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BACH, Johann Sebastian

Picture: BACH, Johann Sebastian

Eisenach, 1685 - Leipzig, 1750. Born into a musical family, Bach received his earliest instruction from his father. After his father's death in 1695, Bach moved to Ohrdruf, where he lived and studied organ with his older brother Johann Christoph. He also received an education at schools in Eisenach, Ohrdruf, and Lüneburg. Bach's first permanent positions were as organist in Arnstadt (1703-1707) and Mühlhausen (1707-1708). During these years, he performed, composed taught, and developed an interest in organ building. From 1708-1717 he was employed by Duke Wilhelm Ernst of Weimar, first as court organist, and after 1714, as concertmaster. During this period, he composed many of his best organ compositions; in his capacity as concertmaster, he was also expected to produce a cantata each month. In Weimar, Bach's style was influenced by his study of numerous Italian compositions (especially Vivaldi concertos). Bach's next position, as Music Director for the Prince Leopold of Cüthen (1717-1723), involved entirely different activities. Since the court chapel was Calvinist, there was no need for church compositions; Bach probably used the Cüthen organs only for teaching and practice. His new works were primarily for instrumental solo or ensemble, to be used as court entertainment or for instruction. Among the important compositions at Cüthen were the Brandenburg Concertos, the first volume of Das wohltemperirte Clavier (The Well-Tempered Clavier), the "French" and "English" Suites for harpsichord (although the "English" Suites may be from the Weimar period), and most of the sonatas and suites for other instruments. In 1723, Bach was appointed cantor at the St. Thomas Church and School, and Director of Music for Leipzig, positions which he retained for the rest of his career. His official duties included the responsibility of overseeing the music in the four principal churches of the city, and organizing other musical events sponsored by the municipal council. During his first six years in Leipzig (1723-1729), Bach's most impressive compositions were his sacred cantatas (four yearly cycles), and the St. John and St. Matthew Passions. Bach apparently gave virtuoso organ recitals in Leipzig and on various tours, although he had no official position as organist in Leipzig. In 1729-1737 and 1739-1741, he was director of the Leipzig Collegium Musicum, an organization which had been founded by Telemann in 1704. This group of professional musicians and university students performed weekly concerts (out-of-doors in the summer, and at Zimmerman's coffee-house in the winter). Although no specific programs for these concerts have survived, Bach apparently revived and many of his instrumental compositions from Cüthen, wrote new works (e.g., secular cantatas), and conducted pieces by other composers. During the 1730s, Bach renewed his interest in keyboard compositions, and prepared the first three volumes of his Clavier-Übung (Keyboard Practice) for publication (1731, 1735, 1739); the fourth volume appeared in 1741-1742. In the 1730s, he also showed considerable interest in the royal court at Dresden, and was named "Hofkomponist" (court-composer") in Dresden in 1736. During Bach's last decade (the 1740s), he completed or revised several large-scale projects which he had started earlier. The Well-Tempered Clavier, Vol. II; a manuscript collection of chorale preludes (known as the "Leipzig 18", comprising revisions of Weimar pieces), and the B minor Mass. Other new works showed

Biography

  • BACH | Schmidt < Chamber music

    Sonata for violin solo no. 1 in G minor BWV 1001

    III. Siciliano

    CLASS 4832: [O.V.: English] [Tras: Spanish ]

    Content

    Tuning, Study methods - 2' 23''
    Phrasing - 3' 07''
    Attitude of the musician, Sound quality - 1' 37''
    Attitude of the musician, Study methods - 2' 39''
    Attitude of the musician, Bow - 1' 33''
  • BACH | Schmidt < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    III. Gavotte en Rondeau

    CLASS 7273: [O.V.: English]

    Content

    Part - 39' 14''
    Tuning, Double stops - 5' 52''
    Phrasing, Metrical rigor or freedom - 3' 35''
    Styles and periods, Body gestures - 1' 56''
    Bow, Weight - 1' 43''
    Phrasing, Metrics - 2' 54''
    Phrasing - 1' 02''
    Tuning, Study methods - 1' 14''
    Phrasing, Voice identification - 4' 59''
  • BACH | Schmidt < Chamber music

    Goldberg Variations for keyboard BWV 988 (version for string trio)

    Aria

    CLASS 1871: [O.V.: English] [Tras: Spanish ]

    Content

    Tempo, Phrasing - 1' 29''
    Phrasing, Tension - 2' 15''
    Voice identification - 1' 34''
    Cadence - 1' 51''
    Counterpoint, Attacks - 3' 51''
    Attacks, Voice identification - 2' 43''
    Harmony, Attacks - 2' 22''
    Harmonics, Timbre - 2' 01''
    Cadence, Duration - 2' 48''
  • BACH | Schmidt < Chamber music

    Goldberg Variations for keyboard BWV 988 (version for string trio)

    Variación I

    CLASS 1871: [O.V.: English] [Tras: Spanish ]

    Content

    Accents, Character - 1' 52''
    Metrical rigor or freedom - 2' 08''
    Articulation - 1' 56''
    Duration, Phrasing - 3' 55''
    Articulation, Harmony - 3' 25''
  • BACH | Schmidt < Chamber music

    Goldberg Variations for keyboard BWV 988 (version for string trio)

    Variación II

    CLASS 1871: [O.V.: English] [Tras: Spanish ]

    Content

    Metrics - 1' 28''
    Tempo, Indications for the execution - 5' 55''
    Pulse, Character - 4' 09''
    Metrics - 1' 28''
    Clarity of execution - 1' 58''
  • BACH | Schmidt < Chamber music

    Goldberg Variations for keyboard BWV 988 (version for string trio)

    Variación III

    CLASS 1871: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing, Voice identification - 1' 55''
    Tonality, Tempo - 2' 01''
    Articulation, Phrasing - 3' 07''
    Accents - 1' 37''
  • BACH | Schmidt < Chamber music

    Goldberg Variations for keyboard BWV 988 (version for string trio)

    Variación IV

    CLASS 1871: [O.V.: English] [Tras: Spanish ]

    Content

    Accents - 1' 57''
  • BACH | Schmidt < Chamber music

    Goldberg Variations for keyboard BWV 988 (version for string trio)

    Variación V

    CLASS 1871: [O.V.: English] [Tras: Spanish ]

    Content

    Sound balance, Timbre - 1' 39''
    Study methods, Interpenetration - 1' 55''
    Interpenetration, Dynamics - 1' 32''
  • BACH | Schmidt < Chamber music

    Die Kunst der Fuge for keyboard BWV 1080 (version for string quartet)

    Contrapunctus XVIII. Fuga con 3 sujetos

    CLASS 2091: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing, Expressivity - 3' 16''
    Phrasing, Bow distribution - 2' 03''
    Phrasing, Bow - 3' 17''
    Phrasing - 1' 45''
    Styles and periods, Tempo - 3' 17''
    Bow distribution, Weight - 3' 57''
    Phrasing, Attitude of the musician - 2' 54''
    Phrasing, Bow - 2' 54''
    Phrasing, Bow - 4' 55''
    Ornamentation, Dynamics - 1' 32''
    Character, Phrasing - 2' 14''
  • BACH | Schmidt < Chamber music

    Die Kunst der Fuge for keyboard BWV 1080 (version for string quartet)

    Fuga a 3 Soggeti

    CLASS 2265: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing, Metrical rigor or freedom - 2' 57''

BARTÓK, Béla

Picture: BARTÓK, Béla

Nagyszentmiklós, 1881 - New York, 1945. Béla Bartók was born in the Hungarian town of Nagyszentmiklós (now Sînnicolau Mare in Romania) on 25 March 1881, and received his first instruction in music from his mother, a very capable pianist; his father, the headmaster of a local school, was also musical. After his family moved to Pressburg (now Bratislava in Slovakia) in 1894, he took lessons from László Erkel, son of Ferenc Erkel, Hungary's first important operatic composer, and in 1899 he became a student at the Royal Academy of Music in Budapest, graduating in 1903. His teachers there were János Koessler, a friend of Brahms, for composition and István Thoman for piano. Bartók, who had given his first public concert at the age of eleven, now began to establish a reputation as a fine pianist that spread well beyond Hungary's borders, and he was soon drawn into teaching: in 1907 he replaced Thoman as professor of piano in the Academy. Béla Bartók's earliest compositions offer a blend of late Romanticism and nationalist elements, formed under the influences of Wagner, Brahms, Liszt and Strauss, and resulting in works such as Kossuth, an expansive symphonic poem written when he was 23. Around 1905 his friend and fellow-composer Zoltán Kodály directed his attention to Hungarian folk music and, coupled with his discovery of the music of Debussy, Bartók's musical language changed dramatically: it acquired greater focus and purpose &#150; though initially it remained very rich, as his opera Duke Bluebeard's Castle (1911) and ballet The Wooden Prince (1917) demonstrate. But as he absorbed more and more of the spirit of Hungarian folk songs and dances, his own music grew tighter, more concentrated, chromatic and dissonant &#150; and although a sense of key is sometimes lost in individual passages, Bartók never espoused atonality as a compositional technique. His interest is folk music was not merely passive: Bartók was an assiduous ethnomusicologist, his first systematic collecting trips in Hungary being undertaken with Kodály, and in 1906 they published a volume of the songs they had collected. Thereafter Bartók's involvement grew deeper and his scope wider, encompassing a number of ethnic traditions both near at hand and further afield: Transylvanian, Romanian, North African and others. In the 1920s and 30s Bartók's international fame spread, and he toured widely, both as pianist (usually in his own works) and as a respected composer. Works like the Dance Suite for orchestra (1923), the Cantata profana (1934) and the Divertimento for strings (1939), commissioned by Paul Sacher, maintained his high profile; indeed, he earned some notoriety when the Nazis banned his ballet The Miraculous Mandarin (1918-19) because of its sexually explicit plot. He continued to teach at the Academy of Music until his resignation in 1934, devoting much of his free time thereafter to his ethnomusicological research. With the outbreak of the Second World War, and despite his deep attachment to his homeland, life in Hungary became intolerable and Bartók and his second wife, Ditta Pásztory, emigrated to the United States. Here his material conditions worsened considerably, despite initial promise: although he obtained a post at Columbia University and was able to pursue his folk-music studies, his concert engagements become very much rarer, and he received few commissions. Koussevitzky's request for a Concerto for Orchestra (1943) was therefore particularly important, bringing him much-needed inco

