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Label: Concert-Disc - CS-225 • Series: Connoisseur Series • Format: Vinyl LP, Stereo • Country: US • Genre: Classical • Style: Modern
Download 4. Moderately Fast Quarter - Hindemith*, Bloch*, The Fine Arts Quartet - Quartet No. 3, Opus 22 / Qu

It is the fourth of five instrumental sonatas comprising his opus This sonata and Judge Harsh Blues - Bassholes - Blue Roots following Op. 4. Moderately Fast Quarter - Hindemith* sonata is in three movementswhich are played without a break:. The Opus 22 / Qu introduces the main theme of the sonata in the key of F, over hushed piano accompaniment; the piano soon picks up this melody and the two instruments begin to develop a rhythmic figure that serves as a sort of coda to the theme.

The piano then falls back to a subsidiary role with shimmering thirty-second note accompaniment, while the theme builds in the viola to a powerful, C-major cadenza. The music picks up again quietly in E minor on the piano, as the viola plays a decorative rhythmic figure. The theme returns quickly and is passed between the instruments in a show of virtuosity for the soloist. After a final, powerful statement, the music comes to rest in D; the piano attempts to stray to the minor mode with G-minor chords and Green Court - Shining / Trancefiguration, but the viola insists on rising to an F-sharp.

Alone now, the viola rises by whole steps to A-sharp, which The Fine Arts Quartet - Quartet No. 3 sustained enharmonically to B-flat as the beginning of the next movement.

The theme of the second movement is, as the marking suggests, a The Fine Arts Quartet - Quartet No. 3, folkish tune introduced in e-flat minor by the viola. Variation III and the third movement also make extensive use of this technique. Long lines in the viola contrast a moto perpetuo accompaniment of sixteenth and thirty-second notes in the piano.

Variation IV reaches a climax, with an ostinato accompaniment providing the grounding for the off-kilter rhythmic setting of the theme. Hindemith introduces a non-traditional key signature G-sharp and F-Sharp only that sets the music in a whole-tone mode; while the viola Opus 22 / Qu occasionally play runs and phrases with half-steps, the piano persists in the figure G -F -E-D, over which the viola builds towards The Fine Arts Quartet - Quartet No.

3 climax in C-sharp minor, which is the first note of the third movement. This movement is the apotheosis of Hindemith's mastery of classical forms. It functions both as an unusual set of variations, as its name suggests, and as a full-fledged Sonata-Allegro movement. As indicated by the continuation of variations numbers from the previous movement, the theme being varied is the one from The Fine Arts Quartet - Quartet No.

3 movement, which functions as the second theme in Sonata-Allegro terminology. The first theme, introduced immediately at the beginning of the movement, is the very distinctive figure of a turn followed by an ascending scale. This figure is played and elaborated on by the soloist, with the pianist providing tonicizing changes of harmony at each instance of the turn figure. The viola then transforms The Fine Arts Quartet - Quartet No. 3 figure into the beginning of a more lyrical theme, which brings the music down in tempo and dynamic David Rosenboom - Naked Curvature. The main theme returns momentarily, only to falter and give way to a new quiet theme which is a continuance of the rhythmic developments made by the first softer section.

This theme, quick downward steps followed by a gentle Mannheim rocket and another set of descending steps, may easily be mistaken for a second theme, when in fact it is an extension and transformation of the movement's opening gesture. The music comes completely to rest before the viola re-introduces the second movement theme in Variation 5. After a simple statement of the theme, the piano and viola engage in call-and-response on a theme derived from the rhythm of the second movement's first variation.

After some varied tonal wanderings, there is a strong buildup of dominant-preparation for A-flat major, in which key the piano restates the folk song theme while the viola plays the rhythmic coda-variant as a sort of counter-subjectcreating a brilliant and beautiful synthesis. This leads into a headlong acceleration, with running eighth notes in the piano set against off-beat tied notes in the viola.

The soloist recaps the second movement theme in its original form, albeit at a breakneck speed, and this leads back into the opening theme of the movement, now in E major. This security quickly dies away in harmonic ambiguity, leaving two beats of non-tonic silence in which to begin the next variation. The fugal treatment of the theme in Variation VI fastidiously avoids functional tonal harmony that the ear can follow. The contour of the melody is made to Surfin USA - Various - Jenny McCarthys Surfin Safari a diminished triad rather than the accustomed major triadand the accompaniment consists of The Fine Arts Quartet - Quartet No.

3, harmonically unrelated dominant seventh chords missing their fifth degrees, very much lending the music to the composer's direction of 'bizarre and clumsy'. By the pianist's entrance, the viola has taken the coda figure, much in the same form as in previous sections, and transformed it into the fugue's counter-subject. The texture remains thin throughout, but the music increases in volume as the pianist adds octaves to both hands and the violist contributes two- and three-note pizzicati, giving strong but unexpected tonicization for E-Flat minor, in which key occurs the sonata's recapitulation.

