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Journal articles on the topic 'Clarinet with string quartet'

Author: Grafiati

Published: 24 June 2021

Last updated: 29 July 2025

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1

Rosen, Jerome, Harrison Birtwistle, Jules Langert, et al. "Clarinet Quintet; For Clarinet and String Quartet." Notes 44, no. 2 (1987): 365. http://dx.doi.org/10.2307/941597.

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2

Roseberry, Eric, Mandelring Quartet, Ib Hausmann, and Kolja Lessing. "Berthold Goldschmidt: String Quartet; Piano Sonata; Clarinet Quartet." Musical Times 133, no. 1797 (1992): 588. http://dx.doi.org/10.2307/1002597.

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3

Rushton, Julian, Mozart, Marc Schachman, Eric Hoeprich, and Antaria Quartet. "Oboe Quartet: Clarinet Quartet; String Quartet in D, K.575." Musical Times 135, no. 1816 (1994): 387. http://dx.doi.org/10.2307/1003231.

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4

Conway, Paul. "Michael Berkeley: recent world premières and CD releases." Tempo 57, no. 225 (2003): 39–40. http://dx.doi.org/10.1017/s0040298203230242.

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Michael Berkeley's choral and operatic successes have tended to obscure his accomplishments in the field of chamber music, which include a serialist String Trio (1978), two String Quartets and a Clarinet Quintet from the 1980s and the string quartet Torque and Velocity (1997). His latest essay in the genre, Abstract Mirror, for string quintet, was premièred on 11 February 2003 at Bishopsgate Hall by the Chilingirian Quartet, with cellist Stephen Orton. The work was a joint commission by the players and the City Music Society.

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5

Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1;

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6

Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolko

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7

Titarov, Mykhailo. "Clarinet Quintet and the Legacy of the Mannheim Chapel Composers." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 181–85. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283147.

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The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace

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8

Zhang, Mingyi. "AN AVANT-GARDE INTERPRETATION OF THE CHINESE TRADITION IN "YI" FOR CLARINET AND STRING QUARTET BY CHEN QIGANG." Sciences of Europe, no. 94 (June 6, 2022): 11–27. https://doi.org/10.5281/zenodo.6616381.

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The stylistic analysis of the avant-garde phenomena of Chinese professional music at the end of the 20th century does not lose its relevance today. These include “Yi” (“Change”) for clarinet and string quartet by Chen Qigang, a Chinese-born contemporary French composer. The solution of analytical problems is complicated by the ambiguity of figurative symbolism. In “Yi” it is formed around two semantic zones: Chinese traditional philosophical and aesthetic thought (“Book of Changes”, aesthetics and philosophy of Chan, Taoism, Confucianism) and ava

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9

Hall, Michael. "Birtwistle's ‘Pulse Shadows’." Tempo, no. 204 (April 1998): 12–13. http://dx.doi.org/10.1017/s0040298200006264.

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By alternating his Nine Movements for String Quartet with his Nine Settings of Paul Celan (for soprano, two clarinets, viola, cello and double bass) to produce Pulse Shadows, Harrison Birtwistle created not only his longest work for the concert hall but also his most moving and affirmative.

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10

Smirnov, Dmitri. "Marginalia quasi una Fantasia: on the Second Violin Sonata by Alfred Schnittke." Tempo, no. 220 (April 2002): 2–10. http://dx.doi.org/10.1017/s0040298200008998.

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The Second Violin Sonata for violin and piano (1968), subtided Quasi una Sonata, is one of Alfred Schnittke's most popular works, and it is one of my personal favourites among his pieces (alongside his First Symphony, First String Quartet, First Hymn, Second and Third Violin Concerti, Three Madrigals, etc). I discovered Schnittke's music in April 1969 at an underground concert given in the Gnessin Institute in Moscow by Alexei Lyubimov (piano), Boris Berman (piano), Lev Mikhailov (clarinet) and a few string players. This half-forbidden concert, organized by Alexander Ivashkin, was all that rem

