vargas is a long-time member of the Euclid quartet, and started his life in music in Venezuela at the age of 14, and spoke about introducing Latin American composers to his colleagues. Finally cellist Justin Goldsmith is the newest member of the quartet. When he was completing his Master's degree at Indiana University he formed the Vera quartet which held residencies at both IU and the Curtis Institute of Music, where he was also a Community Artist Fellow. I was curious to learn more about the many roles the quartet plays in their capacities as performers, educators and collaborators, and to hear them speak about the special joys and challenges of being members of a full-time quartet.   Like all my episodes, you can also watch this on my YouTube channel, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/euclid-quartet Euclid Quartet website: https://www.euclidquartet.com/biography Please support this independant podcast! https://ko-fi.com/leahroseman Did you know that I send out a weekly email newsletter with Sneak Peeks of upcoming guests and lots more? Sign-up here: https://mailchi.mp/ebed4a237788/podcast-newsletter Timestamps:  (00:00) Intro (04:46) Jameson Cooper, getting into chamber music, putting the album Breve together (08:12) Luis Enrique Vargas Latin Amercian composers (10:07) Metro Chabacano by Javier Alvarez (14:05) American Masterpieces grant, diversity of representation in programming, youth outreach (16:50) the career of a string quartet incorporating outreach and education, Rehearsing Philadelphia (21:22) intro to Italian Serenade, Aviva on the challenge of recording (22:29) excerpt from Italian Serenade by Hugo Wolf (23:45) rehearsal process (25:20) Jameson the early years of the Quartet, Aspen (29:58) James Cooper studies with Dorothy DeLay, Roland and Almita Vamos, Masao Kawasaki (33:45) intro to Shostakovich Polka (36:18) Shostakovich Polka (36:16) Aviva audition experience joining the quartet (42:18) Aviva's advice for dealing with nerves (43:40) orchestral auditions and chamber music auditions, Jameson Cooper's experience as a conductor (47:48) please support this series!  (48:27) Luis conducting project, his love of whistling (51:55) Aviva intro to Four, for Tango  (53:22) Four, for Tango by Astor Piazzolla from live performance (58:23) Hugo Kauder (01:00:56) Luis Enrique Vargas how he became a violist  (01:03:15) Justin Goldsmith experience of joining the quartet (01:04:48) Schubert Quartettsatz Jameson Cooper (01:07:28) excerpt from Schubert's Quartettsatz (01:09:00) importance of chamber music in music education (01:12:23) Anna Clyne Fischoff Quarter Days (01:13:54) new audiences and different projects (01:20:11) string quartet life (01:26:26) Aviva Hakanoglu on teaching (01:28:54) the advantages of variety and versality for performers  --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

