George Rochberg's String Quartet No. 3 is an important piece in American contemporary music literature. Written in 1971 and premiered on May 15, 1972, by the Concord String Quartet, the third string quartet was an important move away from serialism for the American composer.
Early in his career George Rochberg wrote in a total serialist style that was popular with post World War II composers. [1] Rochberg's first and second quartets are written in this modernist style. Then in 1961 tragedy struck when Rochberg's son became ill with an ultimately fatal brain tumor. His son's death three years later left the composer deeply changed and struggling to compose. [2] His eventual conclusion that he was unable to adequately express his profound grief and loss through serialism led him towards his more mature style, an aesthetic which often mixes tonality and atonality and has sometimes been labeled “neo-romanticism.” Rochberg described his goal in this new style as an attempt to achieve “the most potent and effective way to translate my musical energy into the clearest and most direct patterns of feeling and thought.” [2]
String Quartet No. 3 is composed in five movements, with the first two and last two movements played without pause. This ultimately results in the work being heard in three large sections. Sections of atonality are superimposed with tonal and expressionist sections. The string quartet is written in a modified arch form.
As in the last movement, this movement presents the emotional contours of the third quartet in microcosm. The movement comprises six ideas repeated to form eighteen short sections. The work starts off with a highly charged glissando motif, but quickly passes through sections of lyric tonality, atonality, and florid ornamentation. [2]
This movement is a dissonant march which has been compared to Bartok. [2] It begins without pause after the first movement.
This central movement forms the cornerstone of the arch form. It is composed of new material in a traditional theme and variations form. Rochberg said this movement drew from “the harmonic/polyphonic palette of the Classical and Romantic traditions.” [2]
The central movement is followed by this second march, which is thematically connected to the first, but includes further development of the ideas.
This finale, which completes the quartet's arch form, is also written in an internally palindromic form. The scherzo is highly chromatic in character, although still tonal. It is followed by the expressive serenade. After several interruptions from the scherzo theme, the original glissando motive from the beginning returns to complete the work.
Following a suggestion by Vilem Sokol, in 1975 Rochberg arranged the third movement for orchestra under the title Transcendental Variations, highlighting its relation to Rochberg's vision of timelessness. Christopher Lyndon-Gee, who recorded them with the Saarbrücken Radio Symphony, considers it thoroughly recomposed in terms of registration and sonorities. [3]
Rochberg's String Quartet No. 3 was immediately controversial. Its aesthetic, which appeared to draw from older tonal music, was heavily criticized by Rochberg's academic colleagues. [2] The composer's work was described by some major critics, such as Andrew Porter of The New Yorker, as “almost irrelevant.” [1]
While academics scoffed at the work, Rochberg's String Quartet No. 3 was very popular with audiences and musicians. During the 1970s the piece received many performances, and the Concord String Quartet quickly commissioned three more quartets. [1]
Atonality in its broadest sense is music that lacks a tonal center, or key. Atonality, in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another. More narrowly, the term atonality describes music that does not conform to the system of tonal hierarchies that characterized European classical music between the seventeenth and nineteenth centuries. "The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, as well as by the occurrence of familiar pitch combinations in unfamiliar environments".
Chamber music is a form of classical music that is composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part. However, by convention, it usually does not include solo instrument performances.
Robert Wilfred Levick Simpson was an English composer, as well as a long-serving BBC producer and broadcaster.
The String Quartet No. 5, Sz. 102, BB 110 by Béla Bartók was written between 6 August and 6 September 1934. It is one of six string quartets by Bartok.
The String Quartet No. 4 in C major by Béla Bartók was written from July to September 1928 in Budapest. It is one of six string quartets by Bartok.
The Trout Quintet (Forellenquintett) is the popular name for the Piano Quintet in A major, D. 667, by Franz Schubert. The piano quintet was composed in 1819, when he was 22 years old; it was not published, however, until 1829, a year after his death.