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11

Rickards, Guy. "Hindemith, et al. - HINDEMITH ‘Artist & Educator’: 41 Pieces for 2 violins from ‘Geigen-Schulwerk’; Sonatas for solo violin, op. 31 nos. 1–2. Ida Bieler (vln), Georg Sarkisjan (vln 2). Coviello Contemporary COV61114. - ‘Icelandic String Quartets’. PÁLSSON: Theme with Variations and Fugue. NORDAL: From Dream to Dream. HAUKUR TÓMASSON: A Long Shadow. MAGNÚSSON: String Quartet No 21. 1Stefania Ólafsdóttir (vla). Ethos String Quartet. Smekkleysa SKM65. - PENDERECKI: String Trio; String Quartets Nos. 1–3; Der unterbrochene Gedanke for string quartet; Clarinet Quintet1. 1Arkadiusz Adamski (cl), DAFÔ String Quartet. Dux 0770. - PISTON: String Quartets Nos. 1, 3 & 5. Harlem String Quartet. Naxos 8.559630. - POHJOLA: String Quartets Nos. 1–4. Kamus String Quartet. Alba SACD ABCD 334. - ‘Bow 56’. OLOFFSON: Higgs Boson: Capriccio for string sextet and electronics. PARMERUD: String Quintet No 1. HÅKAN LARSSON: Marks, for string quintet. ANDERS NILSSON: Host, for string sextet. Uppsala Chamber Soloists. Phono Suecia PSCD 190." Tempo 67, no. 264 (2013): 87–92. http://dx.doi.org/10.1017/s0040298213000247.

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12

Nasibulina, Alisa V. "THE MUSICAL STYLE OF COMPOSER YURI KASPAROV." Arts education and science 2, no. 39 (2024): 137–46. http://dx.doi.org/10.36871/hon.202402137.

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This article is devoted to the musical style of Yuri Kasparov (b. 1955), Russian composer and music teacher, Professor at the Moscow State Tchaikovsky Conservatory, who writes primarily chamber music. Many of his compositions are scored for a chamber orchestra comprising flute, oboe, clarinet, bassoon, horn, trumpet, trombone, harp, piano, percussion, two violins, viola, cello and double bass (an instrumentation derived from A. Schoenberg’s Chamber Symphony No. 1). His works include over 80 chamber compositions of different genres written for one to 17 instruments. He tends to use non-standard

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13

Mottershead, Tim. "Gerard Schurmann - ‘CHAMBER MUSIC VOLUME 2’: GERARD SCHURMANN String Quartet no. 1 & 2; Trio for Clarinet, Cello and Piano; Fantasia for Cello and Piano. Lyris Quartet, Håkan Rosengren (cl.), Clive Greensmith (vc), Mikhail Korzhev (pno). Toccata Classics TOCC0220." Tempo 68, no. 270 (2014): 94–95. http://dx.doi.org/10.1017/s0040298214000503.

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14

Sabharwal, Sanket Rajeev, Matthew Breaden, Gualtiero Volpe, Antonio Camurri, and Peter E. Keller. "Leadership dynamics in musical groups: Quantifying effects of musical structure on directionality of influence in concert performance videos." PLOS ONE 19, no. 4 (2024): e0300663. http://dx.doi.org/10.1371/journal.pone.0300663.

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Music ensemble performance provides an ecologically valid context for investigating leadership dynamics in small group interactions. Musical texture, specifically the relative salience of simultaneously sounding ensemble parts, is a feature that can potentially alter leadership dynamics by introducing hierarchical relationships between individual parts. The present study extended previous work on quantifying interpersonal coupling in musical ensembles by examining the relationship between musical texture and leader-follower relations, operationalised as directionality of influence between co-p

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15

Berrett, Joshua, Donald Martino, and Fred Lerdahl. "String Quartet." American Music 8, no. 2 (1990): 241. http://dx.doi.org/10.2307/3051956.

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16

Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1

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17

Mota, Marcus. "Meetings: Three works for clarinet quartet." Dramaturgias, no. 25 (May 28, 2024): 324–48. http://dx.doi.org/10.26512/dramaturgias25.54109.

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18

Conway, Paul. "Matthew Taylor - MATTHEW TAYLOR: String Quartet No. 5, op. 351; String Quartet No. 6, op. 362; String Quartet No. 7, op. 373. 1Dante String Quartet, 2Allegri String Quartet, 3Salieri String Quartet. Toccata Classics TOCC 0144." Tempo 67, no. 266 (2013): 122–24. http://dx.doi.org/10.1017/s0040298213001204.

