Elliott Carter - String Quartet No. 4 (1986) [with score]
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- เผยแพร่เมื่อ 4 ต.ค. 2024
- "A preoccupation with giving each member of the performing group its own musical identity characterizes my String Quartet No. 4; thus mirroring the democratic attitude in which each member of a society maintains his or her own identity while cooperating in a common effort - a concept that dominates all my recent work. In this quartet, more than in others of my scores, a spirit of cooperation prevails. Each player’s part has its own musical materials and expressive character, and each participates in its own way in the four-part ensemble. While there are many changes of mood and speed and frequent pauses, the work is in one long, constantly changing movement. In the background, however, there is a suggestion of the traditional four-movement plan of the classical string quartet - Appassionato, Scherzando, Lendo, Presto.
String Quartet No. 4 is dedicated to the Composers String Quartet, who commissioned the score as one of a consortium made up of two others - the Sequoia and Thouvenel Quartets - that was financed in part by the National Endowment for the Arts. The score was composed during part of 1985-86 in New York City, Waccabuc, and at the American Academy in Rome. The Composers Quartet gave its premiere at Festival Miami on September 17, 1986." (Elliott Carter)
1. Appassionato
2. Scherzando (stesso tempo)
3. Lento (stesso tempo)
4. Presto
His five string quartets are a great achievement in the history of contemporary music.
so good...
Not necessary imo to qualify the achievement with "contemporary." In the line from Beethoven to Brahms, Schoenberg to Webern, to EC. Great achievement in the history of music. Absolutely.
Imagine sightreading this
I dunno. Not all that many notes per measure. 🙄
@@stueystuey1962 well, also all the counting, intonation and coordination between the 4 instruments
Thank you for this marvelous upload! Great description as always.
I've always loved the third quartet, but I think the reason I didn't admire this one was simply that I didn't know it. The best reason for making a score video is to get to know a piece.
There we are!
...and thus the cycle.
th-cam.com/play/PL8hVc6VvPyKLfjPBidWh3jGYaAKVyec3h.html So glad to fill that gap!
For me, his music peaked at the cello sonata, but I appreciate his life-long obsession with the all-interval tetrachords. It is a Carter signature sound.
Oh I remember this one. It's really good
beautiful use of ninths
Is that what that is? That first cluster chord is the most I'll defined resolution ever. A couple minutes in there's a skip in the CD. For sure 100%.
Perhaps the greatest composer to ever live. Certainly right there with Bach, Beethoven and Schoenberg.
Perhaps the most hyperbolic praise ever. Certainly an example of self-display and intellectual bravado.
@@plekkchand It is only hperbolic if I am exaggerating beyond the norm. I am not. No exaggeration, no qualification. Intellectual bravado? Absolutely. Having the courage to name a composer as a GOAT 100 years before others catch on. Not a problem.
I am so interested in how a quartet would actually practise and rehearse this for the first time, let alone record it so accurately. A click track, maybe? Or playing from the score at all times?
I feel like that's the type of shit the audio team on Dead Space 1 will trhow at you when fighting Necromorphs
I genuinely don’t understand what’s happening here. Someone please save me from my ignorance.
To start with I'd suggest following one instrument at a time, after Carter's own description of them each having their own musical identity.
the Crazy Chicken string quartet LOL
The counterpoint produces zero harmony.
Harmony never does produce counterpoint. The point it is, as in the counterpoint of Bach, one hears the harmony at the same time. In fact, the counterpoint adheres to the harmony. The same in Carter. But in Carter, the counterpoints are so independent, especially in the quartets, that the resultant harmony is negligible, flat, important only in that consonance is avoided. In the first measure alone, nine notes of the chromatic scale are rapidly produced. The writing adheres to the full chromatic spectrum, which, to my ears, is akin to sounding a constant C major, the complete opposite of the former, but the same effect - dull.@emilianoturazzi
Schoenberg's 'string trio' is much better than this...
or.. listen the Isang Yun's chamber works...
or rather, boulez's orderly work sounds more musical...
No matter what profound thoughts are in that work... as long as it's not musically heard, it's just a scam.
For the same reason I don't appreciate Ferneyhough's works
Wow. And you are... who?
I am me. I rank Carter with Schoenberg. The String Trio of Schoenberg, like anything Schoenberg does is genius. That said Sch's cycle of Quartet's is more important both collectively and singularly than the late and somewhat eccentric trio. Though few really mean it, I place Carter in the same league as Sch, both are first rank genius' along with Bach and Beethoven. Certainly other listeners might want to include one or two other composers. For me Carter is in the pantheon regardless the other composers selected. I happen to like Isang Yun but he is not of this type of genius. As for Boulez there are select works in a few sub genres where he is top rank; his overall corpus can not hold up against either Carter or Sch.
@@stueystuey1962 and how do we care?
While I disagree with you about the 4th Qt I do understand your point. It's an issue with Contemporary Music that the time it takes to fully appreciate and understand it does raise some questions. How much should or must a listener have to invest in a work? It took me 6 months to understand the 2nd Qt but I was young and ambitious then. If, with a considerable amount of experience with classical music, it takes months to get inside a work, it does make one think.
No way in hell you think Boulez is orderly and this is not. To me, this is practically the same level of “music orderliness” with the 12-tone rows swapped for tetrachords and hexachords.