The Quatuor Concertant in Paris in the Latter Half of the Eighteenth Century
Author : Janet M. Levy
Publisher :
Page : 866 pages
File Size : 27,84 MB
Release : 1971
Category : Chamber music
ISBN :
Author : Janet M. Levy
Publisher :
Page : 866 pages
File Size : 27,84 MB
Release : 1971
Category : Chamber music
ISBN :
Author : George Grove
Publisher :
Page : 884 pages
File Size : 20,5 MB
Release : 1908
Category : Music
ISBN :
Author : George Grove
Publisher :
Page : 884 pages
File Size : 48,52 MB
Release : 1904
Category : Music
ISBN :
Author : British Museum. Department of Printed Books
Publisher :
Page : 788 pages
File Size : 32,2 MB
Release : 1912
Category : Music
ISBN :
Author : George Grove
Publisher :
Page : 784 pages
File Size : 18,7 MB
Release : 1898
Category : Music
ISBN :
Author : George Grove
Publisher :
Page : 784 pages
File Size : 22,25 MB
Release : 1883
Category : Music
ISBN :
Author : Harold Reeves (Firm)
Publisher :
Page : 700 pages
File Size : 21,21 MB
Release : 1919
Category : Music
ISBN :
Author : Caryl Leslie Clark
Publisher : Cambridge University Press
Page : 354 pages
File Size : 44,1 MB
Release : 2005-11-24
Category : Music
ISBN : 9780521833479
An introduction to the musical work and cultural world of Joseph Haydn.
Author : George Whitefield Chadwick
Publisher : A-R Editions, Inc.
Page : 234 pages
File Size : 21,41 MB
Release : 2006-01-01
Category : Music
ISBN : 0895795876
Pagination: xiii + 216 pp.
Author : Mara Parker
Publisher : Routledge
Page : 330 pages
File Size : 31,22 MB
Release : 2017-07-05
Category : Music
ISBN : 1351540289
The second half of the eighteenth century witnessed a flourishing of the string quartet, often represented as a smooth and logical progression from first violin-dominated homophony to a more equal conversation between the four voices. Yet this progression was neither as smooth nor as linear as previously thought, as Mara Parker illustrates in her examination of the string quartet during this period. Looking at a wide variety of string quartets by composers such as Pleyel, Distler and Filtz, in addition to Haydn and Mozart, the book proposes a new way of describing the relationships between the four instruments in different works. Broadly speaking, these relationships follow one of four patterns: the 'lecture', the 'polite conversation', the 'debate', and the 'conversation'. In focusing on these musical discourses, it becomes apparent that each work is the product of its composer's stylistic choices, location, intended performers and intended audience. Instead of evolving in a strict and universal sequence, the string quartet in the latter half of the eighteenth century was a complex genre with composers mixing and matching musical discourses as circumstances and their own creative impulses required.