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Category: violin

Saturday, February 21st

Twenty-four hours ago I’d never heard of this piece, nor this composer. Now I’ve listened to it, hungrily, twice. What a world.

Sulkhan Tsintsadze (1925-1991), String Quartet No. 6 (1968)

Wednesday, February 4th

sounds of Mali (day two)

Trio Da Kali and Kronos Quartet, “Diaraby,” live, University of Maryland, 2014

Tuesday, February 3rd

sounds of Mali (day one)

Africa Express, “Terry Riley’s in C Mali,” 2013-15

 

I am overwhelmed and delighted by this CD. I was not quite prepared for such an incredible journey, hearing the soul of Africa in joyous flight over those 53 patterns of ‘In C’. This ensemble feeds the piece with ancient threads of musical wisdom and humanity indicating to me that this work is a vessel ready to receive and be shaped by the spontaneous feelings and colours of the magician/musician. I could not ask for a greater gift for this daughter’s 50th birthday.

Terry Riley (1935-)

Friday, January 30th

string quartet festival (day five)

Maurice Ravel (1875-1937), String Quartet in F major (1903); Hagen Quartet, live, Austria (Salzburg), 2000

1st movt.

2nd movt.

3rd movt.

4th movt.

Thursday, January 29th

string quartet festival (day four)

Dmitri Shostakovich (1906-1975), String Quartet No. 8 in C minor (1960); Borodin Quartet, live

Wednesday, January 28th

string quartet festival (day three)

Bela Bartok (1881-1945), String Quartet No. 6, 1939; Alban Berg Quartet, live

1st movt.

 

2nd movt.

 

3rd movt./part 1

 

3rd movt./part 2

 

4th movt.


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lagniappe

reading table

Everything always reminds one of its opposite.

—Robert Walser (1878-1956), “Snowdrops” (translated from German by Tom Whalen and Trudi Anderegg)

Tuesday, January 27th

string quartet festival (day two)

Back to the beginning—the “father” of the string quartet.

Josef Haydn (1732-1808), String Quartet in C-major, Op. 76, No. 3 (“Emperor”), c. 1796; St. Lawrence String Quartet, live, Houston, 2014

Monday, January 26th

string quartet festival (day one)

Ludwig van Beethoven (1770-1827), String Quartet No. 14 (Op. 131, C-sharp minor), 1826

Alban Berg Quartet, live, Vienna, 1989

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Végh Quartet, recording, 1952

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Budapest String Quartet, recording, 1951

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lagniappe

musical thoughts

Opus 131 . . . is routinely described as Beethoven’s greatest achievement, even as the greatest work ever written. Stravinsky called it ‘perfect, inevitable, inalterable.’ It is a cosmic stream of consciousness in seven sharply contrasted movements, its free-associating structure giving the impression, in the best performances, of a collective improvisation. At the same time, it is underpinned by a developmental logic that surpasses in obsessiveness anything that came before. The first four notes of the otherworldly fugue with which the piece begins undergo continual permutations, some obvious and some subtle to the point of being conspiratorial. Whereas the Fifth Symphony hammers at its four-note motto in ways that any child can perceive, Opus 131 requires a lifetime of contemplation. (Schubert asked to hear it a few days before he died.)

—Alex Ross, “Deus Ex Musica,” New Yorker, 10/20/14

Saturday, January 17th

If your appetite for new music is insatiable, what better time to be alive?

Tyshawn Sorey (1980-), Quartet for Butch Morris (2012); International Contemporary Ensemble (ICE), featuring Erik Carlson (violin); Joshua Rubin (bass clarinet), Eric Lamb (flute), Cory Smythe (piano); live, New York, 2012

Six decades of listening and, until yesterday, I’d never heard this particular combination of instruments. You?

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lagniappe

art beat: yesterday at the Art Institute of Chicago

James Ensor (1860-1949), Rooftops of Ostend, 1884 (Temptation: The Demons of James Ensor, through January 25th)

1884-James-Ensor-Acoperisurile-din-Ostend-1

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reading table

Nature, the sky above us, is conducting no mean politics when it presents beauty to all, without discrimination, and nothing old and defective, but fresh and most tasty.

—Robert Walser (1878-1956), “Snowdrops,” excerpt (translated from German by Tom Whalen and Trudi Anderegg)

Wednesday, January 14th

sounds of Chicago (day two)

Sometimes encountering a new piece of music can turn your whole day around, which is what happened to me the other day when I bumped into this.

Georg Friedrich Haas (1953-), In Vain (2000)
Ensemble Dal Niente, live, Chicago, 2013

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lagniappe

art beat: yesterday at the Art Institute of Chicago

Claude Monet (1840-1926), Cliff Walk at Pourville (1882)

174856_3187366

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Pierre-Auguste Renoir (1841-1919), Seascape (1879)

184670_3187417

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random thoughts

Eyes taste paintings no less than mouths taste food.