I love working with the quartet. I have more freedom and flexibility.
Many consider that Shostakovich is the greatest 20th-century composer. In his 15 symphonies, 15 quartets, and in other works he demonstrated mastery of the largest and most challenging forms with music of great emotional power and technical invention...All his works are marked by emotional extremes - tragic intensity, grotesque and bizarre wit, humour, parody, and savage sarcasm.
The Quartets have been a major part of my work.
Behind the cotton wool is hidden a pattern; that we—I mean all human beings—are connected with this; that the whole world is a work of art; that we are parts of the work of art. Hamlet or a Beethoven quartet is the truth about this vast mass that we call the world. But there is no Shakespeare, there is no Beethoven; certainly and emphatically there is no God; we are the words; we are the music; we are the thing itself.
A Beethoven string-quartet is truly, as some one has said, a scraping of horses' tails on cats' bowels, and may be exhaustively described in such terms; but the application of this description in no way precludes the simultaneous applicability of an entirely different description.
Every small town has its dramatic group, its barber-shop quartet, every home has music in one form or another.
The Third Quartet I made the instruments in pairs - Two different pairs - Violin and viola, and violin and cello. They played very different things from each other all through the whole piece.
My family was very encouraging, and both of my grandparents were both beautiful singers. My grandmother was a coloratura soprano, and my grandfather was an Irish tenor in a barbershop quartet.
As an improviser I'm now pretty comfortable with trios, so I'm thinking of working up to quartets.
I've been saying for almost 20 years that I need to do a jazz project and it ought to be either big band or I should do some jazz songs with a trio or quartet.
After two hours it stopped raining and in the same moment the spell broke, which Peroquet and the Admiral and Captain Jumeau knew by a curious twist of their senses, as if they had tasted a string quartet, or been, for a moment, deafened by the sight of colour blue.
I grew up listening to the quartets and I loved that so much that I wanted to see if I could make music and make it happen. It was just a series of events ... me going to concerts and saying "I think I can do that".
These stories seem at times to be stories of a long-lost world when the city of New York was still filled with a river light, when you heard the Benny Goodman quartets from a radio in the corner stationery store, and when almost everybody wore a hat.
It seems to me the structure of the Quartets is too imposed.
We used to get on planes, and they'd ask who we were, and we'd say, 'The Dave Brubeck Quartet', and they'd say, 'Who?' In later years they'd say, 'Oh', which amounts to the same thing.
In spite of all the refinements of civilization that conspired to make art--the dizzying perfection of the string quartet or the sprawling grandeur of Fragonard's canvases--beauty was savage. It was as dangerous and lawless as the earth had been eons before man had one single coherent thought in his head or wrote codes of conduct on tablets of clay. Beauty was a Savage Garden.
I would give my best quartet for a good razor.
I am touring in Europe. I am putting together a trio and a quartet. I am playing solo concerts with my symphonic sounds. I am very much engaged back to playing and recording and everything.
When I was drawing this, I thought I’d put together Sailor Saturn and Sailor Chibi-Moon in a pair. Then I followed it with the Sailor Quartet. One of these days I’m going to put this team together into the manga. What a weird thing that would be. Anyway, here’s the six.
I know of musicians who have played together for decades who hate each other. The Modern Jazz Quartet for one.
An evening up on the Empire State roof-the strangest experience. The huge tomb in steel and glass, the ride to the 84th floor and there, under the clouds, a Hawaiian string quartet, lounge, concessions and, a thousand feet below, New York-a garden of golden lights winking on and off, automobiles, trucks winding in and out, and not a sound. All as silent as a dead city-and it looks adagio down there.
Growing up in the Bay Area, I played early on with these quartet groups who set guidelines for me. I remember the guys would all have the same clothes and shoes, like these uniforms. I was in awe.
I love to write quartets. One could say that this is a mania.
Just as with the quartet, each part of a painting is telling a different story.
The question who ought to be boss is like who ought to be the tenor in the quartet? Obviously, the man who can sing tunor.
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