Biography

  • BARTÓK | Schmidt < Violin

    44 Duos for two violins Sz 98 BB 104

    1. Párositó (Teasing Song)

    CLASS 2379: [O.V.: English-Spanish] [Tras: Spanish ]

    Content

    Rigor or freedom in reading, The work - 2' 11''
    Character, Phrasing - 3' 12''
    Dynamics, Duration - 2' 34''
    Phrasing - 1' 06''
    Dynamics, Harmony - 2' 15''
    The work, Character - 1' 41''
    Phrasing - 1' 32''
  • BARTÓK | Schmidt < Violin

    Romanian folkdances for violin and piano (arrangement by Z. Székely)

    1. Jocul cu bâta (Stick dance)

    CLASS 2680: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 4' 50''
    Dynamics, Character - 2' 59''
    Part - 25' 07''
    Character, Styles and periods - 2' 05''
    Character, Bow - 1' 24''
    Bow, Attacks - 1' 15''
    Description, Attitude of the musician - 2' 13''
    Dynamics, Weight - 1' 40''
    Tuning, Study methods - 1' 39''
    Clarity of execution, Tuning - 1' 57''
  • BARTÓK | Schmidt < Chamber music

    String quartet no. 1 op 7 Sz 40 BB 52

    I. Lento

    CLASS 7415: [O.V.: English]

    Content

    Part - 57' 01''
    Clarity of execution, Metrical rigor or freedom - 1' 14''
    Dynamics, Voice identification - 1' 26''
    Bow distribution, Phrasing - 2' 50''
    Dynamics, Expressivity - 1' 15''
    Imitation, Interval - 2' 06''
    Rhythm, Expressivity - 3' 07''
    Tension - 1' 22''
    Jumps, Rhythm - 4' 04''
    Dynamics, Attacks - 4' 49''
    Dynamics, Character - 3' 09''
    Character, Harmony - 2' 20''

BEETHOVEN, Ludwig van

Picture: BEETHOVEN, Ludwig van

Bonn, 1770 - Vienna, 1827. He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work. After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. But going back to the years around 1800, which is traditionally called the early period, he was still trying to master the high classical style. This strive culminated in the second symphony from 1801-1802. This is also the time when the middle period starts. From now up until 1813, Beethoven develops and enhances the high classical style into a more dynamic and individualistic style. It is now that he writes symphonies Nr. 3 - 8, piano consert Nr. 5 and a lot of chamber music. But as he learns to control his craft and develop the music into new undiscovered grounds, he also suffers from reminders of the pains of real life. He has early in life discovered that his hearing wasn't what it should be, and the disorder gets worse as time goes by. It gets to the point where Beethoven is thinking of ending his life as he sees no way out of his despair. That fact is documented in the letter he wrote to his brothers in 1802, the so called "Heiligenstadt Testament". This hearing disorder seems to have affected his social life to a great extent. He became difficult to handle in social interactions and could suddenly burst into outbreaks of anger and show bad temper where he usually insulted someone. If that is the reason for his troubles with women, or if their is something traumatic hidden in his childhood, I don't know, but the fact is that he never got involved with a woman in a normal relation. Beethoven seems to have been attracted to women he couldn't get, or at least was hard to get. An example is Antoine Brentano, with whom he had a relationship, but who broke up with him to marry a friend. It is she who is known as the "immortal beloved" in letters addressed to her from Beethoven in 1812. Now came a couple of years without much creative work. Instead he was tormented by personal matters concerning his nephew of which he tried to gain custody when the brother died in 1815. But Beethoven didn't have the capacity of a domestic human being, and even though he did win the struggle for custody, Beethovens relation with the nephew was tense and burdensome and it reached the point where little Karl tried to take his own life in 1826. This is also the so called late period in Beethovens musical career. His music is described as less dramatic and more introvert, but also, I would like to add, more mature and secure. It has a flavour of the genius growing old and an obvi

Biography

  • BEETHOVEN | Schmidt < Violin

    Sonata for violin and piano in A minor op 23

    I. Presto

    CLASS 7425: [O.V.: English-Spanish]

    Content

    Part - 8' 11''
    Maintaining the sound, Interpenetration - 2' 39''
    Part - 12' 10''
    Clarity of execution, Sound quality - 2' 15''
    Bowings, Phrasing - 1' 31''
    Duration, Tension - 2' 33''
  • BEETHOVEN | Schmidt < Violin

    Sonata for violin and piano in A minor op 23

    II. Andante scherzoso, più allegretto

    CLASS 7425: [O.V.: English-Spanish]

    Content

    Part - 6' 24''
    Part - 11' 24''
    Character, Phrasing - 1' 53''
    Interpenetration, Dynamics - 1' 49''
  • BEETHOVEN | Schmidt < Violin

    Sonata for violin and piano in A minor op 23

    III. Allegro molto

    CLASS 7425: [O.V.: English-Spanish]

    Content

    Part - 11' 36''
    Interpenetration, Up-beat - 1' 02''
    Bow distribution, Duration - 1' 45''
    Metrical rigor or freedom, Up-beat - 1' 59''
    Tempo, Interpenetration - 2' 03''
    Part - 2' 03''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 130

    I. Adagio ma non troppo - Allegro

    CLASS 1741: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics - 1' 58''
    Metrical rigor or freedom - 1' 20''
    Phrasing - 1' 17''
    Phrasing, Development - 2' 10''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 130

    I. Adagio ma non troppo - Allegro

    CLASS 1891: [O.V.: English] [Tras: Spanish ]

    Content

    Sound balance - 1' 03''
    Harmony - 1' 39''
    Harmony, Voice identification - 3' 01''
    Articulation, Character - 1' 53''
    Sound balance, Harmony - 1' 23''
    Sound quality, Harmony - 3' 48''
    Duration - 1' 04''
    Form, Character - 3' 16''
    Character - 1' 01''
    Harmony, Character - 1' 18''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 130

    I. Adagio ma non troppo - Allegro

    CLASS 1905: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics - 2' 33''
    Duration, Clarity of execution - 1' 11''
    Character - 3' 59''
    Character, Phrasing - 2' 44''
    Metrical rigor or freedom - 1' 25''
    Character, Contrast - 2' 08''
    Syncopation - 1' 06''
    Harmony, Virtuossity - 2' 38''
    Voice independence, Metrical rigor or freedom - 1' 55''
    Character, Themes and motifs - 1' 43''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 130

    II. Presto

    CLASS 1905: [O.V.: English] [Tras: Spanish ]

    Content

    Accents, Phrasing - 1' 45''
    Attacks - 1' 23''
    Study methods, Harmony - 2' 13''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 130

    IV. Alla danza tedesca

    CLASS 1905: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing, Metrical rigor or freedom - 2' 19''
    Dance forms, Styles and periods - 2' 07''
    Metrics, Bow distribution - 2' 57''
    Bow distribution, Voice independence - 1' 18''
    Rhythm, Interpenetration - 2' 17''
    Character, Articulation - 2' 19''
    Entries, Syncopation - 2' 13''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 130

    V. Cavatina. Adagio molto espressivo

    CLASS 1876: [O.V.: English] [Tras: Spanish ]

    Content

    Articulation, Dynamics - 1' 55''
    Recording, Study methods - 3' 02''
    Tempo, Sound quality - 1' 38''
    Metrical rigor or freedom, Metronome - 2' 46''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 130

    V. Cavatina. Adagio molto espressivo

    CLASS 1879: [O.V.: English] [Tras: Spanish ]

    Content

    Sound quality, Harmony - 5' 49''
    Harmonics, Resonance - 1' 02''
    Timbre, Sound quality - 2' 15''
    Character, Harmony - 2' 52''
    Interpenetration, Sound balance - 5' 56''
    Attitude of the musician, Interpenetration - 4' 19''
    Metrics, Character - 3' 24''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 130

    V. Cavatina. Adagio molto espressivo

    CLASS 1891: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Harmony - 3' 08''
    Sound planes - 2' 21''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in C minor op 18 no. 4

    I. Allegro ma non tanto

    CLASS 1617: [O.V.: English] [Tras: Spanish ]

    Content

    Interpenetration - 1' 55''
    Articulation, Sound balance - 4' 03''
    Phrasing, Vibrato - 1' 59''
    Metrical rigor or freedom, Sound quality - 2' 15''
    Harmony, Dynamics - 2' 01''
    Up-beat - 1' 29''
    Articulation, Sound quality - 1' 05''
    Timbre - 1' 22''
    Articulation, Tempo - 4' 19''
    Phrasing - 2' 53''
    Bow direction, Sforzato - 1' 06''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in C minor op 18 no. 4

    I. Allegro ma non tanto

    CLASS 1898: [O.V.: English] [Tras: Spanish ]

