By Edith Eisler
During this selection of in-depth interviews, modern best performers get to the center of 1 of the main cherished sorts 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 conjures up them - all this and extra involves existence during this sequence of unveiling interviews with participant and constitution Strings journal contributor Edith Eisler.
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Extra resources for 21st-Century String Quartets, Vol. 1
Schubert: String Quintet. With Mistislav Rostropovich, cello (DG 431 792). Schumann: Quintet for Piano, 2 Violins, Viola, and Cello in E-Flat, Op. 44; Quartet for Piano, Viola, and Cello in E-Flat, Op. 47. With Menahem Pressler, piano (DG 445 848). Shostakovich: Quartet No. 8 (DG 459 670). Shostakovich: Complete Quartets (DG 463 284). Tchaikovsky: Quartet No. 1 in D, Op. 11; Borodin: Quartet No. 2 in D (DG 427 618). Webern: Slow Movement for String Quartet; Five Movements for String Quartet, Op.
Choosing who was to play which part was, according to Setzer, very simple. “At one point early on, we sat down with the whole repertoire and divided everything right down the middle; there’s no expert in any style. If one of us feels strongly about playing first violin in a particular piece, fine, he’ll do it; otherwise, we let it depend on how the programs shape up. ” This leads to a discussion of their programs, which have always been extraordinarily imaginative. ” It was Setzer’s idea to present complete quartet cycles in chronological order, so as to follow the composer’s creative development and experience in writing the works.
That summer, we had our first residency at the Vermont Mozart Festival. ] Naumburg [International Competition], which sponsored our New York debut in 1979. And that fall, David joined us. ” “I still had to take a grueling audition,” Finckel mutters. ” “You were also very impressive,” Drucker assures him. ” Dutton grins. ” There is also a violin joke about the lady who comes backstage after a string-quartet concert and asks the second violinist to show her his instrument. ” The Emerson Quartet’s violinists have their own answer: they alternate, and what strikes the listener is that although Drucker and Setzer are entirely different in tone, style, and approach and each can put the stamp of his own personality on the music, each can also melt homogeneously into the whole.
21st-Century String Quartets, Vol. 1 by Edith Eisler