Talking about string quartets

[Richard Barrett]

To expand a bit on my reply to gamba: what I disagree with is the idea of equating listening to music with the composer telling you something, either in lecturing mode or more intimately... surely the relationship here is a real one with the music and not an imaginary one with its composer?

Since Ravel seems to have put me in a quartetty mood I'm following him up with Schubert's G major played by the Hagens—a second performance from them (along with Beethoven Op 130/133, discussed earlier? or perhaps that was in the Arditti Qt thread) that I think is unsurpassed in the catalogue.

I don't know their Schubert G major quartet but I can see I shall have to get to know it as soon as possible.

[ahinton]

To expand a bit on my reply to gamba: what I disagree with is the idea of equating listening to music with the composer telling you something, either in lecturing mode or more intimately... surely the relationship here is a real one with the music and not an imaginary one with its composer?

Mon Dieu, I do hope so! That of course is as it should be...

[EdgeleyRob]

To expand a bit on my reply to gamba: what I disagree with is the idea of equating listening to music with the composer telling you something, either in lecturing mode or more intimately... surely the relationship here is a real one with the music and not an imaginary one with its composer?

When I listen to Weinberg's 4th and 16th quartets,DSCH 13,Mendelssohn Op 80 or LvB Op132,for example,I certainly have a real relationship with the music.
But I also feel there is a connection with the composer.
It's as if they are opening their hearts in a way they seem unable to do in other forms of music.
Still struggling here to make clear what it is that makes the string quartet so special,to me at least.

[Richard Barrett]

It's as if they are opening their hearts in a way they seem unable to do in other forms of music.

But put yourself in the composers' place (assuming they're aware of when they're "opening their hearts" and when they're unable to)... what would that mean? I'm not trying to belittle what you're saying - but I think the phenomenon you're talking about has at least as much to do with the fact that the members of a string quartet necessarily have a somewat different approach to music than is the case with many other groups: they have to agree completely on a coherent sound, and an interpretative approach to a specialised repertoire that's often structurally and expressively complex; they probably spend more time playing with each other than with anyone else, in fact they may spend more time playing with each other than doing anything else. This is what's really unique about the string quartet. And of course composers are aware of this, and many (since Beethoven at least) take it into account when composing.

[gamba]

Thank you Richard,

Very true.

As someone not expected to last much longer, I'm very aware of the consolation & in a way, support, that music can provide. It doesn't have to be op. 132 or the Schubert Quintet but they do both provide a form of gratification, a kind of solace & satisfaction that I know not what of in orchestral music. ( Strauss's ' Last Four Songs ' puts the frighteners on me !! ) Sorry Richard, didn't really mean that !! ).

Am enjoying all your very interesting comments. gamba

ps. or should that be ' Four Last Songs '

[Richard Barrett]

The Four Last Songs puts the frighteners on me too. In the summer I attended a performance which was, as almost always, very moving and in a way even consolatory, but the following day my head was completely full of it and the day after that I'd become so withdrawn and anxious that I could hardly speak to anyone. Something about chamber music which relates to what we're talking about (and also to the point about performers I mentioned in my last post, and also to yours about being around the fireside) is that, however "cosmic" its expressive range, it's music on an intimate human scale, and most people would probably spend time with four of their closest friends and companions than with 80 or so acquaintances. Of course that's not the only way to think about music, but it has a certain potency I'm sure.

[ahinton]

The Four Last Songs puts the frighteners on me too. In the summer I attended a performance which was, as almost always, very moving and in a way even consolatory, but the following day my head was completely full of it and the day after that I'd become so withdrawn and anxious that I could hardly speak to anyone. Something about chamber music which relates to what we're talking about (and also to the point about performers I mentioned in my last post, and also to yours about being around the fireside) is that, however "cosmic" its expressive range, it's music on an intimate human scale, and most people would probably spend time with four of their closest friends and companions than with 80 or so acquaintances. Of course that's not the only way to think about music, but it has a certain potency I'm sure.

I'm absolutely with you on this. Quite what it is about those songs that does this and how it does it (I don't, for example, get the same kind of reaction to any other of Strauss's many songs) I know not, but there's simply no denying it. Many thanks for sharing this with us.

[EdgeleyRob]

The Four Last Songs puts the frighteners on me too. In the summer I attended a performance which was, as almost always, very moving and in a way even consolatory, but the following day my head was completely full of it and the day after that I'd become so withdrawn and anxious that I could hardly speak to anyone. Something about chamber music which relates to what we're talking about (and also to the point about performers I mentioned in my last post, and also to yours about being around the fireside) is that, however "cosmic" its expressive range, it's music on an intimate human scale, and most people would probably spend time with four of their closest friends and companions than with 80 or so acquaintances. Of course that's not the only way to think about music, but it has a certain potency I'm sure.

Richard,that is a great post.
I know the feeling,my head can sometimes be so full of the music just listened to that I am unable to function for a time.
It's never happened with Strauss though,no idea why.

Many thanks to you,AHinton and Gamba for your interesting comments throughout this thread.

[gamba]

I placed an example of something very special on our pages not so long ago. I had encountered someone called Luciana Elizondo playing Tobias Hume's beautiful ' Loves Farewell ' on a viola da gamba in a small churchyard.

It was so close to perfection. The acoustic effect was incredibly real. The camera never moved & the beautiful young player remained in a wide shot with an atmosphere of sadness & great dignity throughout. I was transfixed, having never ever seen anything quite like this before. It is now in my 'favourites' list for ' when the time comes. '

I later received a personal letter mentioning the comfort this item had provided someone suffering the effects of great personal loss.

I was very moved by the outcome of what to me was an important matter & showed the need for the presence of music in our lives.

[Padraig]

I placed an example of something very special on our pages not so long ago. I had encountered someone called Luciana Elizondo playing Tobias Hume's beautiful ' Loves Farewell ' on a viola da gamba in a small churchyard.

It was so close to perfection. The acoustic effect was incredibly real. The camera never moved & the beautiful young player remained in a wide shot with an atmosphere of sadness & great dignity throughout. I was transfixed, having never ever seen anything quite like this before. It is now in my 'favourites' list for ' when the time comes. '

I remember this, gamba, and it is also on my favourites - I'm playing it now. I can't analyse the effect it has, if any, on my emotions, but it is indeed 'beautiful' in all the respects you mention.

[Richard Barrett]

That's a beautiful performance indeed, gamba.

[Orphical]

As James Dillon was mentioned earlier in this thread, and as preparation for people visiting HCMF next month, Edition Peters hope to have programme notes and scores available to view very soon. Keep checking website

[verismissimo]

k465

Back in 2014 I was loftily dissing Mozart's string quartets, and Ian pithily proposed that I reconsider k465.

Well, I just listened to the wonderful Chiaroscoros in that quartet, the so-called Dissonance - and it's magical. As with their Haydn op 20 set.

Thanks to Ian (if he remains with us).