    Content

    Tonality, Character - 1' 07''
    Character, Tempo - 3' 35''
    Tension, Harmony - 1' 04''
    Metrical rigor or freedom, Tension - 1' 25''
    Sforzato, Pressure - 4' 18''
    Sound balance, Tonality - 1' 59''
    Abbreviations and signs, Duration - 1' 04''
    Character, Accompaniment - 1' 46''
    Dynamics, Duration - 1' 51''
    Accents - 1' 50''
    Accents, Character - 1' 49''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in C minor op 18 no. 4

    I. Allegro ma non tanto

    CLASS 2972: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 28' 42''
    Ending of the sound - 1' 00''
    Dynamics, Interpenetration - 1' 18''
    Expressivity, Bow - 1' 46''
    Sound quality, Bow inclination - 1' 41''
    Duration - 1' 15''
    Sound quality, Fingerings - 3' 54''
    Tension, Relaxation - 2' 26''
    Character, Dynamics - 4' 25''
    Part - 7' 42''
    Unison, Dynamics - 1' 26''
    Character, Bow distribution - 1' 52''
    Sound quality - 3' 49''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in C minor op 18 no. 4

    I. Allegro ma non tanto

    CLASS 2973: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 56' 06''
    Character, Articulation - 4' 00''
    Phrasing, Sound quality - 1' 48''
    Attitude of the musician - 1' 46''
    Interpenetration, Attitude of the musician - 5' 26''
    Expressivity, Accompaniment - 2' 15''
    Phrasing - 1' 55''
    Interpenetration, Entries - 1' 01''
    Interpenetration, Voice identification - 5' 02''
    Character, Attitude of the musician - 2' 02''
    Accents, Metrical rigor or freedom - 1' 56''
    Bow distribution, Body gestures - 2' 06''
    Character, Interpenetration - 2' 18''
    Metrical rigor or freedom, Phrasing - 4' 52''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in C minor op 18 no. 4

    I. Allegro ma non tanto

    CLASS 6417: [O.V.: English-Spanish]

    Content

    Part - 43' 16''
    Part - 5' 02''
    Part - 3' 06''
    Part - 3' 13''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in C minor op 18 no. 4

    II. Andante scherzoso quasi allegretto

    CLASS 1617: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics, Character - 4' 13''
    Contrast, Form - 3' 08''
    Sforzato, Character - 1' 59''
    Attitude of the musician, Soloist - 1' 24''
    Phrasing, Themes and motifs - 3' 45''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in C minor op 18 no. 4

    III. Menuetto. Allegretto

    CLASS 1617: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing, Dance forms - 1' 23''
    Phrasing - 2' 10''
    Harmony, Phrasing - 1' 48''
    Sforzato - 2' 09''
    Articulation, Bow - 1' 49''
    Character, Attitude of the musician - 2' 53''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 18 no. 1

    I. Allegro con brio

    CLASS 2332: [O.V.: English] [Tras: Spanish ]

    Content

    Metrical rigor or freedom - 1' 57''
    Phrasing - 1' 50''
    Dynamics - 2' 51''
    Rhythm, Character - 4' 01''
    Bow-strokes, Bow distribution - 3' 33''
    Tonality, Themes and motifs - 1' 03''
    Duration - 3' 04''
    Duration - 1' 22''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in A major op 18 no. 5

    III. Andante cantabile

    CLASS 1879: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Tempo - 2' 45''
    Themes and motifs, Sixths - 1' 58''
    Tempo - 2' 56''
    Dynamics - 2' 52''
    Timbre, Bow - 2' 49''
    Character - 4' 05''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    I. Allegro con brio

    CLASS 1893: [O.V.: English] [Tras: Spanish ]

    Content

    Duration, Ending of the sound - 2' 40''
    Harmony, The work - 3' 55''
    Harmony, Attacks - 4' 44''
    Dynamics - 3' 33''
    Voice identification, The work - 2' 31''
    Interpenetration, Metrical rigor or freedom - 3' 31''
    Bowings, Phrasing - 4' 52''
    Phrasing, Study methods - 5' 21''
    Rhythm, Tension - 2' 36''
    Tempo, Metrical rigor or freedom - 2' 16''
    Character, Voice identification - 2' 29''
    Development, Harmonic process - 3' 48''
    Accents - 2' 22''
    Dynamics, Harmonic process - 5' 27''
    Voice identification, Harmonic process - 5' 21''
    Accidentals - 2' 19''
    Duration, Silence - 1' 26''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    I. Allegro con brio

    CLASS 1901: [O.V.: English] [Tras: Spanish ]

    Content

    Sound quality, Harmony - 2' 10''
    Syncopation - 3' 14''
    Attacks, Entries - 1' 28''
    Sound quality - 1' 25''
    Duration - 1' 23''
    Attacks, Metrics - 2' 21''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    I. Allegro con brio

    CLASS 2518: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 57' 26''
    Accents, Dynamics - 1' 26''
    Tempo, Tension - 3' 36''
    Phrasing, Accents - 2' 24''
    Metrical rigor or freedom, Dynamics - 2' 53''
    Tempo, Metrical rigor or freedom - 1' 18''
    Dynamics, Tension - 3' 07''
    Accents, Dynamics - 1' 05''
    Duration, Metrical rigor or freedom - 2' 08''
    Expressivity, Metrical rigor or freedom - 3' 27''
    Tempo - 2' 49''
    Duration, Character - 1' 43''
    Accents, Description - 3' 26''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    II. Allegretto ma non troppo

    CLASS 1618: [O.V.: English] [Tras: Spanish ]

    Content

    Pulse, Tempo - 2' 31''
    Contrast - 2' 02''
    Rhythm, Analysis - 4' 22''
    Dynamics - 2' 47''
    Main melody, Voice identification - 2' 00''
    Dynamics, Harmony - 1' 47''
    Dynamics - 1' 22''
    Fugue - 1' 40''
    Harmony, Sound quality - 1' 10''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    II. Allegretto ma non troppo

    CLASS 1893: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics, Articulation - 4' 19''
    Sound quality - 3' 34''
    Bow direction - 1' 33''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    II. Allegretto ma non troppo

    CLASS 1899: [O.V.: English] [Tras: Spanish ]

    Content

    Clarity of execution, Up-beat - 1' 02''
    Main melody - 0' 56''
    Harmony, Fingers - 2' 10''
    Harmony, Dynamics - 1' 01''
    Up-beat - 1' 18''
    Metrical rigor or freedom, Harmonic process - 1' 04''
    Metrical rigor or freedom - 1' 23''
    Tension, Dynamics - 1' 28''
    Sforzato - 3' 41''
    Tempo - 2' 29''
    Character, Form - 3' 39''
    Tonality - 5' 38''
    Articulation - 1' 22''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    II. Allegretto ma non troppo

    CLASS 1901: [O.V.: English] [Tras: Spanish ]

    Content

    Entries, Syncopation - 1' 48''
    Sound quality - 1' 51''
    Dynamics - 1' 27''
    Dynamics - 1' 43''
    Coda, Dynamics - 3' 00''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    II. Allegretto ma non troppo

    CLASS 2579: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 50' 34''
    Dynamics, Metrical rigor or freedom - 2' 04''
    Dynamics, Sound planes - 1' 07''
    Fingerings, String-crossing - 2' 05''
    Sound balance - 1' 26''
    Bow - 1' 48''
    Up-beat, Sforzato - 1' 34''
    Dynamics - 1' 51''
    Staccato, Tip - 1' 26''
    Bow distribution, Bowings - 2' 41''
    Sound planes, Attitude of the musician - 2' 27''
    Interpenetration, Sound planes - 3' 22''
    Sound quality, Sound planes - 2' 40''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    II. Allegretto ma non troppo

    CLASS 2587: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 12' 47''
    Bow distribution, Dynamics - 4' 52''
    Tension, Metrical rigor or freedom - 1' 54''
    Metrical rigor or freedom, Character - 4' 12''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    III. Allegro assai vivace ma serioso

    CLASS 1899: [O.V.: English] [Tras: Spanish ]

    Content

    Bow direction, Attacks - 1' 27''
    Dynamics, Character - 2' 41''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    III. Allegro assai vivace ma serioso

    CLASS 2587: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 10' 57''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    IV. Larghetto espressivo - Allegretto - Allegro

    CLASS 2582: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 45' 06''
    Tuning, Contrast - 1' 25''
    Phrasing, Metrics - 3' 45''
    Interpenetration, Attacks - 1' 59''
    Bow, Interpenetration - 4' 40''
    Fermata, Attacks - 1' 00''
    Tuning, Phrasing - 1' 06''
    Phrasing, Accents - 1' 13''
    Fingerings, Study methods - 3' 28''
    Metrical rigor or freedom, Contrast - 1' 55''
    Bow distribution, Attitude of the musician - 2' 40''
    Interpenetration, Metrical rigor or freedom - 5' 40''
    Accents, Phrasing - 3' 43''
    Phrasing - 1' 14''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F minor op 95 'Serioso'

    IV. Larghetto espressivo - Allegretto - Allegro

    CLASS 2586: [O.V.: English-Spanish] [Tras: Spanish ]

    Content

    Dynamics, Expressivity - 1' 44''
    Interpenetration - 1' 33''
    Dynamics, Pressure - 4' 19''
    Study methods, Bow - 2' 02''
    Dynamics, Bow distribution - 3' 51''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 59 no. 1 'Razumovsky'

    II. Allegretto vivace e sempre scherzando

    CLASS 2025: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Imitation - 2' 14''
    Bow, Phrasing - 3' 17''
    Harmony, Character - 2' 18''
    Dynamics - 1' 27''
    Bow - 1' 17''
    Metrical rigor or freedom, Metrics - 2' 15''
    Interpenetration, Dynamics - 3' 17''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 59 no. 1 'Razumovsky'

