Now hear this… (If I’m whispering or shouting, don’t forget that you can turn me down or up or even – heaven forfend! – off, whenever you need to…) The ensembles: Concert: To start at a specific movement just click on its title. Going back to the days when every orchestral concert had […]
A. When it’s a song cycle(??) Schönberg’s second quartet breaks boundaries. It starts respectably enough in its home key of f-sharp, and then (within the freedoms of late romantic form and chromatic harmony) proceeds in a fairly orderly quartetish manner until the end of the second movement, the scherzo; it’s then that the real revolution […]
The combination of piano and string quartet only became really fashionable in the mid-nineteenth century. Before that piano quintets with strings frequently used the combination of piano, violin, viola and double bass (Schubert’s Trout Quintet is a famous example). It was the deserved success of Schumann’s Piano Quintet (1842) that opened the flood gates; the […]
Apart from it being a rather useful (trite but it works?) internal rhyme, Cole Porter wasn’t exactly wrong about the deep emotional effect of the juxtaposition of majors and minors; it’s just that it’s a bit more complicated than that. Have a listen… recognise them? The simple act of flattening one note in a chord, like […]
The last five years of Schubert’s life. Just five years? Doesn’t seem that long, does it? But, in a life span of a mere thirty-one — once you take away ten or so years for childhood — those five years come to represent a quarter of the composer’s mature life and, in terms of composition, the […]
w Our logo/featured image for this term – based on an early Augener edition of Mendelssohn’s 42 Songs Without Words for piano – comes to us courtesy of the artistic skills of Bill Bytheway. Thanks Bill!
There’s something frightening about the string quartet. It’s the tradition, I suppose – Haydn, Mozart, Beethoven and Schubert all poured some of their best and most profound music into the medium, and that makes the standard for the young, aspiring composer pretty high(!!). So, when the thirty-or-so year old Debussy came to tackle a quartet, he […]