String Quartet In G minor, Movt. 2

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I find this remarkable.

Piano Quartet No. 1 in G minor, Op. 25

Perhaps mostly for these shocking tone outbursts in m. This is one of those literal moments—you go from one tone to 13 and from p to f in one beat.


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Also, again the chromatic decay is surprisingly slippery in a place like mm. As if the textural variety, rests, awkward intervals, disjunctions and isolation of single voices were not enough: the succession of sforzandi followed by piani is completely static, a moment of stillness punctuated only by a succession of exploding mini-supernovas outlining the prevailing harmony. That description of the opening just about makes me tear up HA —it seems almost a world is contained in this excerpt of music.

It makes me think of so many things—one of them, in the first bar alone, is the melody and the first bit of harmonization , which corresponds perfectly to the theme of the Geistervariationen of Schumann and, by the way, a snatch of theme in the 2nd movement of his Violin Concerto. I think my own associations tied up with these works inevitably color my impressions of Mozart, which is stupid because I know Mozart came first… one other thing I noticed—very un-profoundly!

The simple descending scale of the middle section mm.

Beautiful stuff. Here you have to find a hinting at expansion of form Romantic composers will take the hint literally and break works into five movements. I noticed in Grove the later chamber works included are sometimes dismissed or considered difficult because of their puzzling emotional profiles—for this reason some find one or another work to be ironic. I could certainly see that here Uri Rom of the Grief article suggests this. Anyway, my thoughts on a beautiful piece of music ….

Debussy & Takemitsu for strings

Moments of repose are all the more telling: the start of the first-movement recapitulation is an oasis of beauty. There are more such cherishable passages amid the turmoil of the Andante; the opening cello melody is tenderly shaped by Tanja Tetzlaff and the little canon between cello and first violin is a delight. The scherzo has presages of quicksilver Mendelssohn, tripping along with delicacy and absolute precision.


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In the finale the players are more interventionist than in the earlier movements, elucidating phrase shapes within the scurrying triplets with touches of rubato or the occasional hiatus. It all amounts to a glistening and powerful performance. Too much so perhaps, but the result is certainly vivid and constantly interesting. Site powered by Webvision Cloud. Skip to main content Skip to navigation.

String Quartet in G minor, D.173 (Schubert, Franz)

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