    II. Allegretto vivace e sempre scherzando

    CLASS 2205: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics, Duration - 2' 07''
    Study methods, Sound balance - 1' 39''
    Interpenetration, Form - 2' 46''
    Metrical rigor or freedom, Harmonic process - 4' 35''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 59 no. 1 'Razumovsky'

    II. Allegretto vivace e sempre scherzando

    CLASS 6420: [O.V.: English]

    Content

    Part - 38' 31''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 59 no. 1 'Razumovsky'

    III. Adagio molto e mesto

    CLASS 2205: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing, Duration - 1' 41''
    Dynamics, Timbre - 1' 36''
    Dynamics, Sound balance - 1' 42''
    Form - 3' 18''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 59 no. 1 'Razumovsky'

    III. Adagio molto e mesto

    CLASS 2252: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Tempo - 2' 38''
    Form, Attitude of the musician - 1' 30''
    Phrasing, Mixing - 6' 04''
    Metrical rigor or freedom - 1' 58''
    Interpenetration - 2' 46''
    Tempo, Interpenetration - 5' 57''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 59 no. 1 'Razumovsky'

    IV. Thème Russe. Allegro

    CLASS 2089: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics, Tempo - 1' 52''
    Attitude of the musician, Clarity of execution - 1' 40''
    Dynamics, Bow - 1' 58''
    Character, Tempo - 2' 16''
    Tempo, Study methods - 4' 25''
    Tempo, Dynamics - 2' 07''
    Phrasing, Interpenetration - 2' 18''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 59 no. 1 'Razumovsky'

    IV. Thème Russe. Allegro

    CLASS 2252: [O.V.: English] [Tras: Spanish ]

    Content

    Tension, Sound balance - 5' 55''
    Form, Phrasing - 1' 17''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 59 no. 1 'Razumovsky'

    IV. Thème Russe. Allegro

    CLASS 6419: [O.V.: English]

    Content

    Part - 19' 51''
  • BEETHOVEN | Schmidt < Chamber music

    String trio in C minor op 9 no. 3

    I. Allegro con spirito

    CLASS 2135: [O.V.: English] [Tras: Spanish ]

    Content

    Tempo, Phrasing - 4' 34''
    Tempo, Phrasing - 3' 41''
    Tempo, Character - 1' 04''
    Phrasing - 1' 23''
    Voice identification, Metrical rigor or freedom - 2' 44''
    Tempo, Metrical rigor or freedom - 2' 39''
    Tempo, Phrasing - 0' 57''
    Harmonics, Pulse - 2' 56''
  • BEETHOVEN | Schmidt < Chamber music

    String trio in C minor op 9 no. 3

    I. Allegro con spirito

    CLASS 4832: [O.V.: English] [Tras: Spanish ]

    Content

    Attacks, Bow - 3' 44''
    Attacks, Sound preparation - 3' 09''
  • BEETHOVEN | Schmidt < Chamber music

    String trio in C minor op 9 no. 3

    II. Adagio con espressione

    CLASS 2204: [O.V.: English] [Tras: Spanish ]

    Content

    Interpenetration, Metrical rigor or freedom - 5' 33''
    Articulation, Duration - 1' 23''
    Metrical rigor or freedom - 1' 58''
    Articulation, Interpenetration - 6' 05''
    Interpenetration, Duration - 2' 10''
    Duration - 1' 20''
    Tempo, Metrical rigor or freedom - 2' 12''
    Character, Timbre - 3' 39''
    Bow, Timbre - 5' 57''
    Timbre, Character - 1' 57''
    Tonality, Timbre - 5' 17''
    Timbre, Tonality - 2' 42''
  • BEETHOVEN | Schmidt < Chamber music

    String trio in C minor op 9 no. 3

    II. Adagio con espressione

    CLASS 2247: [O.V.: English] [Tras: Spanish ]

    Content

    Bow, Articulation - 2' 32''
    Tempo, Styles and periods - 3' 04''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in E flat major op 127

    II. Adagio, ma non troppo e molto cantabile

    CLASS 6416: [O.V.: English]

    Content

    Part - 2h 03' 12''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in A minor op 132

    III. Molto adagio. Andante

    CLASS 2043: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Dynamics - 3' 43''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in A minor op 132

    III. Molto adagio. Andante

    CLASS 2207: [O.V.: English] [Tras: Spanish ]

    Content

    Duration, Entries - 1' 52''
    Themes and motifs, Accents - 2' 17''
    Up-beat, Tension - 1' 04''
    Dynamics, String-crossing - 1' 49''
    Dynamics - 2' 58''
    Expressivity, Duration - 1' 55''
    Duration, Bow direction - 1' 51''
    Martellé, Character - 1' 38''
    Metrical rigor or freedom, Vibrato - 3' 21''
    Duration, Attacks - 1' 03''
    Virtuossity, Character - 1' 21''
    Articulation - 1' 19''
    Dynamics, Entries - 5' 11''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 135

    I. Allegretto

    CLASS 2522: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 34' 52''
    Metrical rigor or freedom, Phrasing - 1' 24''
    Character, Dynamics - 2' 04''
    Sound balance, Composing procedures - 1' 09''
    Character, Study methods - 1' 33''
    Themes and motifs, Character - 1' 47''
    Bow distribution, Attacks - 2' 35''
    Dynamics, Metrical rigor or freedom - 1' 38''
    Music psychology, Development - 1' 05''
    Duration, Exposition - 1' 28''
    Vibrato, Contrast - 1' 18''
    Themes and motifs, Dynamics - 1' 13''
    Metrical rigor or freedom, Recapitulation - 2' 28''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 135

    III. Lento assai, cantante e tranquillo

    CLASS 2660: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 6' 40''
    Part - 16' 02''
    Tonality, Expressivity - 6' 10''
    Indications for the execution - 2' 17''
    Indications for the execution - 4' 41''
    Attitude of the musician, Expressivity - 1' 50''
    Part - 2' 11''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 135

    IV. Grave ma non troppo tratto - Allegro

    CLASS 2564: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 32' 42''
    Duration, Attacks - 4' 00''
    Dynamics - 1' 26''
    Phrasing, Themes and motifs - 2' 14''
    Bow direction - 2' 53''
    Tempo, The work - 1' 49''
    Part - 3' 16''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in F major op 135

    IV. Grave ma non troppo tratto - Allegro

    CLASS 2660: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 7' 46''
    Part - 3' 17''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in E flat major op 74 'Harp'

    I. Poco adagio - Allegro

    CLASS 2941: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 43' 18''
    Articulation, Bow distribution - 0' 56''
    Dynamics, Interpenetration - 1' 00''
    Dynamics, Metrical rigor or freedom - 1' 29''
    Dynamics, Sound balance - 1' 04''
    Bow-strokes, Duration - 1' 21''
    Dynamics, Duration - 1' 58''
    Character, Metrical rigor or freedom - 1' 12''
    Resonance, Attacks - 2' 44''
    Weight, Attacks - 2' 52''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in E flat major op 74 'Harp'

    I. Poco adagio - Allegro

    CLASS 3022: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 58' 17''
    Dynamics, Sound balance - 1' 25''
    Chords, Character - 1' 57''
    Metrical rigor or freedom, Attitude of the musician - 2' 15''
    Metrical rigor or freedom, Dynamics - 1' 04''
    Dynamics, Clarity of execution - 1' 09''
    Accents, Dynamics - 1' 07''
    Metrical rigor or freedom - 1' 21''
    Character, Metrical rigor or freedom - 2' 21''
    Character, Interpenetration - 1' 13''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in E flat major op 74 'Harp'

    III. Presto

    CLASS 2941: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 10' 41''
    Metrics, Phrasing - 2' 19''
    Accents, Voice identification - 1' 00''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in E flat major op 74 'Harp'

    II. Adagio ma non troppo

    CLASS 2941: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 23' 11''
    Metrical rigor or freedom - 1' 00''
    Bow direction, Sound quality - 3' 28''
    Relaxation, Tension - 2' 04''
    Maintaining the sound, Tension - 3' 25''
    Arm, Phrasing - 1' 19''
    Study methods, Harmony - 1' 20''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in E flat major op 74 'Harp'

    II. Adagio ma non troppo

    CLASS 3022: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 11' 47''
    Metrical rigor or freedom, Sound quality - 1' 25''
    Part - 9' 51''
  • BEETHOVEN | Schmidt < Violin

    Sonata for violin and piano in A major op 30 no. 1

    I. Allegro

    CLASS 2971: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 6' 43''
    Interpenetration, Character - 2' 34''
    Part - 11' 34''
    Metrical rigor or freedom, Pressure - 1' 26''
  • BEETHOVEN | Schmidt < Violin

    Sonata for violin and piano in A major op 30 no. 1

    II. Adagio molto espressivo

    CLASS 2971: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 4' 22''
    Part - 2' 56''
    Rhythm, Bow direction - 2' 26''
    Character, Phrasing - 4' 01''
    Part - 11' 27''
    Sound quality, Vibrato - 1' 46''
  • BEETHOVEN | Schmidt < Violin

    Sonata for violin and piano in A major op 30 no. 1

    III. Allegretto con Variazioni

    CLASS 2971: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 9' 38''
    Part - 3' 20''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in E minor op 59 no. 2 'Razumovsky'

    III. Allegretto

    CLASS 6422: [O.V.: English-Spanish]

    Content

    Part - 1h 01' 15''
    Part - 10' 14''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in E minor op 59 no. 2 'Razumovsky'

    IV. Finale. Presto

    CLASS 6422: [O.V.: English-Spanish]