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19

Palmer, Peter. "Further reviews." Tempo 60, no. 238 (2006): 48–49. http://dx.doi.org/10.1017/s0040298206320311.

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FRITZ BRUN: Symphony No. 9; Aus dem Buch Hiob (Symphonische Dichtung). Moscow Symphony Orchestra c. Adriano. Guild GMCD 7306.SCHOECK: String Quartet No. 2 in C major. FRITZ BRUN: String Quartet No. 3 in F major. Amar Quartett. Musiques Suisses MGB CD 6238.HANS SCHAEUBLE: String Quartet op.19. MEINRAD SCHÜTTER: String Quartet. ERICH SCHMID: String Quartet op. 4. casalQUARTETT Zurich. Guild GMCD 7303.

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20

Anderson, Martin. "Adolf Busch." Tempo 60, no. 235 (2006): 40–42. http://dx.doi.org/10.1017/s0040298206280045.

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ADOLF BUSCH String Sextet in G, op. 40. BRAHMS String Sextet No. 1 in B flat major, op. 18. Kölner Streichsextett. Raumklang/Marc Aurel Edition CMN 006.ADOLF BUSCH: Quartet in One Movement in B minor, op. 29. KAMINSKI: String Quartet in F major. SCHULHOFF: String Quartet No. 1. ULLMANN: String Quartet No. 3. Casal Quartet. Telos Music Records TLS 111.ADOLF BUSCH: Organ Works. Ludger Lohmann (organ). Motette CD 13101.

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21

Németh, Zsombor. "Béla Bartók and the Pro Arte Quartet." Studia Musicologica 63, no. 3-4 (2023): 173–96. http://dx.doi.org/10.1556/6.2022.00011.

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AbstractBéla Bartók's relationship with the Pro Arte Quartet was not as personal as the composer-pianist's relationship with the Waldbauer-Kerpely Quartet, the New Hungarian Quartet, or even the Kolisch Quartet. Professionally, however, it was equally fruitful. This study describes the relationship between the composer and the quartet, mainly based on the surviving correspondence between Bartók and the impresario Gaston Verhuyck-Coulon, and between Bartók and the Viennese publisher Universal Edition. It discusses in detail the circumstances surrounding the dedication of String Quartet no. 4, t

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22

Ferenc, Aleksandra. "String Quartets by Rafał Augustyn and Their Role Within the Tradition of the Genre." Edukacja Muzyczna 19 (2024): 91–110. https://doi.org/10.16926/em.2024.19.04.

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One of the composers of string quartets who confronted the ‘memory of the genre’ in the latter half of the 20th century and the early years of the 21st century was Rafał Augustyn. In the composer’s quartets one finds both classical influences (String Quartet No. 1, Do ut desfor string quartet, Dedication for Soprano and String Quartet) and references to tradition contrasted with modern solutions (String Quartet No. 2).Grand jeté. Quartet No. 2 1∕2 with electronics represents a collage of diverse musical idioms, quotations, instrumental sounds, and specific sonorities. In his final quartet, the

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23

Ferenc, Aleksandra. "String Quartets by Rafał Augustyn and Their Role Within the Tradition of the Genre." Edukacja Muzyczna 19 (2024): 71–90. https://doi.org/10.16926/em.2024.19.03.

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One of the composers of string quartets who confronted the ‘memory of the genre’ in the latter half of the 20th century and the early years of the 21st century was Rafał Augustyn. In the composer’s quartets one finds both classical influences (String Quartet No. 1, Do ut desfor string quartet, Dedication for Soprano and String Quartet) and references to tradition contrasted with modern solutions (String Quartet No. 2).Grand jeté. Quartet No. 2 1∕2 with electronics represents a collage of diverse musical idioms, quotations, instrumental sounds, and specific sonorities. In his final quartet, the

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24

Cibişescu-Duran, Iulia. "Architecture and language in the seven String Quartets by Iulia Cibişescu-Duran." Artes. Journal of Musicology 21, no. 1 (2020): 130–55. http://dx.doi.org/10.2478/ajm-2020-0008.

