Alban Berg Suite Lírica Vídeos
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Enesco Béla Bartók Alban Berg László Pro Arte Quartet 1925 1926 1927 1928 1929 1998
The String Quartet No. 4 by Béla Bartók was written from July to September 1928 in Budapest. It is one of six string quartets by Bartok. This work, like the String Quartet No. 5, and several other pieces by Bartók, exhibits an "arch" structure — the first movement is thematically related to the last, and the second to the fourth with the third movement standing alone. Also, the outer four movements feature rhythmic sforzandos that cyclically tie them together in terms of climactic areas. The quartet shares a similar harmonic language to that of the String Quartet No. 3, and as with that work, it has been suggested that Bartók was influenced in his writing by Alban Berg's Lyric Suite (1926) which he had heard in 1927. The quartet employs a number of extended instrumental techniques. For the whole of the second movement all four instruments play with mutes, while the entire fourth movement features pizzicato. In the third movement, Bartók sometimes indicates held notes to be played without vibrato, and in various places he asks for glissandi (sliding from one note to another) and so-called Bartók pizzicati (a pizzicato where the string rebounds against the instrument's fingerboard). The work is dedicated to the Pro Arte Quartet but its first public performance was given by the Waldbauer-Kerpely Quartet in Budapest on March 20, 1929. It was first published in the same year by Universal Edition. A study of the manuscript sources, as published by László Somfai finds that Bartók originally intended the quartet to have four movements, not five. Recording made in 1998, with the record label "Pierre Verany" Picture : Vassily Kandinsky, "Jaune-Rouge-Bleu" (1925)
Enesco Béla Bartók Alban Berg László Pro Arte Quartet 1926 1927 1928 1929 1952 1998
The String Quartet No. 4 by Béla Bartók was written from July to September 1928 in Budapest. It is one of six string quartets by Bartok. This work, like the String Quartet No. 5, and several other pieces by Bartók, exhibits an "arch" structure — the first movement is thematically related to the last, and the second to the fourth with the third movement standing alone. Also, the outer four movements feature rhythmic sforzandos that cyclically tie them together in terms of climactic areas. The quartet shares a similar harmonic language to that of the String Quartet No. 3, and as with that work, it has been suggested that Bartók was influenced in his writing by Alban Berg's Lyric Suite (1926) which he had heard in 1927. The quartet employs a number of extended instrumental techniques. For the whole of the second movement all four instruments play with mutes, while the entire fourth movement features pizzicato. In the third movement, Bartók sometimes indicates held notes to be played without vibrato, and in various places he asks for glissandi (sliding from one note to another) and so-called Bartók pizzicati (a pizzicato where the string rebounds against the instrument's fingerboard). The work is dedicated to the Pro Arte Quartet but its first public performance was given by the Waldbauer-Kerpely Quartet in Budapest on March 20, 1929. It was first published in the same year by Universal Edition. A study of the manuscript sources, as published by László Somfai finds that Bartók originally intended the quartet to have four movements, not five. Recording made in 1998, with the record label "Pierre Verany" Picture : Victor Vasarely, "Zint" (1952)
Enesco Béla Bartók Alban Berg László Pro Arte Quartet 1908 1926 1927 1928 1929 1998
The String Quartet No. 4 by Béla Bartók was written from July to September 1928 in Budapest. It is one of six string quartets by Bartok. This work, like the String Quartet No. 5, and several other pieces by Bartók, exhibits an "arch" structure — the first movement is thematically related to the last, and the second to the fourth with the third movement standing alone. Also, the outer four movements feature rhythmic sforzandos that cyclically tie them together in terms of climactic areas. The quartet shares a similar harmonic language to that of the String Quartet No. 3, and as with that work, it has been suggested that Bartók was influenced in his writing by Alban Berg's Lyric Suite (1926) which he had heard in 1927. The quartet employs a number of extended instrumental techniques. For the whole of the second movement all four instruments play with mutes, while the entire fourth movement features pizzicato. In the third movement, Bartók sometimes indicates held notes to be played without vibrato, and in various places he asks for glissandi (sliding from one note to another) and so-called Bartók pizzicati (a pizzicato where the string rebounds against the instrument's fingerboard). The work is dedicated to the Pro Arte Quartet but its first public performance was given by the Waldbauer-Kerpely Quartet in Budapest on March 20, 1929. It was first published in the same year by Universal Edition. A study of the manuscript sources, as published by László Somfai finds that Bartók originally intended the quartet to have four movements, not five. Recording made in 1998, with the record label "Pierre Verany" Picture : Arkhip Kuinji, "Night Watch" (1908)