    Content

    Part - 20' 42''
    Part - 37' 53''
  • BEETHOVEN | Schmidt < Chamber music

    String quartet in B flat major op 133 'Grosse Fuge'

    CLASS 1900: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Duration - 1' 09''
    Metrical rigor or freedom, Secondary melody - 1' 25''
    Tempo - 2' 44''
    Articulation - 2' 58''
    Harmony, Interpenetration - 3' 37''
    Dynamics, Sound planes - 1' 19''
    Character, Themes and motifs - 2' 30''
    Duration, Rhythm - 2' 06''
    Harmony, Tension - 3' 04''
    Form - 2' 05''
    Sound quality, Registers - 1' 30''
    Tempo, Character - 2' 35''
    Dynamics, Phrasing - 1' 27''
    Accents - 1' 02''
    Bowings, Dynamics - 1' 54''
    Sound quality, The work - 4' 22''
    Phrasing, Tension - 1' 06''
    Character, The work - 1' 39''
    Tempo - 3' 28''
    Up-beat, Metrical rigor or freedom - 4' 05''
    Tempo, Themes and motifs - 1' 20''
    Duration - 1' 12''
    Duration, Rhythm - 3' 23''
    Metrical rigor or freedom - 1' 24''
  • BEETHOVEN | Schmidt < Chamber music

    String trio in C minor op 9 no. 3

    CLASS 2023: [O.V.: English] [Tras: Spanish ]

    Content

    Tempo, Themes and motifs - 2' 36''
    The author, Minuet - 1' 32''
    Tempo - 1' 17''
    Tempo, Bow - 1' 06''
    Tempo - 1' 08''
    Improvised cadenza, Metrical rigor or freedom - 1' 15''
    Phrasing, Harmonic process - 1' 23''
    Up-beat, Character - 2' 06''
    Character, Description - 1' 10''
    Phrasing - 1' 12''
    Interpenetration, Dynamics - 1' 37''

BERG, Alban

Picture: BERG, Alban

Vienna, 1885 - Vienna, 1935. Alban Berg's music demonstrates better than any other the individual expressive qualities possible within the highly structured style developed by the composers of the Second Viennese School. Even when writing in a pure twelve-tone style, Berg employs a lyrical and harmonic language that hearkens back to the late romantic style of Mahler. For this reason, he is the most easily approached composer of this style. Berg was born into a well-to-do family in Vienna and was encouraged in his intellectual pursuits. But despite an aptitude for music, he never received strong formal training until he began his studies with Arnold Schoenberg in 1904. Under Schoenberg's guidance, Berg moved from a rather tonal approach to a purely atonal style over the course of his first three works. He continued in this path, writing mostly smaller works. A decisive moment came in 1914, when he saw a production of George Büchner's play Woyzeck. The play had a great impact on Berg, and he began immediately to transform the work into an opera (Wozzeck). He continued this project while serving in the army in World War I, finishing the work in 1922. It was premiered in 1925 in Berlin and proved a critical and financial success. In Wozzeck Berg created a rich mix of styles and approaches. On the surface, the language ranges from post-romantic to purely atonal, freely mixing popular and folk elements. Underlying this is an exacting approach to form: the first act is a suite of five character pieces, the second is a symphony in five movements, and the third is a series of five variations set on different ostinatos. None of this, however, is merely intellectual diversion. Instead, each idea is developed to support the dramatic action on the stage. Through his next works, Berg embraced the twelve-tone procedure more fully. This can be seen in his Lyric Suite (1926), his Violin Concerto (1935) and Lulu, his second opera, left incomplete at his death. In the concerto, especially, we can see how the twelve-tone approach becomes a transparent technique. Berg devised his pitch materials in such a way as to allow for rich, and surprisingly consonant, harmonies. From the opening, which comprises a series of open fifths in the violin and harp, to the final movement, which incorporates a quotation from a chorale setting by Bach, the work is both technically masterful and musically satisfying. Berg's life came to an early end. The tensions of the Nazi rise to power and the effects of generally ill health began to take their toll. In the fall of 1935 a simple insect bite turned into fatal blood poisoning. He died on Christmas Eve.

Biography

  • BERG | Schmidt < Chamber music

    Lyric Suite for string quartet

    II. Andante amoroso

    CLASS 2230: [O.V.: English] [Tras: Spanish ]

    Content

    The work, The author - 1' 46''
    Form, The work - 5' 59''
  • BERG | Schmidt < Chamber music

    Lyric Suite for string quartet

    VI. Largo desolato

    CLASS 2197: [O.V.: English] [Tras: Spanish ]

    Content

    Tempo, Dynamics - 2' 41''
    Character, Dynamics - 1' 06''
    Character, The author - 4' 00''
    Accents, Articulation - 3' 50''
    Entries, Metrical rigor or freedom - 1' 56''
    Sound balance - 1' 28''
    Character, Accents - 1' 22''
    Articulation, Description - 2' 25''
    Duration, Sound balance - 2' 55''
    Syncopation - 1' 50''
    Interpenetration, Sound quality - 3' 58''
    Articulation, Fingerings - 2' 48''
    Interpenetration, Entries - 2' 29''
    Accents, Sound balance - 3' 33''
    Interpenetration - 4' 29''
    Accents, Sound balance - 4' 06''
    Syncopation - 1' 41''
    Sound quality - 1' 20''

BRAHMS, Johannes

Picture: BRAHMS, Johannes

Hamburg, 1833 - Vienna, 1897. Brahms was born in Hamburg. His father, who gave him his first music lessons, was a double bassist. Brahms showed early promise on the piano and helped to supplement the rather meager family income by playing the piano in restaurants and theaters, as well as by teaching. Although it is a widely-told tale that Brahms had to play the piano in bars and brothels, recent research, for example that by Kurt Hoffman, suggest that this is probably false. For a time, he also learned the violoncello, although his progress was cut short when his teacher absconded with Brahms's instrument. The young Brahms gave a few public concerts, but did not become well known as a pianist (although in later life he gave the premieres of both his Piano Concerto No. 1 in 1859 and his Piano Concerto No. 2 in 1881). He also began to compose, but his efforts did not receive much attention until he went on a concert tour with Eduard Reményi in 1853. On this tour he met Joseph Joachim, Franz Liszt, and later was introduced to the great German composer Robert Schumann. Reményi was, however, offended by Brahms' failure to praise Liszt's 'Sonata in B minor' wholeheartedly on a visit to the Court of Weimar where Liszt was the court musician. Many of Brahms' friends cited that Reményi, being the polished courtier, had expected the younger Brahms to conform to common practice of politely applauding a celebrity's piece which Brahms either failed to do or did not appear to do so with condescending compliment. He told Brahms that their friendship must end although it was not clear as to whether Liszt felt offended or otherwise. Joachim, however was to become one of his closest friends, and Schumann, through articles championing the young Brahms, played an important role in alerting the public to the young man's compositions. Brahms also became acquainted with Schumann's wife, the composer and pianist Clara, 14 years his senior, with whom he carried on a lifelong, emotionally passionate, but always platonic relationship. Brahms never married. In 1862 he settled permanently in Vienna and began to concentrate fully on composing. With work such as the German Requiem, Brahms eventually established a strong reputation and came to be regarded in his own lifetime as one of the great composers. This may have given him the confidence finally to complete his first symphony; this appeared in 1876, after about ten years of work. The other three symphonies then followed in fairly rapid succession (1877, 1883, 1885). Brahms frequently traveled, both for business (concert tours) and pleasure. He often visited Italy in the springtime, and usually sought out a pleasant rural location in which to compose during the summer. In 1890, the 57-year-old Brahms resolved to give up composing. However, as it turned out, he was unable to abide by his decision, and in the years before his death he produced a number of acknowledged masterpieces, including the two clarinet sonatas Op. 120 (1894) and the Four Serious Songs (Vier ernste Gesänge) Op. 121 (1896). While completing the Op. 121 songs Brahms fell ill of cancer (sources differ on whether this was of the liver or pancreas). His condition gradually worsened and he died on April 3, 1897. Brahms is buried in the Zentralfriedhof in Vienna.

Biography

  • BRAHMS | Schmidt < Chamber music

    String quartet no. 3 in B flat major op 67

    I. Vivace

    CLASS 2119: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Fingerings - 2' 59''
    Dynamics, Phrasing - 3' 42''
    Dynamics, Duration - 1' 41''
    Accents, Bow - 2' 48''
    Character, Articulation - 1' 35''
    Harmony, Voice identification - 4' 13''
    Phrasing, Metrical rigor or freedom - 5' 08''
    Accents, Form - 2' 16''
    Harmony, Maintaining the sound - 1' 24''
    Articulation, Development - 2' 25''
    Themes and motifs, Syncopation - 1' 51''
    Phrasing, Entries - 1' 36''
    Phrasing, Voice identification - 3' 46''
    Phrasing, Harmony - 2' 02''
    Silence, Fingerings - 1' 53''
    Harmony, Voice identification - 1' 35''
    Articulation - 1' 25''
  • BRAHMS | Schmidt < Chamber music

    String quartet no. 3 in B flat major op 67

    IV. Poco allegretto con variazioni

    CLASS 6858: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 1h 16' 50''
    Abbreviations and signs, Bow-strokes - 1' 09''
    Dynamics, Entries - 1' 57''
    Up-beat, Articulation - 2' 26''
    Up-beat, Character - 4' 54''
    Metrical rigor or freedom - 3' 53''
    Character, Accompaniment - 2' 18''
    Metrical rigor or freedom, Character - 2' 46''
    Character - 1' 28''
    Tempo, Character - 3' 30''