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AbstractWritten between 1990 and 2009, my seven works for string quartet: Poems for string Quartet and 6 numbered Quartets approach different modal languages, from prepentatonic or pentatonic structures to heptachordic or dodecaphonic configurations, sometimes overlapping musical languages, generating those polymorphous languages, with moments of overlapping or juxtaposing of syntaxes, with a motivic cycling determinant of a conceptual unit of works linked to synthetic, elaborate thinking. Pluripartite, seen as suites of miniatures (String Quartet No. 3, Poems for string quartet), tripartite (

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25

Wright, David. "Schnittke: String Trio; Piano Quartet; Stille Musik; String Quartet No.2." Musical Times 133, no. 1797 (1992): 591. http://dx.doi.org/10.2307/1002604.

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26

Graubart, Michael. "Schoenberg's String Quartets." Tempo 58, no. 229 (2004): 41–46. http://dx.doi.org/10.1017/s0040298204210221.

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SCHOENBERG: String Quartets Nos.1–4; String Quartet in D major; Presto in C major; Scherzo in F major. Aron Quartet (Ludwig Müller, Barna Kobori, Georg Hamann, Christophe Pantillon) with Anna Maria Pammer (sop). Preiser Records PR 90572 (3-CD set).

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27

Conway, Paul. "London, Wigmore Hall and R.A.M.: String Quartets by Hans Abrahamsen, Rebecca Saunders, Colin Matthews, Graham Williams and John Hawkins." Tempo 67, no. 264 (2013): 75–77. http://dx.doi.org/10.1017/s0040298213000156.

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Due to Hurricane Sandy, the New York-based JACK Quartet were unable to cross the Atlantic to join forces with the Arditti Quartet at London's Wigmore Hall on 31 October 2012 for the British premières, now postponed, of 2012-S for two string quartets by James Clarke and the string octet Kampf zwischen Karneval und Fasten by Mauro Lanza. In lieu, the Ardittis substituted James Clarke's String Quartet No. 1 (2002–03) and Wolfgang Rihm's String Quartet No. 13 (2011), joining the first performances in the UK, as originally advertised, of quartets by Danish composer Hans Abrahamsen and British-born,

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28

Fennelly, Brian, and Elliott Carter. "String Quartet no. 4." Notes 48, no. 2 (1991): 689. http://dx.doi.org/10.2307/942093.

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29

Ribizel, Tjaša. "Božidar Kos: String Quartet." Musicological Annual 50, no. 1 (2014): 77–85. http://dx.doi.org/10.4312/mz.50.1.77-85.

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Božidar Kos, composer, teacher and theorist, has through his work, become worldwide known. His compositional output is variegated, intended for different setting, which include also his chamber works. This part of his oeuvre is presented by a detailed wxamination of his String Quartet.

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30

Kearns, William, and George Whitefield Chadwick. "String Quartet No. 1." American Music 8, no. 3 (1990): 378. http://dx.doi.org/10.2307/3052108.

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31

Laporta, Mark S., and Seymour Shifrin. "String Quartet No. 5." Notes 44, no. 1 (1987): 165. http://dx.doi.org/10.2307/941011.

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32

Poulson, Christian F., and Stanley C. Abraham. "The Portland String Quartet." Journal of Management Inquiry 5, no. 3 (1996): 197–206. http://dx.doi.org/10.1177/105649269653002.

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33

Whittall, Arnold. "Contemporary German composers." Tempo 59, no. 231 (2005): 67–69. http://dx.doi.org/10.1017/s0040298205210070.

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LACHENMANN: Das Mädchen mit den Schwefelhölzern (Tokyo Version, 2000) c. Sylvain Cambreling. ECM New Series 1858/9 (2-CD set).DÖHL: Sound of Sleat; Bruchstücke zur Winterreise for piano; String quintet: Winterreise; Notturno. James Tocco (pno), Hugo Noth (accordion), Ovidiu Dabila (double bass), Auryn Quartet with Boris Pergamenschikov (vlc), Lasalle Quartet. Dreyer-Gaido 21013.HÖLLER: Piano Works. Kristi Becker, Pi-hsien Chen (pnos). cpo 999 954-2.PINTSCHER: Figura I–V; String Quartet No. 4, Portrait of Gesualdo; Dernier espace avec introspecteur. Theodoro Anzelotti (accordion), Arditti Strin

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34

Venn, Edward. "Manchester, RNCM: Robin Holloway's String Quartet, op. 97." Tempo 58, no. 228 (2004): 64–66. http://dx.doi.org/10.1017/s0040298204270152.