Adler Debussy Ravel Chevalet Brahms Berg Hindemith Mendelssohn Filler Berlioz Beethoven Scriabin Stravinsky Meyerbeer Rossini Barber Milhaud Salzedo Britten Crumb 1230 1307 1418 1445 1455 1514 1524 1636 1649 1709 1720 1808 1848 1925 2010
11. Divided Strings. Debussy Nuages 0:00 13. Divided Strings. Strauss Also Sprach Zarathustra 0:56 14. Violin Glissando. Ravel. La Valse / 2-15. Bartok 1:24 16. Glissando On Two Strings 1:49 17. Violin. Fingered Glissando 2:08 18. Violin. Non Legato 2:21 19. Strings Legato 2:49 20. Violin Up And Down Bows 3:32 21. Violins - Many Notes In Slurred Bowing At Fast Tempo 3:55 22. Violas. 6 Notes Slurred On A Bow 4:11 24. Divided Bowing Of The Strings, To Produce A Long Legato 4:21 26. Strings Détaché Bowing 5:00 27. Violins A Punto D'arco 5:12 28. Strings At The Frog, Al Tallone 5:25 29. Strings. Down Bows 6:01 30. Strings. Louré, Portato 6:14 31. Strings. Separate Bow Staccato. 6:37 33. Strings Slurred Staccato 6:50 34. Violins And Viola. Staccato On Single Bow Strokes 7:00 35. Viola. Slurred Staccato 7:18 36. Double Bass. Staccato With Up And Down Bowing 7:32 37. Strings. Martelato Or Marcato 8:07 38. Violin. Conscious Spiccato 8:19 39. Violin. Spontaneous Spiccato 8:32 40. Violins And Cellos. Slurred Spiccato 8:50 41. Violin. Jeté, Ricochet 9:03 42. Violins And Viola. Jeté 9:14 43. Violin. Arpeggiando. 2-44. Fast Arpeggiando 9:27 45. Strings Using Trills 9:56 46. Violin. Bowed Tremolo 10:37 47. Violins. Fingered Tremolo 11:02 49. Violins. Measured Effects 11:18 50. Violin. Undulation Of Two Notes 11:34 51. Cello. Sul Tasto, Sur La Touche, Am Griffbrett 11:52 52. Sul Ponticello, Au Chevalet, Am Steg 12:16 53. Violins. Col Legno, Avec Le Bois, Mit Holz 12:30 54. Strings. Col Legno Battuto 12:49 55. Strings. Pizzicato 13:07 57. String Quartet. Left Hand Pizzicato 14:18 58. String Quartet. Snap Pizzicato 14:28 60. Pizzicato Chords 14:45 61. Strings. Pizzicato 14:55 62. Strings. Pizzicato, Let Vibrate 15:14 63. Strings. Con Sordino, Avec Sourdine, Mit Dämpfer 15:24 64. Violin. Scordatura 16:36 65. Violin. Scordatura 16:49 77. Violin. Harmonics 17:09 78. Violin. Harmonics 17:20 79. Violin. Harmonics 18:08 4. Violin G String 18:48 5. Violin G String 19:25 6. Violin D String 20:10 7. Violin A String 20:44 8. Violin E String 21:07 9. Violin E String (Soft Dynamic) 21:29 18. Violins. Harmonics 23:28 21. Violin Solo With Orchestra. Brahms. Symphony No.1 / Strauss. Don Juan 22:06 23. Violin. Wide Skips On The Same String. Wagner. Die Meistersinger. Prelude 25:11 24. Violin. Wide Skips Between Extreme Ranges. Bartok. Divertimento 25:29 25. Violin. Wide Skips Played Legato. Berg. Lyric Suite 25:47 31. Viola. C String. Hindemith. Sonata, Op.11, No.4 26:20 32. Viola. G And D Strings. Bartok. Concerto For Orchestra 26:53 33. Viola. A String. Hindemith. Der Schwanendreher 27:23 37. Viola. Functioning As The Bass In The String Section. Mendelssohn 27:58 38. Viola. Typical Orchestral Role (Filler Passage). Wagner. Lohengrin 28:13 39. Viola And Violins Coupled In Octaves. Berlioz. Symphonie Fantastique 28:36 40. Viola And Cello Coupled In Octaves. Beethoven. Symphony No.5 28:52 41. Viola In Solo Concertante. Scriabin. Poem Of Ecstasy 29:27 42. Viola. Strauss. Don Quixote, Variation 2 29:48 43. Viola. Stravinsky. Le Sacre Du Printemps 30:49 51. Viola d'Amore. Meyerbeer. Les Huguenots 31:11 52. Viola s'Amore. Hindemith. Kleine Sonate 32:12 57. Cello. Wagner. Tristan Un Isolde, Prelude / Harris. Symphony No.3 33:48 59. Cellos. Divisi (5 Cellos). Rossini, William Tell, Overture 36:34 64. Cello Solo. Strauss. Don Quixote 37:25 65. Cello Doubling The First Viola. Barber. Essay For Orchestra No.1 38:12 69. Double Bass. Beethoven. Symphony No.4 39:13 72. Double Bass. Wagner. Die Meistersinger, Overture 39:43 74. Double Bass Solo. Stravinsky, Pulcinella / Milhaud. La Création Du Monde 40:28 80 2. Harp. Debussy. Prelude A l'Apres-midi D'un Faune 41:26 81 6. Harp. Mozart. Concerto For Flute And Harp, K.299 41:43 82 7. Harp. The Nutcracker Alternative Performance Of The Same Piece. 42:18 83 8. Harp. Block Chords. 43:07 84 9. Harp. Chords Rolled. Bartok. Violin Concerto 43:32 85 10. Harp. Chords Arpeggiated. Brahms. German Requiem 44:13 86 11. Harp Arpeggiated, Combined With Flute. Debussy 45:01 87 12. Harp Harmonics. Debussy. Nocturnes, "Nuages" 45:24 88 13. Harp Harmonics. Rsvel. Daphnis Et Chloe 45:59 89 14. Harp Harmonics. Salzedo 46:26 90 15. Harp. Près E La Table. Britten 46:58 91 16. Harp. Sons Étouffés 47:11 92 17. Harp Glissando. 4-18. Multiple Glissandi. 47:26 93 20. Harp. Bisbigliando 48:02 94 23. Guitar With Orchestra. Stravinsky 48:19 95 26. Mandolin. Mozart. Don Giovanni 48:50 96 27. Mandolin. Crumb 49:25 97 30. Banjo With Wind Instruments 49:54 98 34. Zither Accompanying Strings. Strauss 50:35
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