DEBUSSY, Claude

Picture: DEBUSSY, Claude

St Germain-en-Laye, 1862 - Paris, 1918. Born in Saint-Germain-en-Laye, Yvelines, France, Claude Debussy studied with Guiraud and others at the Paris Conservatoire (1872-84) and as an 1884 Prix de Rome winner, went to Rome, Italy, though more important impressions came from his visits to Bayreuth (1888, 1889) and from hearing Javanese gamelan music in Paris (1889). Wagner's influence is evident in the cantata La damoiselle élue (1888) and the Cinq poèmes de Baudelaire (1889) but other songs of the period, notably the settings of Verlaine (Ariettes oubliées, Trois mélodies, Fêtes galantes) are in a more capricious style, as are parts of the still somewhat Franckian G minor String Quartet (1893); in that work he used not only the Phrygian mode but also less standard modes, notably the whole-tone mode, to create the floating harmony he discovered through the work of contemporary writers: Mallarmé in the orchestral Prélude à l'après-midi d'un faune (1894 - in 1912 used as music for the L'Après-midi d'un Faune ballet production) and Maeterlinck in the opera Pelléas et Mélisande, dating in large part from 1893-5 but not completed until 1902. These works also brought forward a fluidity of rhythm and color quite new to Western music. Pelléas, with its rule of understatement and deceptively simple declamation, also brought an entirely new tone to opera &#151; but an unrepeatable one. Debussy worked on other opera projects and left substantial sketches for two pieces after tales by Edgar Allan Poe (Le diable dans le beffroi and La chute de la maison Usher), but neither was completed. Instead, the main works were orchestral pieces, piano sets, and songs. Among his major orchestral works are the three Nocturnes (1899), characteristic studies of veiled harmony and texture ('Nuages'), exuberant cross-cutting ('Fêtes') and seductive whole-tone drift ('Sirènes'). La mer (1905) essays a more symphonic form, with a finale that works themes from the first movement, though the centerpiece (Jeux de vagues) proceeds much less directly and with more variety of color. The three Images (1912) are more loosely linked, and the biggest, Ibéria is itself a triptych, a medley of Spanish allusions. Finally, the ballet Jeux (1913) contains some of Debussy's strangest harmony and texture in a form that moves freely over its own field of motivic connection. Other late stage works, including the ballets Khamma (1912) and La boîte à joujoux (1913) and the mystery play Le martyre de St. Sébastien (1911), were not completely orchestrated by Debussy, though St. Sébastien is remarkable in sustaining an antique modal atmosphere that otherwise was touched only in relatively short piano pieces (eg. La cathédrale engloutie). Debussy wrote much piano music although the most important of them to begin with are works which, Verlaine fashion, look back at rococo decorousness with a modern cynicism and puzzlement (Suite bergamasque, 1890; Pour le piano, 1901). His first volume of Images pour piano 1904 - 1905 evokes tonality that was rarely heard in works by his contemporaries such as phrases suggesting the rippling of water in the first piece Reflets dans l'eau as well as a homage to Jean-Philippe Rameau's influence in a slow and mysterious court dance in the second piece Hommage à Rameau. But then, as in the orchestral pieces, Debussy began to associate his music with visual impressions of the East, Spain, landscapes etc, in a sequence of sets of short pieces. This can be heard in the volume of pieces known as

Biography

  • DEBUSSY | Schmidt < Chamber music

    Premier quatuor in G minor op 10

    I. Animé et très décidé

    CLASS 2240: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics, Melody - 1' 43''
    Indications for the execution - 2' 45''
  • DEBUSSY | Schmidt < Chamber music

    Premier quatuor in G minor op 10

    I. Animé et très décidé

    CLASS 2661: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 47' 12''
    Metrical rigor or freedom - 1' 06''
    Phrasing, Interpenetration - 2' 05''
    Interpenetration, Metrical rigor or freedom - 2' 29''
    Sound quality, Character - 1' 35''
    Tempo - 1' 47''
    Tempo, Metrics - 1' 31''
    Phrasing - 1' 13''
    Articulation, Metrical rigor or freedom - 3' 02''
  • DEBUSSY | Schmidt < Chamber music

    Premier quatuor in G minor op 10

    III. Andantino doucement expressif

    CLASS 2013: [O.V.: English] [Tras: Spanish ]

    Content

    Bow, Character - 2' 11''
    Phrasing - 1' 22''
    Articulation, Character - 2' 41''
    Phrasing - 1' 09''
    Tempo, Dynamics - 3' 30''
    Tempo, Articulation - 1' 10''
    Dynamics - 0' 58''
    Tempo, Character - 2' 40''
    Character, Bow direction - 2' 23''
    Dynamics - 5' 13''
    Dynamics, Tension - 2' 19''
    Dynamics, Bow direction - 1' 06''
    Dynamics, Sound balance - 0' 58''
    Fingerings - 1' 57''
  • DEBUSSY | Schmidt < Chamber music

    Premier quatuor in G minor op 10

    III. Andantino doucement expressif

    CLASS 2240: [O.V.: English] [Tras: Spanish ]

    Content

    Indications for the execution - 3' 22''
    Dynamics, Mixing - 3' 49''
    Dynamics, Expressivity - 1' 05''
    Metrical rigor or freedom - 3' 38''
    Bow - 1' 05''
    Bowings, Sound balance - 1' 07''
    Metrical rigor or freedom - 2' 37''
  • DEBUSSY | Schmidt < Chamber music

    Premier quatuor in G minor op 10

    IV. Très modéré - Très mouvementé et avec passion

    CLASS 2577: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 35' 46''
    Pulse, Metrical rigor or freedom - 4' 50''
    Tempo, Interpenetration - 2' 07''
    Tempo, Metrical rigor or freedom - 5' 50''
    Metrical rigor or freedom, Pulse - 2' 59''
    Part - 14' 22''
    Technique, Metrical rigor or freedom - 1' 32''
    Metrical rigor or freedom - 1' 03''
    Character, Tempo - 1' 45''
  • DESPREZ | Schmidt < Chamber music

    In principio erat verbum (arrangement for string quartet)

    Parte 2

    CLASS 2584: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 24' 25''
  • DESPREZ | Schmidt < Chamber music

    In principio erat verbum (arrangement for string quartet)

    Parte 1

    CLASS 2584: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing, Metrical rigor or freedom - 3' 12''
  • DESPREZ | Schmidt < Chamber music

    In principio erat verbum (arrangement for string quartet)

    Parte 2

    CLASS 2584: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 24' 25''
    Contrast, Dynamics - 1' 34''
    Metrical rigor or freedom - 1' 32''
    Metrical rigor or freedom, Bow - 1' 14''
    Metrics, Styles and periods - 1' 46''
  • DESPREZ | Schmidt < Chamber music

    In principio erat verbum (arrangement for string quartet)

    Parte 3

    CLASS 2584: [O.V.: English] [Tras: Spanish ]

    Content

    Bow, Metrical rigor or freedom - 2' 00''
  • DESPREZ | Schmidt < Chamber music

    O Domine Jesu Christe

    CLASS 2748: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 15' 50''
    Sound quality, Expressivity - 2' 10''
    Sound quality, Harmonics - 1' 17''
    Part - 7' 48''
    Phrasing, Sound quality - 3' 49''
    Part - 8' 50''
    Sound quality, Styles and periods - 3' 08''
    Bow direction, Phrasing - 2' 11''
    Bridge, Sound quality - 1' 09''
    Part - 7' 25''
    Interpenetration, Pulse - 3' 45''
    Phrasing, Interpenetration - 2' 54''

DVORÁK, Antonin

Picture: DVORÁK, Antonin

Nelahozeves, 1841 - Prague, 1904. Dvorák was born in Nelahozeves near Prague where he spent most of his life. He studied music in Prague's Organ School at the end of the 1850s, and through the 1860s played viola in the Bohemian Provisional Theatre Orchestra which was from 1866 conducted by Bedøich Smetana. From 1892 to 1895, Dvoøák was director of the National Conservatory in New York City. The Conservatory was founded by a wealthy socialite, Jeannette Thurber, who wanted a well-known composer as director in order to lend prestige to her institution. She wrote to Dvorák, asking him to accept the position, and he agreed, providing that she were willing to meet his conditions: that talented Native American and African-American students, who could not afford the tuition, must be admitted for free. She agreed to his conditions, and he sailed to America. It was during his time as director of the Conservatory that Dvorák formed a friendship with Harry Burleigh, who became an important African-American composer. Dvorák taught Burleigh composition, and in return, Burleigh spent hours on end singing traditional American Spirituals to Dvorák. Burleigh went on to compose settings of these Spirituals which compare favorably with European classical composition. It was during his visit to the United States that he wrote his most popular work, the Symphony No.9 'From the New World'. Also while in the USA he heard a performance of a cello concerto by the composer Victor Herbert. He was so excited by the possibilities of the cello and orchestra combination displayed in this concerto that he wrote a cello concerto of his own, the Cello Concerto in B minor (1895). Since then the concerto he wrote has grown in popularity and today it is frequently performed. He also left an unfinished work, the Cello Concerto in A major (1865), which was completed and orchestrated by the German composer Günter Raphael between 1925 and 1929. Dvoøák was a colorful personality. In addition to music, there were two particular passions in his life: locomotive engines, and the breeding of pigeons. He eventually returned to Prague where he was director of the conservatoire from 1901 until his death in 1904.