No 27. janvāra līdz 24. februārim Rīgas Doma 13.gadsimta Kapitula zālē jau piekto reizi norisināsies koncertcikls "Ziemas kamermūzika", kura atklāšanas koncertā muzicēs "Sinfonietta Rīga" stīgu kvartets - vijolnieces Agnese Kanniņa un Kristiāna Krūskopa, altists Artūrs Gailis un čellists Kārlis Klotiņš. Līdzās Ludviga van Bēthovena un Franča Šūberta stīgu kvartetiem sagaidāms arī Paula Dambja Devītā stīgu kvarteta pirmatskaņojums. Altists Artūrs Gailis un čellists Kārlis Klotiņš - par Bēthovena Pirmā stīgu kvarteta vēsturi un to, ka ilgu laiku Sinfonietta Rīga stīgu kvartets koncertos izvairījās no Vīnes klasiķu atskaņošanas, par Šūberta Quartettsatz un tā ilgo ceļu līdz pirmatskaņojumam, par Paula Dambja piedāvājumu atskaņot viņa jaunāko stīgu kvartetu un tā divām redakcijām, kā arī 2024. gadā paredzētajiem koncertiem. Dina Dūdiņa-Kurmiņa: 8. stīgu kvartetu Tautasdziesmas gaita no Paula Dambja daiļrades jūs esat spēlējuši, bet kā notika sadarbība pie Devītā stīgu kvarteta? Komponists jūs uzmeklēja vai jūs uzmeklējāt viņu un lūdzāt, lai meistars rada vēl vienu stīgu kvartetu? Kārlis Klotiņš: Meistaram šoreiz tā bija iekšēja vajadzība, jo tiešām veiksmīga sadarbība bija ar Astoto kvartetu un tā atskaņojumu Rīgas Latviešu biedrības namā. Tad bija 2022. gads, vasara jau gāja uz beigām, Krievijas - Ukrainas karš arī jau diemžēl kādu laiku risinājās. Komponists piezvanīja un teica - man ir vēl viens kvartets, vēlos Jūs satikt, parunāt. Satikāmies kafejnīcā, un viņš man stāstīja, kā viņš jūt to situāciju, ka tas ir ļoti iedvesmojis viņa opusu. Tajā brīdī mums vēl īsti neatradās pasākums vai koncerts, kurā šo opusu iekļaut. Laiks gāja, un tad mums bija jauns pārsteigums, jo tad, kad jau bijām gandrīz atraduši šo iespēju, komponists teica - ir pilnīgi jauna versija. Tad arī tā mazliet nogulēja plauktiņā. Tagad ir pienācis šis festivāls, un Doma baznīcas Kapitula zālē tas beidzot notiks. Man, godīgi sakot, šķiet, ka kara tēmu es pats tur nesajūtu. Negribu nevienu tā biedēt, bet tas izklausās pēc latviešu mūzikas skaņdarba, kas atspoguļo latviešu mūzikas 20. gada folkloristisko vēsturi, bet ir savā ziņā rapsodisks un arī formā diezgan brīvs, kas ir interesanti - izvērsts, bet diezgan brīvs formā. To nevar sadalīt četrās daļās? Sonātes formas arī nav? Kārlis Klotiņš: Nē, tur varbūt ir vairāk posmu kā četri. Būtu ļoti interesanti pēc tam ar klausītājiem parunāties, ar kādu, kas būs priekš sevis to noformulējis. Es arī gribēšu paklausīties ierakstu no malas. Kā vispār notiek jaundarba iestuēšana? Vai godprātīgi visu, ko Pauls Dambis uzrakstījis, arī mēģināt realizēt? Vai jums tomēr ir daži ieteikumi, dažas kupīras? Artūrs Gailis: Kā jau pie jebkura jaundarba, sevišķi tāda, kurš vēl nav piedzīvojis atskaņojumu vai ir bijis atskaņojums, kura rezultātā komponists ir kaut ko sapratis, labojis vai vēl ko, izejas punkts vienmēr ir pati partitūra. Mēs katrs individuāli esam domājuši, ko tur saskatām, kas tas varētu būt, esam gatavojušies, un tad jau tiekamies kopā un vienkārši sākam spēlēt. Tad, darba procesā, viss arī atrisinās, jo mūzika uz papīra vien - tas tā nestrādā. Mēs vienkārši spēlējam un, balsoties uz to, ko dzirdam, mēs attiecīgi saprotam, ko iepriekš bijām sapratuši nepareizi, vienkārši skatoties notīs, un kas sakrīt ar to, kā mēs bijām iedomājušies. Ja runā par korekcijām, principā mūziķi ar iejaukšanos komponista iecerēs cenšas neaizrauties. Mēdz būt dažādi - cik tās ieceres var saprast uzreiz, cik nevar saprast, kāds ir nošu materiāls - tas viss katru reizi ir citādāk. Tad, protams, ir jāpielāgojas. Vai ir kāda palīdzība no komponista? Stīgu kvartetam ir nosaukums, epigrāfs, programma vai tikai vienkārši un lakoniski - Devītais stīgu kvartets? 2022. vai 2023. ir otrās redakcijas tapšanas gads? Kārlis Klotiņš: Man liekas, ka 2023. gads. Ja godīgi, šai versijai nosaukuma vairs nav. Artūrs Gailis: Nē, ir Devītais stīgu kvartets. Ir lietas, ko komponists ir pateicis par kaut kādām epizodēm, kāda bija viņa sākotnējā iecere, vīzija, kā viņš pats ir to saklausījis, rakstot kādus fragmentus, bet nosaukuma vai izteikta programmatisma tur nav. Mēs vienmēr cenšamies rosināt un veicināt jaunu stīgu kvartetu rašanos latviešu mūzikā. Mums visiem būtiski ir atskaņot tieši apkārt esošo laikabiedru jaunākos skaņdarbus. Spēlēt mūziku, kas ir jauna, īpaša un izlolota, mums sagādā vēl papildus gandarījumu.

