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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.
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 ...
However, these composers showed no interest in exploring the development of the string quartet as a medium. [2] The origins of the string quartet can be further traced back to the Baroque trio sonata, in which two solo instruments performed with a continuo section consisting of a bass instrument (such as the cello) and keyboard.
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)
The original songs are clearly recognisable in these string quartet arrangements, with melodic line, rhythm and harmony unchanged. For No.11, Dvořák changed the key, and half of them he extended by repetition, mostly with some interchange of allocation of lines to the different instruments. [4] The pieces are as follows: [5]
Of the Op. 18 string quartets, this one is the most grounded in 18th-century musical tradition. [1] According to Michael Steinberg, "In German-speaking countries, the graceful curve of the first violin's opening phrase has earned the work the nickname of Komplimentier-Quartett, which might be translated as 'quartet of bows and curtseys'." [2]
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.
The String Quartet No. 2 in B ♭ major, B. 17, was probably composed by Antonín Dvořák in 1869, early in his compositional career. It was one of three (together with Nos. 3 , and 4 ) which Dvořák later believed he had destroyed after he had disposed of the scores.
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