Biography

  • DVORÁK | Schmidt < Chamber music

    String quartet no. 13 in G major op 106

    III. Molto vivace

    CLASS 2043: [O.V.: English] [Tras: Spanish ]

    Content

    Accents, Dynamics - 1' 28''
  • DVORÁK | Schmidt < Chamber music

    String quartet no. 13 in G major op 106

    III. Molto vivace

    CLASS 6839: [O.V.: English] [Tras: Spanish ]

    Content

    Sound quality, String-crossing - 4' 26''
    Metrical rigor or freedom, Clarity of execution - 1' 20''
  • DVORÁK | Schmidt < Chamber music

    String quartet no. 13 in G major op 106

    IV. Andante sostenuto - Allegro con fuoco

    CLASS 6839: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics, Sound planes - 3' 18''
  • DVORÁK | Schmidt < Chamber music

    String quartet no. 13 in G major op 106

    II. Adagio, ma non troppo

    CLASS 2040: [O.V.: English] [Tras: Spanish ]

    Content

    Duration, Metrical rigor or freedom - 5' 26''
    Sound quality, Tuning - 5' 09''
    Timbre, Tuning - 5' 34''
    Metrical rigor or freedom - 1' 00''
    Attacks, Dynamics - 5' 43''
    Metrical rigor or freedom - 2' 59''
    Attitude of the musician - 2' 27''
    Attitude of the musician - 2' 40''
  • DVORÁK | Schmidt < Chamber music

    String quartet no. 13 in G major op 106

    II. Adagio, ma non troppo

    CLASS 6839: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Phrasing - 1' 13''
    Phrasing, Contrast - 1' 26''
    Character - 1' 55''
  • DVORÁK | Schmidt < Violin

    Romantic Pieces for violin and piano op 75

    1. Allegro moderato

    CLASS 2678: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 35' 03''
    Timbre, Harmony - 4' 01''
    Themes and motifs, Tuning - 1' 05''
    Attitude of the musician, Sound quality - 1' 43''
    Attitude of the musician, Attacks - 2' 10''
    Resonance, Pressure - 1' 28''
    Bow, Attacks - 1' 59''
    Attitude of the musician, Expressivity - 1' 19''
    Attitude of the musician, Attacks - 2' 45''
    Attacks, Study methods - 2' 07''
  • DVORÁK | Schmidt < Chamber music

    Cypresses for string quartet

    5. Zde hledím na tvuj drahý list (The old letter in my book). Andante

    CLASS 2587: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 24' 23''
    Metrical rigor or freedom - 3' 54''
    Contrast, Bow distribution - 3' 20''
    Sound quality, Bow distribution - 0' 58''
    Metrical rigor or freedom, Articulation - 1' 58''
  • DVORÁK | Schmidt < Violin

    Romantic Pieces for violin and piano op 75 (violin part)

    1. Allegro moderato

    CLASS 2678: [O.V.: English] [Tras: Spanish ]

    Content

    Dynamics, Weight - 3' 13''
    Position, Sound quality - 1' 30''
    Sound quality, Position - 3' 28''

GENERALITIES, GENERALITIES

Picture: GENERALITIES, GENERALITIES

Biography

  • GENERALITIES | Schmidt < Chamber music

    Teachers advices

    CLASS 2040: [O.V.: English] [Tras: Spanish ]

    Content

    Sound quality, Harmonics - 1' 03''
    Personality, Attitude of the musician - 2' 12''
    Technique, Attitude of the musician - 5' 46''
  • GENERALITIES | Schmidt < Chamber music

    Theory explanations

    CLASS 2135: [O.V.: English] [Tras: Spanish ]

    Content

    Tempo - 4' 27''
    Styles and periods, Tempo - 1' 59''
    Tempo, Character - 2' 05''
  • GENERALITIES | Schmidt < Violin

    Violin Technique exercises

    CLASS 2385: [O.V.: English-Spanish] [Tras: Spanish ]

    Content

    Bow, Position - 2' 10''
    Bow distribution, Pressure - 2' 06''
    Bow distribution, Pressure - 1' 57''
    Bow, Relaxation - 2' 52''
    String-crossing, Fingers - 1' 09''
  • GENERALITIES | Schmidt < Violin

    Violin Technique exercises

    CLASS 2389: [O.V.: English-Spanish] [Tras: Spanish ]

    Content

    Tuning, Fingerings - 2' 27''
    Sound quality - 1' 22''
    Tuning, Sound quality - 1' 04''
    Sound quality, Fingers - 1' 58''
    Tuning, Shifts or changes of position - 2' 32''
    Attitude of the musician, Scales - 1' 10''
    Study methods, Double stops - 2' 56''
  • GENERALITIES | Schmidt < Violin

    Violin Technique exercises

    CLASS 2390: [O.V.: English-Spanish] [Tras: Spanish ]

    Content

    Strings, Arm - 1' 09''
    Attitude of the musician, Study methods - 1' 15''
    Attitude of the musician - 1' 38''
  • GENERALITIES | Schmidt < Chamber music

    Viola Technique exercises

    CLASS 2587: [O.V.: English] [Tras: Spanish ]

    Content

    Fingers, Study methods - 2' 26''
    Bow, Study methods - 3' 14''
  • GENERALITIES | Schmidt < Violin

    Violin Technique exercises

    CLASS 2680: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 16' 21''
    Bow, Weight - 2' 07''
    Attacks, Bow - 2' 02''
    Bow, Pressure - 2' 38''
    Bow, Pressure - 2' 07''
    Attacks, Weight - 2' 31''
    Fingers, Left hand - 2' 27''
    Fingers, Study methods - 1' 52''
    Bow, Sound projection - 1' 43''
  • GENERALITIES | Schmidt < Chamber music

    Theory explanations

    CLASS 3068: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 6' 39''
    Composing procedures, Composing techniques - 3' 52''
    Composing techniques, Styles and periods - 2' 31''

HAYDN, Franz Joseph

Picture: HAYDN, Franz Joseph

Rohrau, 1732 - Vienna, 1809. Austrian composer, brother of Michael Haydn. Neither he nor his contemporaries used the name Franz, and there is no reason to do so today. He began his career in the traditional patronage system of the late Austrian Baroque, and ended as a 'free' artist within the burgeoning Romanticism of the early 19th century. Famous as early as the mid-1760s, by the 1780s he had become the most celebrated composer of his time, and from the 1790s until his death was a culture-hero throughout Europe. Since the early 19th century he has been venerated as the first of the three 'Viennese Classics' (Haydn, Mozart, Beethoven). He excelled in every musical genre; during the first half of his career his vocal works were as famous as his instrumental ones, although after his death the reception of his music focussed on the latter (except for The Creation). He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres. In the 20th century he was understood primarily as an 'absolute' musician (exhibiting wit, originality of form, motivic saturation and a 'modernist' tendency to problematize music rather than merely to compose it), but earnestness, depth of feeling and referential tendencies are equally important to his art

Biography

  • HAYDN | Schmidt < Chamber music

    Divertimento for string quartet in C major H III : 32 op 20 no. 2

    III. Menuetto. Allegretto

    CLASS 2769: [O.V.: English-Spanish] [Tras: Spanish ]

    Content

    Part - 48' 57''
    The work - 4' 06''
    Cadence, Phrasing - 1' 43''
    Articulation, Metrical rigor or freedom - 1' 42''
    Phrasing - 1' 04''
    Articulation, Contrast - 2' 50''
    Rhythm, Articulation - 1' 30''
    Form - 1' 41''
    Metrical rigor or freedom, Registers - 1' 25''
    Form - 1' 37''
    Cadence, Phrasing - 1' 35''
    Variation - 1' 27''
    Metrical rigor or freedom, Duration - 1' 44''
    Phrasing - 1' 19''
    Clarity of execution, Phrasing - 2' 09''
    Counterpoint - 1' 26''
    Character, Attacks - 1' 58''
    Articulation, Character - 1' 18''
    Indications for the execution, The work - 1' 37''
    Metrics, Phrasing - 2' 20''
    Articulation, Apoggiatura - 1' 41''
    Themes and motifs, The author - 2' 49''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 32 in C major H III: 39 op 33 no. 3 'The Bird'

    I. Allegro moderato

    CLASS 2658: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 24' 49''
    Metrical rigor or freedom, Tempo - 2' 25''
    Metrical rigor or freedom, Sound quality - 1' 27''
    Metrical rigor or freedom, Character - 1' 37''
    Tempo, Metrical rigor or freedom - 2' 21''
    Metrical rigor or freedom, Silence - 1' 47''
    Metrical rigor or freedom, Sound quality - 1' 28''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 32 in C major H III: 39 op 33 no. 3 'The Bird'

    IV. Finale. Rondo. Presto

    CLASS 2658: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 8' 46''
    Metrical rigor or freedom, Dynamics - 2' 29''
    Metrical rigor or freedom, Fingerings - 2' 09''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 32 in C major H III: 39 op 33 no. 3 'The Bird'

    III. Adagio ma non troppo

    CLASS 2658: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 4' 22''
    Tempo - 1' 39''
    Analysis, Tempo - 1' 06''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 33 in D major H III: 42 op 33 no. 6

    I. Vivace assai

    CLASS 1880: [O.V.: English] [Tras: Spanish ]

    Content

    Repertoire, Tonality - 1' 55''
    Character, Themes and motifs - 2' 15''
    Sound quality, Fingerings - 1' 22''
    Interpenetration, Mixing - 1' 37''
    Sound quality, Main melody - 2' 03''
    Apoggiatura - 1' 51''
    Form, Sonata - 3' 48''
    Harmonic process, Contrast - 1' 37''
    Dynamics, Voice identification - 2' 12''
    Tuning - 1' 28''
    Study methods, Phrasing - 5' 41''
    Character, Phrasing - 2' 17''
    Attitude of the musician, Tempo - 1' 06''
    Tempo - 1' 15''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 63 in B flat major H III: 78 op 76 no. 4 'Sunrise'