durée : 00:16:28 - Le Disque classique du jour du mardi 11 octobre 2022 - Célébrant son cinquantième anniversaire cette année, le Quatuor Brodsky a donné plus de 3000 concerts sur les principales scènes de concert du monde et a sorti plus de soixante-dix enregistrements.

Franz Schubert - String Quartet No. 12 "Quartettsatz" Kodaly Quartet More info about today's track: Naxos 5.550590 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

durée : 00:29:36 - Le Quatuor Guarneri - Quatuor Américain (extrait) de Dvorak, Quartettsatz de Schubert et Cavatine de l’opus 130 de Beethoven par le Quatuor Guarneri, et avec Arthur Rubinstein, Scherzo du 2ème Quintette avec piano de Dvorak.

durée : 01:58:50 - Amours, délices et orgues ; concert du Quatuor Oïstrakh (Biennale de Quatuors à cordes) - par : Jean-Baptiste Urbain - ## Amour, musique de chambre et orgue {% image 022c182d-f707-4a43-a3af-6be9e82e83b7 %} **Charles-Marie Widor** _Introduction et Rondo pour clarinette et piano op. 72_ Olivier Patey, clarinette / Alessandro Soccorsi, piano Naxos **Charles-Marie Widor / arrangement Albert Rey** _Trois Pièces : II. Elégie_ Alexei Ogrintchouk, hautbois / Alessandro Soccorsi, piano Naxos {% image 368fc9a5-f7fb-4a92-9a8e-0ac8f39da4ff %} **Louis Vierne** _Sonate pour violoncelle et piano en si mineur op. 27 : I. Poco lento – Allegro moderato_ Armance Quéro, violoncelle / Joseph Birnbaum, piano Etcetera **Maurice Duruflé** _Prélude, Récitatif et Variations pour flûte, alto et piano op. 3_ Sharon Bezaly, flûte / Nobuko Imai, alto / Ronald Brautigam, piano BIS **Charles-Marie Widor** _Sérénade pour flûte, violon, violoncelle, harmonium et piano op. 10_ Thies Roorda, flûte / Junko Naito, violon / Benedikt Enzler, violoncelle / Bert Mooiman, harmonium / Alessandro Soccorsi, piano Naxos ## Concert **[Quatuor Oïstrakh :](http://www.oistrakhquartet.com/)** Andrey Baranov, violon Rodion Petrov, violon Fedor Belugin, alto Alexei Zhilin, violoncelle **Alexandre Borodine** _Quatuor à cordes n° 2 en ré majeur I. Allegro moderato II. Scherzo III. Nocturne IV. Finale_ **Dimitri Chostakovitch** _Quatuor à cordes n° 3 en fa majeur op. 73 I. Allegretto II. Moderato con moto III. Allegro non troppo IV. Adagio V. Moderato_ **Niccolo Paganini / arrangement Fedor Belugin** _Caprice n° 24 en la mineur op. 1 n° 24_ **Piotr Ilyitch Tchaïkovski / arrangement Fedor Belugin** _Album pour enfants op. 39 : XXI. Douce Rêverie_ _**Enregistré le 20 janvier à la Philharmonie de Paris, dans le cadre de la [Biennale de Quatuors à cordes](https://philharmoniedeparis.fr/fr/programmation/les-week-ends-thematiques/biennale-de-quatuors-cordes)**_ ## Bonus web : Schubert, Quatuor à cordes n° 12 en ut mineur D. 703 "Quartettsatz" {% audio 830bac0b-74e7-4f3d-96d7-501f54dd67a4 %} - réalisé par : Laurent Lefrançois