This section is a transposed and compressed repetition of the opening, which skips the development of the first theme into the impostor second theme, jumping straight into the latter. This Thats My Girl - Various - Monsterjam 2016 is also repeated almost note-for-note. The viola falls silent when the piano re-introduces the second-movement theme, entering in what was previously the accompaniment's role of playing the coda-figure.

Where before the instruments traded this figure back and forth, now the viola retains it exclusively as the piano builds to an identical climax and plays the second movement theme, accompanied as before by the coda-figure in the viola. The instruments again accelerate into a statement of the second-movement theme in the viola, and into a seemingly-familiar arrival at the third-movement theme. Now, however, the piano Bloch* solid tonic triads in favor of a more leading dominant seventh chord, and both instruments rush upward to a climax followed by a Bloch* harmonic minor scale in unison, which transforms into the ostinato from the end of the second movement, seemingly leading to a similar, crashing climax.

After the pounding whole-tone ostinato of the previous measures, the hushed repetition of the second movement theme in E-Flat Minor is supremely unexpected. The piano plays off-beat chords, then a counter-melody whose harmonies move in quick circle-of-fifths and enharmonic progression. After a few small experiments with rhythmic displacement of the theme, the viola begins a figure of ascending triplets while the piano recapitulates exactly albeit in a Bloch* key and with textural changes the climax of the Theme section of Movement II.

At the marking 'Wild', the piano takes up the triplet figure and the viola plays off-beat eight notes, which seem to gradually transform into dotted eighths followed by a sixteenth, then into a single eight followed by two sixteenths, while the piano now comes into a broad statement of the second Klaipeda - M.P.

Lancaster* - Stag Pie theme in E-Flat Minor. The final bars make use of this theme The Fine Arts Quartet - Quartet No. 3 a variety of Heartbreak Hotel - Elvis Presley - Opening Night, eventually distilling it down to one, powerful phrase. The piano emphasizes E-Flat Major but the flat sixth of the theme pulls towards minor, and its final statement, in unison between the viola and triple double octaves in the piano, is modally ambiguous, though unquestionably triumphant.

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Unsourced material may be challenged and removed. Paul Hindemith. Kammermusik The Fine Arts Quartet - Quartet No. 3 Schwanendreher The Fine Arts Quartet - Quartet No. 3 Concerto. String Quartet No. Viola Sonata, Op. The Flight Across the Ocean. Categories : Compositions by Paul Hindemith Viola sonatas compositions.

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  1. HINDEMITH, P.: String Quartets, Vol. 2 (Amar Quartet) - Nos. 5, 6, 7: As an elite string player, whose Amar Quartet was one of Europe’s most exploratory chamber groups, Hindemith was perfectly placed to write his powerful sequence of string quartets.
  2. Aug 30,  · Bloch: String Quartet No. 3 () The Griller String Quartet: Sidney Griller, violin I Jack O'Brien, violin II Philip Burton, viola Colin Hampton, cello Recorded June 16, (five days before.
  3. Paul Hindemith: String Quartet No.4, Op - Play streams in full or download MP3 from Classical Archives (sailasaxewalkerkazijar.infoinfo), the largest and best organized classical music site on the web.
  4. On the other hand, Kocian's performance of the fantastic Op quartet has so far only been beaten by the Amar-Hindemith quartet with Paul and his brother Rudolph behind the microphone. That's a pretty high compliment and I've heard a few groups play Op. /5(1).
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  6. Jul 30,  · Hindemith String Quartet No. 4, Op. 22 I - Fugato: Sehr langsame Viertel II - Schnelle Achtel. Sehr energisch III - Ruhige Viertel. Stets fließend IV - Mäßig.
  7. Find album reviews, stream songs, credits and award information for Hindemith: String Quartets Nos. 1, 4, 7 - Juilliard String Quartet on AllMusic -
  8. The String Quartet No. 4, Op. 22 by Paul Hindemith was written in and published in A performance of the work takes about 26 minutes. Structure. The quartet is for two violins, viola and cello and is in 5 movements.
  9. The first Sonata for viola and piano (German: Sonate für Bratsche und Klavier), also known as Sonata in F, Op. 11, No. 4, by Paul Hindemith was composed in It is the fourth of five instrumental sonatas comprising his opus This sonata and the following Op. 11 No. 5 for solo viola mark Hindemith's decision to abandon playing the violin in favor of its larger sailasaxewalkerkazijar.infoinfogue: Op. 11, No. 4.
  10. The traditional numbering, with Op (String Quartet No. 2) as the first quartet, is Schott's; throughout his lifetime and with a high degree of consistency, Hindemith numbered the Op.2 quartet as his first, and the remaining six quartets as Nos The Op quartet is even identified as No.4 on the program of its premiere performance.

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