String Quartet No. 16, Movement 3 - Score
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By now the quartet has more than concerts in its archive. Kitchen said. They are piled in an extra apartment the couple maintain in their condominium complex here in Jamaica Plain. Kitchen lugs around a pound backpack of equipment for each performance. It takes about an hour to set up for a concert. In the early years quartet members divided the labor of taking and shipping orders. The work, they said, became overwhelming, and they decided to sell selected performances through the Web site. But that was not the only reason for cutting back. At least one member — Ms.
Motobuchi — began feeling that the warts-and-all approach of total access was a bad idea. Motobuchi said. The quartet also uses recordings to teach and to prepare for concerts.
Musicians have listened to themselves since recording became possible, but the Borromeo players take it to an extreme. The technology has been around for a while. But the Borromeo is a rare ensemble that has adopted the laptop stands. View all New York Times newsletters.
But he called the Borromeo members pioneers. Tong questioned the color of sound in a quiet section after a loud passage. Kitchen suggested a more even-sounding series of bow strokes. The Borromeo permitted this amateur-clarinet-playing journalist to try a test run on the laptop. One foot tap came too late, causing a page turn delay. An aging eye, already squinting at the tiny notes, sometimes had trouble finding its place. Marking the part with the Acrobat tool was cumbersome. All these difficulties, the musicians said, are quickly overcome.
For the Borromeo the use of laptops grew out of a nontechnological impulse. Kitchen decided he wanted to read his music from a full score — all four lines of the quartet together — rather than from his individual part. That requires many more page turns and makes the use of printed scores impractical. So, inspired by the example of a pianist friend, Mr. He started using the system for rehearsing, and one day in December , for the performance of an unfamiliar piece, his colleagues suggested he take it onstage.
Now the members obtain scores from Web sites offering free editions, like imslp. They bought advanced versions of Adobe Acrobat that allow annotations. The quartet, fearful of battery failure, plugs the computers into power sources, covering the wires with a patterned Thai blanket. The players also carry hard copies of their parts as backup but say they have not experienced a computer crash yet. Pachelbel's Organ Works. Romanian Folk Dances.
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Young Danish String Quartet launches a new series entitled Prism I, and combining works having things in common. On the basis of their unquestionable talent the quartet offers personal but highly convincing views of these compositions. Uwe Krusch - Article. Together, they play with a cohesion, finesse and precision second to none. Patrick Rucker - Article. Le Soleil.
The crux of this quartet is a long series of variations, a relatively simple theme that the composer constructs, deconstructs and reconstructs in manifold permutations. The performers succeeded admirably in the enormously demanding task of creating a different mood and meaning for each segment. It was not just the big moments that stood out. The ensemble excelled in executing transitions with subtle inflection. This was consummate artistry and understanding of some of the most difficult challenges in the entire classical music canon.
Robert Croan - Review in full. They brought an airy buoyancy to the opening Allegro, beginning unusually quietly and then building to passages of exultant joy.
String Quartet No.16 in E-flat major, K.428/421b (Mozart, Wolfgang Amadeus)
Their ability to play pianissimo passages with clear, hall-filling resonance achieved an unusually wide dynamic range that allowed for greater expressivity. David Fleshler - Review in full. Homogeneous comes immediately to mind. Four characterful instrumentalists discarding selfhood, as all quartets must, to embrace temperamental and interpretive unanimity. Of the hundreds of string quartets on the world stage today, this quartet in particular, enjoys a unique equality of technical prowess between its members. The result, a disarming parity, the four speaking as one beautifully nuanced, superbly blended voice.
Otherwise, though, Last Leaf picks up where Wood Works left off: well-paced arrangements of myriad dance tunes from across the Nordic countries — from more refined waltzes and minuets to the wilder fare of polskas and reels. Those technical achievements, in turn, were put to the service of impeccably conceived readings of these familiar works.
Joshua Kosman - Article. Classical Modern Music.
For this new album they devote their attention to Nordic folk forms, specially created arrangements of elaborate folk fiddling and songful artfulnesses, some going back countless eons, whether Christmas tunes or dance fare. There is a unity of mood and purpose in the entire program overall, one that shows the Quartet to have notable virtuoso abilities and a beautiful tone blend born of the sensitive adjustment of instrumentalist to instrumentalist. Grego Applegate Edwards - Review in full. But when it comes to the simple idea of a classical string quartet performing folk tunes, the Danish musicians have exceeded all expectations.