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Stadler Quartett String Quartet No. 4
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Stadler Quartett, Ulrike Jaeger, Sebestyen Ludmany Eight Movements After Holderlin Fragments: II. Doch uns ist gegeben…
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Stadler Quartett, Ulrike Jaeger, Sebestyen Ludmany Eight Movements After Holderlin Fragments: VIII. Das Herz ist wieder wach...
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String Quartets Nos. 3 & 4 - Eight Movements after Holderlin Fragments

NEOS 11217CD NEOS 11217CD

2012 release. "String Quartet No. 3" (1991/92): One feature of my artistic development has been to continually probe new areas of the imagination in some of my works and to integrate my discoveries as organically as possible into my previous experiences. My "String Quartet No. 3" unquestionably belongs to the latter phase. The elements of non-European music that occupied me in many different ways in my first two quartets play a subordinate role in this one. It consists of six brief movements in which everything is aligned on a sharp, clear delineation of sometimes highly contrasting characters, and on a concise presentation of the music, which is often highly expressive. "String Quartet No. 4" (2001): If the six movements of my "String Quartet No. 3," despite their intricacy, formed self-contained entities with identifying characters, the "String Quartet No. 4," though it likewise has sections of contrast, has so many cross-relations from reminiscences, allusions and reprises that the overall impression is one of a cohesive organism. "Eight Movements after Hölderlin Fragments" for String Sextet (1995): In 1994, I repeatedly read the complete Hölderlin and jotted down many speech-melodies from the verses. Because I never intended the texts to be sung, I put the melodies into increasingly stylised music. The commission to write a string sextet initially led me to the idea of developing the musical fabric directly from the lilt of the language. But this procedure soon proved to be too narrow, and I returned to my speech-melodies and expanded on them in a very free and highly stylised way, except in the final movement, which, in its monomaniacal bearing, is entirely independent of the inflection of the text. Performed by: Frank Stadler (1st violin), Izso Bajusz (2nd violin), Predrag Katanic (viola), Peter Sigl (violoncello), Ulrike Jaeger (viola), Sebestyen Ludmány (violoncello).