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C5 0163
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C5 0163
String Quartets - BERG, A. / BARTOK, B. / SCHNITTKE, A. (No. 3) (Signum Quartet)

String Quartets - BERG, A. / BARTOK, B. / SCHNITTKE, A. (No. 3) (Signum Quartet)

The Classical Shop
release date: July 2013


Artists:

Brazilian Guitar Quartet

Ensemble

Signum Quartet

Chamber

Venue:

Jesus-Christus-Kirche, Dahlem, Berlin, Germany

Venue

Record Label
Capriccio

Genre:

Chamber


Classical

Total Time - 60:37
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String Quartets - BERG, A. / BARTOK, B. / SCHNITTKE, A. (No. 3) (Signum Quartet)

     
Select Complete Single Disc for
 

ALBAN BERG

 

String Quartet, Op. 3

 
1 I. Langsam 10:18
2 II. Massige Viertel 11:01
     
 

BELA BARTOK

 

String Quartet No. 3, BB 93

 
3 Prima parte: Moderato - 4:54
4 Seconda parte: Allegro - 5:36
5 Ricapitulazione della prima parte: Moderato - 3:23
6 Coda: Allegro molto 2:01
     
 

ALFRED SCHNITTKE

 

String Quartet No. 3

 
7 I. Andante 5:51
8 II. Agitato 8:27
9 III. Pesante 9:06
     
 Brazilian Guitar Quartet Ensemble


Believing that an elaborate construction of the score and beauty of sound stand in each other’s way is a myth rooted in the 18th century. What links Beethoven and Schubert to the generation of composers around 1900 is their quest for a new sound at a time that the genre of the string quartet seemed to have reached the end of its development.
 
One thing is certain,’ Schoenberg commented about Alban Bergs Op.3, ‘that his string quartet has surprised me unbelievably with the wealth and freedom of its musical diction, the energy and assuredness of its presentation, its meticulous elaboration and its remarkable originality.
 
Unlike Berg, who developed his form of atonality as a radicalized continuation of tonality, Béla Bartók’s style resulted from a return to the folk music of South-East Europe. Bartók’s six string quartets show these changes as in a mirror. He wrote the String Quartet No. 3 in Budapest in 1927, at a time when he was discovering the characteristic severity of his musical diction.
 
A third route in the quest for a new sound was taken by Alfred Schnittke, born in the German enclave on the Volga in 1934. His course is characterized less by radicalism than by reconciliation. Schnittke’s so-called polystylism employs as a matter of course direct or alienated stylistic quotations from bygone centuries, embedding them in a modern and atonal context. 

                            ***** - Exceptional

Stefano Pagliantini - Musica magazine (Italy) - March 2014


"A trio of characterful and accomplished 20th-century string quartets make a satisfyingly substantial programme of a kind now rare on the contemporary recording scene..."

Arnold Whittall - Gramophone magazine - September 2013


                         Repertoire *****      Sound *****      Interpretation ****

 

Anja Renczikowski - Ensemble magazine - August/September 2013

 




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