Miami String Quartet - Vasks: String Quartets (1999)
BAND/ARTIST: Miami String Quartet
- Title: Vasks: String Quartets
- Year Of Release: 1999
- Label: Conifer Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:05:37
- Total Size: 276 mb
- WebSite: Album Preview
Tracklist
01. String Quartet No.3: I Moderato
02. String Quartet No.3: II Allegro energico
03. String Quartet No.3: III Adagio
04. String Quartet No.3: IV Moderato - Allegro - Andante - Moderato
05. String Quartet No.1: I Intrada: Moderato
06. String Quartet No.1: II Sonata: Allegro
07. String Quartet No.1: III Melodia: Tranquillo
08. String Quartet No.2: Summer Tunes / Vasaras dziedajumi / Sommerweisen: I Coming into bloom / Izplauksana / Das Aufblühen
09. String Quartet No.2: Summer Tunes / Vasaras dziedajumi / Sommerweisen: II Birds / Putni / Die Vögel
10. String Quartet No.2: Summer Tunes / Vasaras dziedajumi / Sommerweisen: III Elegy / Elegija / Elegie
Peteris Vasks' three quartets span nearly 20 years of his development as a composer. Though the first quartet was revised in 1997, its origins go back to 1977, when at the start of his career the Latvian-born composer's music was attempting to reconcile what he knew of relatively radical figures like Lutoslawski and Penderecki with his own more directly communicative, melodic inclinations. The turbulence of the short opening Intrada has the freewheeling outwardness that is so typical of music upon the idea of controlled chance, while the second interperses busy motoric textures with short bursts of Shostakovich-like melodic; the third is unambiguously founded upon a strong, simply-contoured melodic idea. The stylistic juxtapositions are sometimes self-conscious in that early work, but by the time of the second quartet in 1984 the amalgam is more convincingly coherent; perhaps the success of his fellow countryman Arvo Part had given Vasks the confidence to let his music say what came most naturally. There are still sudden changes of language, but the more radical outbursts seem essentially decorative and the heart of the quartet is unambiguously in the openly expressive material, and that continues in the Third Quartet, with its textural transparency and moments of rapt meditation; it's music of undeniable sincerity at least.
01. String Quartet No.3: I Moderato
02. String Quartet No.3: II Allegro energico
03. String Quartet No.3: III Adagio
04. String Quartet No.3: IV Moderato - Allegro - Andante - Moderato
05. String Quartet No.1: I Intrada: Moderato
06. String Quartet No.1: II Sonata: Allegro
07. String Quartet No.1: III Melodia: Tranquillo
08. String Quartet No.2: Summer Tunes / Vasaras dziedajumi / Sommerweisen: I Coming into bloom / Izplauksana / Das Aufblühen
09. String Quartet No.2: Summer Tunes / Vasaras dziedajumi / Sommerweisen: II Birds / Putni / Die Vögel
10. String Quartet No.2: Summer Tunes / Vasaras dziedajumi / Sommerweisen: III Elegy / Elegija / Elegie
Peteris Vasks' three quartets span nearly 20 years of his development as a composer. Though the first quartet was revised in 1997, its origins go back to 1977, when at the start of his career the Latvian-born composer's music was attempting to reconcile what he knew of relatively radical figures like Lutoslawski and Penderecki with his own more directly communicative, melodic inclinations. The turbulence of the short opening Intrada has the freewheeling outwardness that is so typical of music upon the idea of controlled chance, while the second interperses busy motoric textures with short bursts of Shostakovich-like melodic; the third is unambiguously founded upon a strong, simply-contoured melodic idea. The stylistic juxtapositions are sometimes self-conscious in that early work, but by the time of the second quartet in 1984 the amalgam is more convincingly coherent; perhaps the success of his fellow countryman Arvo Part had given Vasks the confidence to let his music say what came most naturally. There are still sudden changes of language, but the more radical outbursts seem essentially decorative and the heart of the quartet is unambiguously in the openly expressive material, and that continues in the Third Quartet, with its textural transparency and moments of rapt meditation; it's music of undeniable sincerity at least.
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