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The world première of Robin Holloway's String Quartet, given by the Endellion Quartet at the RNCM on 13 October 2003, came in the midst of a number of concerts around the country marking the composer's 60th birthday. (Let us not forget, too, Claridge Press's publication of Holloway's writings, also coinciding with this anniversary.) Clever programming between Haydn's quartet op. 76 no. 4 and Brahms's op. 51 no. 2, enabled one to appreciate Holloway's first essay in this genre in the context (on the one hand) of a composer for whom the string quartet was seemingly an effortless medium, and (on

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35

Clarke, Colin. "George Perle - GEORGE PERLE: String Quartet No. 2; String Quartet No. 5; Windows of Order (String Quartet No. 8); Molto Adagio. Daedalus Quartet. Bridge 9398." Tempo 68, no. 268 (2014): 102–3. http://dx.doi.org/10.1017/s0040298213001861.

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Lister, Rodney. "Milton Babbitt." Tempo 58, no. 229 (2004): 47–49. http://dx.doi.org/10.1017/s0040298204240220.

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BABBITT: String Quartet No. 61; Occasional Variations for synthesizer; String Quartet No. 22; Composition for Guitar3. 1The Sherry Quartet; 2The Composers Quartet; 3William Anderson (gtr). Tzadik TZ7088.BABBITT: Quatrains1; Manifold Music2, My Ends Are My Beginnings3; Soli e Duettini4; Swan Song No. 15. 1Tony Arnold (sop), Charles Neidich, Ayako Oshima (cls); 2Gregory D'Agostino (org); 3Allen Blustine (cl); 4William Anderson, Oren Fader (gtrs); 5Cygnus Ensemble c. Jeffrey Milarsky. Bridge 9135.

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Johnson, Bret. "David Diamond String Quartets." Tempo 59, no. 234 (2005): 65–66. http://dx.doi.org/10.1017/s0040298205290320.

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DIAMOND: String Quartets (complete); Concerto for String Quartet; Night Music for Accordion and String Quartet1. Potomac String Quartet with 1Carmelo Pino (acc). 4-CD set (each disc available separately): Albany TROY 504 (Nos. 3 and 8, Concerto), 540 (Nos. 2, 9 and 10), 613 (Nos. 1, 5 and 6) and 727 (Nos. 4 and 7, Night Music).

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38

Ureche, Alexandru. "ECHOES OF D. SCHOSTAKOVICH’S COMPOSITIONAL STYLE IN BORIS DUBOSARSCHI’S STRING QUARTET NO.2." Akademos 60, no. 1 (2021): 137–45. http://dx.doi.org/10.52673/18570461.21.1-60.19.

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The String Quartet nr. 2 by the foremost Moldovan composer Boris Dubosarschi (1947–2017), as well as his entire string quartet work, was composed under the decisive influence of the work of Dmitri Schostakovich (1906–1975). The string quartet work of B. Dubosarschi, comprized of four titles, is saturated with the usage of the Dmitri Schostakovich’s musical signature – DSCH, which often serves as the thematic core of the entire cycle. The reflection of the compositional style of D. Schostakovich in the string quartet work of B. Dubosarschi, nevertheless, is not confined to the usage of the DSCH

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39

Шлифштейн, Наталия Семёновна. "Notes on Sonata Cycle of Cross-Cutting Development in Brahms' Chamber Music." Музыкальная академия, no. 1(773) (March 31, 2021): 156–69. http://dx.doi.org/10.34690/136.

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Развитие искусства, по словам Пастернака, подчиняется закону притяжения. Один из многочисленных примеров этому - бетховенская идея цикла сквозного развития, мимо которой не прошел ни один из последующих композиторов: от Шопена (Соната b-moLL) до Брукнера и Малера. Значительное место в этом процессе принадлежит Брамсу. В публикуемых «Заметках...» на примере шести различных по составу и времени написания камерно-инструментальных ансамблей композитора - фортепианных трио op. 8 (вторая редакция) и op. 40, струнных квартетов op. 51 и op. 67, Кларнетового квинтета op. 115 - обнаруживается разнообраз

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40

Rapoport, Paul. "Benjamin Johnston - BENJAMIN JOHNSTON : String Quartet No. 7; String Quartet No. 8; String Quartet No. 6; Quietness1. Kepler Quartet, 1Benjamin Johnston (voice). New World Records 80730-2." Tempo 70, no. 278 (2016): 98–99. http://dx.doi.org/10.1017/s0040298216000498.