George Rochberg was an American composer of contemporary classical music. Long a serial composer, Rochberg abandoned the practice following the death of his teenage son in 1964; he claimed this compositional technique had proved inadequate to express his grief and had found it empty of expressive intent. By the 1970s, Rochberg's use of tonal passages in his music had provoked controversy among critics and fellow composers. A professor at the University of Pennsylvania until 1983, Rochberg also served as chairman of its music department until 1968. He became the first Annenberg Professor of the Humanities in 1978.
Ludwig van Beethoven's String Quartet No. 11 in F minor, Op. 95, from 1810, was his last before his late string quartets. It is commonly referred to as the "Serioso," stemming from his title "Quartett[o] Serioso" at the beginning and the tempo designation for the third movement.
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position.
Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances.
Franz Schubert's final chamber work, the String Quintet in C major is sometimes called the "Cello Quintet" because it is scored for a standard string quartet plus an extra cello instead of the extra viola which is more usual in conventional string quintets. It was composed in 1828 and completed just two months before the composer's death. The first public performance of the piece did not occur until 1850, and publication occurred three years later in 1853. Schubert's only full-fledged string quintet, it has been praised as "sublime" or "extraordinary" and as possessing "bottomless pathos," and is generally regarded as Schubert's finest chamber work as well as one of the greatest compositions in all chamber music.
Drei Klavierstücke, Op. 11, is a set of pieces for solo piano written by the Austrian composer Arnold Schoenberg in 1909. They represent an early example of atonality in the composer's work.
Pedro Vilarroig is a professor of physics and cosmology at the Universidad Politécnica of Madrid and a former Spanish composer. He is a proponent of neotonalism, having founded and led the Asociación Española de Compositores Neotonales.
The String Quartet No.3 is a composition for string quartet written in 1947 by Polish Composer Grażyna Bacewicz. The violinist-composer wrote this piece during her stay in Paris following the 1944 Warsaw Uprising, and it was later awarded the Polish Ministry of Culture Award in 1955 alongside her Symphony No.4 and Violin Concerto No.3. This quartet was the first to be initially published alongside quartets 4-7 before more recent reprintings of her prior quartets.
Nancy Dalberg was a Danish composer. Born into a wealthy family she studied under notable composers such as Johan Svendsen and Carl Nielsen, the later becoming a good friend and a significant figure in her life. Dalberg’s musical output is modest. In addition to the orchestral works mentioned, she wrote around fifty songs, including three for voice and orchestra.
Franz Schubert's last three piano sonatas, D 958, 959 and 960, are his last major compositions for solo piano. They were written during the last months of his life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39. Like the rest of Schubert's piano sonatas, they were mostly neglected in the 19th century. By the late 20th century, however, public and critical opinion had changed, and these sonatas are now considered among the most important of the composer's mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings.
Divertimento for String Orchestra Sz.113 BB.118 is a three-movement work composed by Béla Bartók in 1939, scored for full orchestral strings. Paul Sacher, a Swiss conductor, patron, impresario, and the founder of the chamber orchestra Basler Kammerorchester, commissioned Bartók to compose the Divertimento, which is now known to be the pair's last collaborative work.
Anton Bruckner's String Quintet in F major, WAB 112 was composed in 1878/79 in Vienna.
The Concord String Quartet was an American string quartet established in 1971. The members of the quartet were Mark Sokol and Andrew Jennings, violins; John Kochánowski, viola; Norman Fischer, cello. They gave their last regular concert on May 15, 1987. An anniversary concert was given in December 1996 at the Naumburg Foundation.
Carl Nielsen's String Quartet No. 4 in F major or Quartet for Two Violins, Viola and Cello in F major, Opus 44, was composed between February and July 1906. The last of Nielsen's four string quartets in the official series, its first public performance took place on 30 November 1907 in Copenhagen.
String Quartet No. 4 in C minor, Stiles 1.2.3.3 SQ4, was completed by Alfred Hill on 25 July 1916 in Neutral Bay, Sydney. It is dedicated to Henri Verbrugghen and his Verbrugghen String Quartet. It is Hill's first non-program string quartet. The first two movements were transcribed for orchestra in 1955 forming the basis of the Symphony No. 4 "The Pursuit of Happiness" in which this music turns to have a program.