Franz Schubert's String Quartet in C minor, D. 703 from 1820 is popularly known as the "Quartettsatz" because only a single movement of the piece was finished. The "Quartettsatz" marked something of a coming of age for Schubert, as he began to find ways to combine the rich Viennese heritage he absorbed during his student years with his own evolving dramatic ambitions. Structurally the piece dips and swells as it progresses through a series of dramatic extremes, assuming the shape of an advanced sonata design while avoiding the limitations of that form. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33219]

Franz Schubert's String Quartet in C minor, D. 703 from 1820 is popularly known as the "Quartettsatz" because only a single movement of the piece was finished. The "Quartettsatz" marked something of a coming of age for Schubert, as he began to find ways to combine the rich Viennese heritage he absorbed during his student years with his own evolving dramatic ambitions. Structurally the piece dips and swells as it progresses through a series of dramatic extremes, assuming the shape of an advanced sonata design while avoiding the limitations of that form. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33219]

durée : 00:59:10 - Le Quatuor Yako - par : Jean-Baptiste Urbain - enregistré en public le 27 novembre au Studio 106 de la Maison de la Radio. Quatuor Yako : Ludovic Thilly, violon Pierre Maestra, violon Vincent Verhoeven, alto Alban Lebrun, violoncelle Schubert : Quatuor n° 12 en ut mineur D. 703 " Quartettsatz " Phil Glass : Quatuor n° 2 Mendelssohn : Quatuor n° 6 en fa mineur op. 80 - réalisé par : Laurent Lefrançois

VIDEO: The Brentano Quartet Plays Schubert and Adolph Franz Schubert's short, hectic life was full of "what ifs" -- unfinished sketches, abandoned works and fragmentary thoughts. Many of these leftovers were quite extraordinary despite their obvious limitations. Among them is the Quartettsatz in C minor, a piece whose first movement Schubert completed in 1820 but whose Andante he abandoned for unknown reasons. Sensing its value, the Brentano String Quartet commissioned the New York composer Bruce Adolph to write a response in his own style, and he responded with Fra(nz)g-mentation, a dense yet witty homage to the original. During a recent visit to New York the Brentano played the two works back to back in the WQXR Cafe. “This Quartettsatz is a piece we’ve played a lot and really love,” explained Mark Steinberg, the Brentano’s first violinist. “We wondered a lot why he didn’t finish the quartet because I think it’s as great as the other late quartets. Then I found out he had started a second movement and I thought it would be so nice to play that in a concert and give this piece the kind of scope that another Schubert quartet might have.” Steinberg and his fellow quartet-mates didn’t want to ask a living composer to simply mimic Schubert, so they asked Adolph to write music in his own style that would "make the piece more complete in a sense." The commission became the backbone of "Fragments," a project celebrating the Brentano’s 20th anniversary season, which runs through 2012. Along with Schubert, the group took abandoned pieces by Bach, Shostakovich, Haydn and Mozart, and commissioned several composers to write individual responses to them. Along with Adolphe, Charles Wuorinen, John Harbison, Stephen Hartke and Vijay Iyer contribute to the project, joining an older work by Sofia Gubaidulina. “We really wanted to create a dialogue between the past and the present and that’s a major theme of the program,” said Steinberg. Several venues contributed to the commissioning project, including Carnegie Hall, where the Brentano will perform the pieces over two concerts, the first taking place on Thursday night. “Fragments” is just the latest in a series of grand conceptual projects that the Brentano have undertaken over the quartet’s 20-year history, including “Bach Perspectives,” a 2003 venture in which they commissioned 10 contemporary composers to write responses to Bach's magisterial Art of Fugue. Steinberg believes that by pairing new and old pieces, the quartet can help provide context for seemingly foreign contemporary sounds. “The variety of styles that’s around right now makes it difficult to get inside the language of one composer if you don’t know them well,” he said. “So having something that’s linked to the past, that provides a way in. The best way to approach music is through other music.” Video: Amy Pearl; Sound: Edward Haber; Text: Brian Wise