    I. Allegro con spirito

    CLASS 1892: [O.V.: English] [Tras: Spanish ]

    Content

    Exposition - 1' 51''
    Dynamics, Harmonic process - 2' 15''
    Sforzato, Harmonic process - 5' 05''
    Metrical rigor or freedom - 1' 57''
    Character, Harmonic process - 1' 31''
    Dynamics, Voice identification - 2' 07''
    Phrasing, Themes and motifs - 4' 18''
    Harmony, Voice identification - 2' 16''
    Tempo - 0' 57''
    Indications for the execution - 3' 18''
    Harmony, Voice identification - 0' 59''
    Harmony, Sforzato - 1' 50''
    Phrasing - 1' 39''
    Articulation, Sound balance - 1' 45''
    Character - 1' 48''
    Character, Indications for the execution - 2' 16''
    Vibrato - 1' 56''
    Phrasing - 1' 52''
    Accents - 1' 16''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 63 in B flat major H III: 78 op 76 no. 4 'Sunrise'

    II. Adagio

    CLASS 1890: [O.V.: English] [Tras: Spanish ]

    Content

    Up-beat - 2' 08''
    Harmony, Character - 1' 29''
    Tempo, Styles and periods - 0' 59''
    Timbre, Tonality - 3' 34''
    Character, Sound balance - 2' 15''
    Accents, Harmonic process - 2' 46''
    Metrical rigor or freedom, Character - 1' 20''
    Pizzicato, Sound quality - 1' 00''
    Articulation, Styles and periods - 1' 35''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 63 in B flat major H III: 78 op 76 no. 4 'Sunrise'

    III. Menuetto (Allegro)

    CLASS 1890: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Tempo - 2' 59''
    Tempo, Phrasing - 1' 10''
    Sforzato, The work - 1' 30''
    Character, Tempo - 3' 32''
    Tempo, Sound quality - 1' 54''
    Character, Rigor or freedom in reading - 1' 51''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 63 in B flat major H III: 78 op 76 no. 4 'Sunrise'

    IV. Allegro ma non troppo

    CLASS 1890: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Dynamics - 1' 32''
    Tempo, Articulation - 2' 56''
    Tempo, Dynamics - 1' 17''
    Attitude of the musician, Tempo - 1' 38''
    Voice identification, Rigor or freedom in reading - 1' 14''
  • HAYDN | Schmidt < Chamber music

    Divertimento for string quartet in B flat major H III: 1 op 1 no. 1 'La chasse'

    I. Presto

    CLASS 1741: [O.V.: English] [Tras: Spanish ]

    Content

    Articulation - 1' 49''
    Harmony, Dynamics - 0' 59''
    Bow - 1' 11''
    Articulation, Duration - 1' 18''
  • HAYDN | Schmidt < Chamber music

    Divertimento for string quartet in B flat major H III: 1 op 1 no. 1 'La chasse'

    II. Minuetto I

    CLASS 1741: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Duration - 1' 53''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 35 in D minor H III: 43 op 42

    I. Andante ed innocentemente

    CLASS 1614: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Articulation - 2' 23''
    Articulation, Interpenetration - 2' 47''
    Phrasing - 4' 14''
    Character, Articulation - 3' 07''
    Character, Attitude of the musician - 4' 00''
    Indications for the execution - 1' 20''
    Silence, Clarity of execution - 1' 20''
    Phrasing - 1' 23''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 35 in D minor H III: 43 op 42

    II. Minuetto

    CLASS 1614: [O.V.: English] [Tras: Spanish ]

    Content

    Articulation, Phrasing - 1' 58''
    Articulation, Bow - 1' 01''
    Phrasing, Metrical rigor or freedom - 1' 30''
    Cadence - 2' 05''
    Cadence, Metrical rigor or freedom - 3' 47''
    Editions, Indications for the execution - 2' 54''
    Bow, Articulation - 0' 59''
    Duration, Phrasing - 2' 08''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 35 in D minor H III: 43 op 42

    III. Adagio e cantabile

    CLASS 1614: [O.V.: English] [Tras: Spanish ]

    Content

    Metrics - 4' 15''
    Sforzato, Bow - 2' 09''
    Sforzato, Editions - 1' 01''
    Sforzato, Expressivity - 1' 57''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 35 in D minor H III: 43 op 42

    IV. Presto

    CLASS 1614: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing - 3' 00''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    I. Allegro

    CLASS 2097: [O.V.: English] [Tras: Spanish ]

    Content

    Metrical rigor or freedom, Character - 4' 41''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    I. Allegro

    CLASS 2142: [O.V.: English] [Tras: Spanish ]

    Content

    Apoggiatura - 1' 29''
    Bow, Sound quality - 2' 45''
    Interpenetration, Metrical rigor or freedom - 2' 18''
    Articulation, Metrics - 2' 54''
    Physical motor coordination, Weight - 2' 50''
    Physical motor coordination - 1' 05''
    Interpenetration, Fingerings - 3' 30''
    Interpenetration - 1' 01''
    Articulation, Metrical rigor or freedom - 2' 26''
    Phrasing, Metrical rigor or freedom - 3' 00''
    Duration, Silence - 1' 57''
    Bow, Phrasing - 1' 23''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    I. Allegro

    CLASS 2282: [O.V.: English] [Tras: Spanish ]

    Content

    Tension, Duration - 2' 09''
    Tension - 1' 36''
    Articulation, Bow - 2' 10''
    Sound quality, Fingerings - 1' 58''
    Accents, Bow - 1' 34''
    Dynamics - 1' 11''
    Dynamics, Main melody - 2' 10''
    Tension, Maintaining the sound - 1' 46''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    I. Allegro

    CLASS 2974: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 47' 43''
    Articulation, Tempo - 1' 42''
    Editions, Styles and periods - 1' 45''
    Phrasing, Harmonic process - 2' 13''
    Themes and motifs, Articulation - 3' 29''
    Duration, Bow direction - 2' 33''
    Sforzato, Dynamics - 1' 46''
    Voice identification, Clarity of execution - 3' 11''
    Character, Duration - 3' 39''
    Attacks - 1' 26''
    Voice identification, Duration - 3' 38''
    Dynamics, Articulation - 2' 01''
    Styles and periods, Bow - 2' 13''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    I. Allegro

    CLASS 3010: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 39' 35''
    Part - 3' 20''
    Part - 3' 05''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    I. Allegro

    CLASS 3025: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 53' 04''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    I. Allegro

    CLASS 7429: [O.V.: English]

    Content

    Part - 5' 17''
    Part - 11' 43''
    Part - 1' 35''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    II. Largo assai

    CLASS 2097: [O.V.: English] [Tras: Spanish ]

    Content

    Interpenetration, Character - 3' 32''
    Metrical rigor or freedom - 1' 55''
    Character, Attitude of the musician - 1' 37''
    Phrasing, Form - 2' 15''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    II. Largo assai

    CLASS 2142: [O.V.: English] [Tras: Spanish ]

    Content

    Interpenetration, Metrical rigor or freedom - 4' 31''
    Metrical rigor or freedom, Technique - 4' 33''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    II. Largo assai

    CLASS 3010: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 24' 57''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    II. Largo assai

    CLASS 3025: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 16' 15''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    II. Largo assai

    CLASS 7429: [O.V.: English]

    Content

    Part - 12' 42''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    III. Minueto. Allegretto

    CLASS 2097: [O.V.: English] [Tras: Spanish ]

    Content

    Bow distribution, Interpenetration - 4' 26''
    Harmony, Sforzato - 1' 39''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    III. Minueto. Allegretto

    CLASS 2295: [O.V.: English] [Tras: Spanish ]

    Content

    Character, Dynamics - 4' 30''
    Character, Phrasing - 3' 23''
    Bow, Ending of the sound - 1' 10''
    Articulation, Bow - 2' 21''
    Arm, Bow - 1' 12''
    Character, Contrast - 2' 40''
    Tempo, Voice identification - 3' 35''
    Bow, Octaves - 2' 55''
    Harmony, Character - 2' 34''
    Character, Sforzato - 2' 15''
    Phrasing, Bow - 2' 20''
    Voice identification, Voice independence - 4' 27''
    Phrasing - 1' 17''
    Phrasing, Dynamics - 1' 31''
    Phrasing - 2' 23''
    Harmony, Sound quality - 2' 31''
    Pizzicato, Sound quality - 1' 51''
    Bow, Attacks - 5' 27''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    IV. Finale. Allegro con brio

    CLASS 2088: [O.V.: English] [Tras: Spanish ]

    Content

    Interpenetration, Entries - 0' 59''
    Sound quality, Body gestures - 4' 48''
    Attitude of the musician - 3' 11''
    Attitude of the musician, Interpenetration - 2' 13''
    Tempo, Phrasing - 1' 53''
    Attitude of the musician, Interpenetration - 1' 52''
    Duration, Metrical rigor or freedom - 1' 07''
    Articulation, Clarity of execution - 1' 05''
    Tempo, Dynamics - 1' 20''
    Attitude of the musician, Interpenetration - 1' 32''
  • HAYDN | Schmidt < Chamber music

    String quartet no. 59 in G minor H III: 74 op 74 no. 3 'The Rider'

    IV. Finale. Allegro con brio

    CLASS 2097: [O.V.: English] [Tras: Spanish ]

    Content

    Indications for the execution, Metrical rigor or freedom - 3' 04''
    Character, Dynamics - 2' 09''
    Bowings, Character - 2' 37''
    Tempo, Interpenetration - 4' 23''

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