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Two Movements for string quintet (1894/1896) – surviving movements of the String Quintet in D minor; Serenade (Suite) for violin and piano (1895) Trio for clarinet (or violin), cello and piano in D minor, Op. 3 (1896) String Quartet No. 1 in A major, Op. 4 (1896) String Quartet No. 2, Op. 15 (1913–15, first performance, Vienna 1918)
Dörte Schmidt has noted that the "formal dramaturgy" of Elliott Carter's String Quartet No. 2 was inspired by Ives' quartet, and wrote that Carter established the use of highly individual instrumental characteristics as "the point of departure for the form of his Second Quartet, in which two types of interaction can be traced through the nine ...
The String Quartet No. 2 in A minor, Op. 35, is a piece of chamber music in three movements by Anton Arensky. Composed in 1894, it is unusually scored for violin, viola and two cellos. Arensky dedicated it to the memory of Pyotr Ilyich Tchaikovsky who had died the previous year.
Practice for String Quartet in Holding Your Own! (1903) Prelude on Eventide (1908) Scherzo: All the Way Around and Back (1908) Scherzo: Over the Pavements (1910) Scherzo for String Quartet (1904) A Set of Three Short Pieces (1935?) Take-Off No. 3: Rube Trying to Walk 2 to 3!! (1909) Trio for Violin, Violoncello, and Piano (1907, rev. 1915)
The quartet is considerably influenced by the music of European avant-garde composers who were gaining celebrity at this time, particularly Pierre Boulez's Le Marteau sans maître. This is a much more fragmentary piece than his earlier quartet (1951): the four instruments play very individual roles and unpredictably bounce off one another.
Piano, string quartet [11] String Quartet [n 2] 1907 unpubd. – String quartet [11] Fünf Sätze 1909 1922 Op. 5 String quartet [11] Vier Stücke 1910, 1914 1922 Op. 7 Violin, piano [11] Sechs Bagatellen 1911, 1913 1924 Op. 9 String quartet [11] Drei kleine Stücke 1914 1924 Op. 11 Cello, piano [11] Cello Sonata 1914 1970* – Cello, piano [11 ...
In the modern era, the string quartet played a key role in the development of Schoenberg (who added a soprano in his String Quartet No. 2), Bartók, and Shostakovich especially. After the Second World War, some composers, such as Messiaen questioned the relevance of the string quartet and avoided writing them.
Clara Kathleen Rogers (1844–1931): Two string quartets, among them String quartet in D minor, Op. 5. Gabriel Fauré (1845–1924): One string quartet, in E minor, Op. 121 (1924). Ika Peyron (1845–1922): Humoresk in g minor for string quartet and a string quartet in three movements (1897). Marie Jaëll (1846–1925): One string quartet (1875).