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41

Carbon, John, Bruce Taub, and Louis Karchin. "Variations Four String Quartet (1973)." Notes 46, no. 3 (1990): 819. http://dx.doi.org/10.2307/941459.

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42

Scholl, Sharon L. "String Quartet Performance as Ritual." American Journal of Semiotics 9, no. 1 (1992): 115–29. http://dx.doi.org/10.5840/ajs19929136.

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Avshalomov, Daniel, Colin Matthews, David Epstein, and Morton Subotnick. "String Quartet No. 1 (1979)." Notes 42, no. 2 (1985): 403. http://dx.doi.org/10.2307/897457.

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Frank, Andrew, and Dominic Muldowney. "String Quartet No. 1 (1973)." Notes 42, no. 1 (1985): 160. http://dx.doi.org/10.2307/898275.

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Holzaepfel, John, and David Macbride. "Three Dances for String Quartet." American Music 15, no. 1 (1997): 118. http://dx.doi.org/10.2307/3052706.

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Carter, Elliott. "Fragment for string quartet (1994)." Tempo, no. 192 (April 1995): 1–8. http://dx.doi.org/10.1017/s0040298200010366.

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Payne, Anthony. "Britten and the String Quartet." Tempo, no. 163 (December 1987): 2–6. http://dx.doi.org/10.1017/s0040298200023548.

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THAT BENJAMIN BRITTEN already possessed in his early twenties a most astonishing technical assurance has never been in doubt; nor that he commanded a range of feeling and a stylistic integrity which proclaimed a uniquely precocious maturity. So much was evident from early published scores like the Sinfonietta, Phantasy for oboe quartet, Variations on a theme of Frank Bridge, and Our Hunting Fathers. The route by which he had reached this early maturity, however, was not generally known until comparatively recently, and the book which was for decades to remain the most reliable and perceptive g

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Терехов, Е. В. "INTONATION IN A STRING QUARTET." Music Journal of Northern Europe, no. 1(33) (March 21, 2024): 128–41. http://dx.doi.org/10.61908/2413-0486.2023.33.1.128-141.

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В статье рассматриваются особенности и типичные проблемы интонации и интонирования в струнном квартете. Даются краткие рекомендации и указания, направленные на решение проблем, возникающих в работе над интонацией. The article discusses the features and typical problems of intonation in a string quartet. Brief recommendations and instructions aimed at solving problems that arise in the work on intonation are given.

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Tytarov, Mykhailo. "Clarinet Quintet in Carl Maria von Weber's Works: Genre and Style Dimensions." Bulletin of KNUKiM. Series in Arts, no. 48 (June 24, 2023): 102–8. https://doi.org/10.31866/2410-1176.48.2023.282465.

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The aim of the article is to investigate the genre and style features of C. M. Weber’s Quintet for clarinet and string instruments, one of the most famous works of the chamber ensemble repertoire of modern clarinetists. Results. Despite the tendencies of the era of romanticism in Weber’s opera works, the stylistic features of his instrumental works, in particular the Quintet for clarinet and string instruments, indicate a close connection with the musical thinking and musical language of the era of classicism. In the music of the Quintet, one can find many allusions to th

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Conway, Paul. "Pascal Dusapin round-up." Tempo 59, no. 234 (2005): 59–61. http://dx.doi.org/10.1017/s0040298205250325.

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PASCAL DUSAPIN: Perelà, uomo di fumo. Orchestre National de Montpellier c. Alain Altinoglu. Naïve MO 782168 (2-CD set).DUSAPIN: 7 Études pour piano; À quia (piano concerto). Ian Pace (pno), Orchestre de Paris c. Christoph Eschenbach. Naïve MO 782164.DUSAPIN: Granum Sinapis; Umbrae Mortis; Dona eis. Choeur de Chamber Accentus, Ensemble Ars Nova c. Laurence Equilbey. Naïve MO 782116.DUSAPIN: String Quartets Nos. 1 and 4. Danel String Quartet. Accord 476 1919.DUSAPIN: String Quartets Nos. 2 ‘Time Zones’ and 3. DUTILLEUX: Ainsi la Nuit. Arditti String Quartet. Naïve MO 782125.

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