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String Quartet No. 4 op. 37. 3. Largo (Excerpt)
Catalog slip
| Title | String Quartet No. 4 op. 37. 3. Largo (Excerpt) |
| Playing time | 00:03:08 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
Kolisch Quartett [Quartett] |
| Date |
1936 [Aufnahmedatum] 1937 |
| Place |
West Hollywood, United Artists Studio [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Publizierte und vervielfältigte Aufnahme |
|
20. Jahrhundert - 30er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
String Quartet No. 4 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00269_b01_k02 |
| Media type | Mp3-Audiodatei |
Kolisch Quartett. Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
Between December 29, 1936 and January 8, 1937, the Kolisch Quartet made a complete recording of Arnold Schönberg’s string quartets. The project was initiated by Schönberg’s student Alfred Newman, who was a successful film music composer in Hollywood at the time and had access to the major recording studios. At cost price, selected persons, including Jascha Heifetz and George Gershwin, purchased one of 25 sets with 23 records each. The recording of String Quartet No. 4 represented a special challenge for the ensemble, as it took place before the world premiere, which was scheduled for the same evening at Royce Hall, Los Angeles.
A critic of the Los Angeles Times found the work “[...] less revolutionary than expected [...] it excites feelings not far removed from those which evoke beautiful sound.” In his opus 37, Schönberg follows classical formal schemes, which can also be followed audibly through a clear disposition of themes. The beginning of the slow movement is a special case. The work’s complete twelve-tone row is heard in the form of a spacious melody. The Kolisch Quartet plays with great intensity, with constant modulation of the dynamics and a well-dosed vibrato used for expressive intensification. (Text: Arnold Schönberg Center)
A critic of the Los Angeles Times found the work “[...] less revolutionary than expected [...] it excites feelings not far removed from those which evoke beautiful sound.” In his opus 37, Schönberg follows classical formal schemes, which can also be followed audibly through a clear disposition of themes. The beginning of the slow movement is a special case. The work’s complete twelve-tone row is heard in the form of a spacious melody. The Kolisch Quartet plays with great intensity, with constant modulation of the dynamics and a well-dosed vibrato used for expressive intensification. (Text: Arnold Schönberg Center)
