By Robin Stowell
This better half deals a concise and authoritative survey of the string quartet through 11 chamber tune experts. Its fifteen conscientiously dependent chapters supply assurance of a stimulating diversity of views formerly unavailable in a single quantity. It makes a speciality of 4 major components: the social and musical history to the quartet's improvement; the main celebrated ensembles; string quartet taking part in, together with facets of latest and old acting perform; and the mainstream repertory, together with major 'mixed ensemble' compositions regarding string quartet. a variety of musical and pictorial illustrations and informative appendixes, together with a chronology of the main major works, entire this crucial advisor. Written for all string quartet fans, this significant other will improve readers' realizing of the historical past of the style, the context and value of quartets as cultural phenomena, and the musical, technical and interpretative difficulties of chamber tune functionality. it's going to additionally improve their adventure of hearing quartets in functionality and on recordings.
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Additional info for The Cambridge Companion to the String Quartet
Few examples of seventeenth-century bows have survived, but iconographical evidence suggests that fashions in bow-types related directly to musical tastes and requirements. Short, light and fairly straight bows were ideal for dance musicians and were especially popular in France, while the increased cultivation of the sonata and concerto in Italy encouraged the use of longer, straighter (but sometimes slightly convex) models capable of producing a more singing style with a greater dynamic range.
Contrary to what Compton Mackenzie had believed or even hoped, chamber music concerts did not fade out in retreat from technological innovations. Concert life continued throughout the twentieth century, though in Europe it was twice ruptured by world wars. Social change made its mark, too. g. the Norah Clench and Langley–Mukle ensembles) – had come into existence in England. This reflected economic realities as well as changing social attitudes: for although gender taboos on string instruments had been broken and advanced training opportunities increased during the late nineteenth century, orchestral chairs were in the pre-war decade still largely occupied by men.
42 By c. 1750 the average playing length of violin bows measured approximately 61 cm, although Tourte p`ere produced some longer models. 1 provides a general overview of weights and measurements of extant violin, viola and cello bows c. 1700 – c. 1780. Many early-eighteenth-century bows were fluted in all or part of their length. They were generally lighter than modern models, but were nevertheless strong, if somewhat inflexible, and their point of balance was generally nearer the frog, owing to the lightness of the head.