In the first half of the 20th Century have played string quartets from the French-speaking countries in the world league. Apart from the Belgian Pro Arte Quartet, these were mainly the Krettly Quartet, the Franco-Belgian Flonzaley Quartet, the Capet Quartet Calvet and . The latter was in the thirties, probably the most controversial French string quartet. dominant figure was on 8 October 1897 born Joseph Calvet , who studied at Conservatiore of Toulouse, in 1914 at the Conservatoire in Paris. In 1919 he takes over in 1909 by the famous violinist Marcel Chailley based quartet with personnel reshuffles. In his first band was the Quatuor Calvet from the violinist Joseph Calvet and Georges Mignot, violist Leon Pascal and cellist Paul Mas . Mignot left the quartet in 1930 and was succeeded by Daniel Guilevitch . The quartet was able to hold him over the entire 30 years, his excellent artistic standards and began 1931 with the first recordings. When war broke out it did initially but, after the occupation of France had to flee Guilevitch as a Jew. He emigrated to the United States, changed its name to Guilet 1941 and founded his own quartet. In 1955 he was a founder of the Beaux Arts Trio, with whom he played until 1969. His departure marked the end of the Calvet Quartet.
Gabriel Fauré (1845-1924) The violist Leon Pascal introduced in 1942 on his own quartet, which was used after the war as an official ensemble of the French radio and recorded several records, including a Beethoven cycle. He also taught from 1950 at Consevatoire in Paris. Calvet himself wrote in the war years, mainly working with young musicians and established after the war a second, named after him Quartet. However, it could not connect to the successes of the prewar years. 1950 Calvet withdrew and concentrated on its educational activities. He died in May 1984 in Paris. During his
golden age in the 20s and 30s was the Quartet for a number of world premieres, in particular the Franco-Belgian music, responsible, eg, Guy-Ropartz String Quartets Nos. 3 and 4, the sextet of Vincent d'Indy, works by Delannoy, Reynaldo Hahn and Jean Francaix. In 1928 it played in concerts the first Beethoven cycle. Records it played a predominantly for Columbia and HMV. In addition, numerous recordings were made with the Viennese classical music for Telefunken.
César Franck (1822-1890) "Unlike the Capet Quartet, whose style is still the traditions of the 19th Century was committed and by the minimal use vibrato sounded slightly old-fashioned, Calvet and his colleagues created a modern sound. Anyone who listened to their recordings must take the expressive portamento tacitly accepted in which satisfied the customs of the time. But even today it seems as if the music of Debussy or Ravel's wrong without this stylistic device sounds. As strange as that may seem to today's listeners also portamento, with excellent musicians such as which has the Calvet Quartet is often a structural feature that connects certain phrasing and interpretation of cohesion are " (Tully Potter)
source. Robert Stuhr in the Tamino Classical Forum
Piano Quartet No. 1 in C minor, Op. 15
His special appeal is the first piano quartet composed in 1879 Fauré by the peculiar tension that emerges from the confrontation between traditionalism and free, individual form. On the one hand, the whole system has to romantic classical forms: four movements, sonata form in the outer movements, in three parts of the middle movements. On the other hand, Fauré was within this self-imposed limits to most freely and individually with his clay material. The first movement, with its two contrasting themes follows a moving and lively Scherzo. Resting point of Piece is the meditative Adagio, followed by a contrapuntal crafted finale, the coda the piece in pure major act.
Claude Debussy (1862-1918) César FRANCK (1822-1890)
String Quartet in D major
In contrast to César Franck's Violin Sonata, composed in 1889, his String Quartet in D major largely unknown. The work was created by Franck detailed study of Beethoven's quartets. Franck turned here, as in his other chamber music works, a trick, it leads to a unit of the whole work: all subjects of the four sets have affinities or at least very strong similarities. The slow introduction introduces the topic, which is below the first movement Allegro artistically worked with contrapuntal means. Both in the following scherzo, and the third set - the Larghetto - Beethoven's influences are felt. In the last sentence that the Theme of the preceding sentences for another melodic idea and be opposed to this and ultimately connected.
CLAUDE DEBUSSY (1862-1918)
String Quartet in G minor
Claude Debussy's string quartet composed in 1893 as the G minor, such as sovereign bypassing traditional forms with the composer: he rejected the four-movement structure and the best sequence of characters not set. Behind these large forms in the interior of the individual sentences, Debussy was however without the detailed engineering of the classic-romantic tradition. Rather, are shown in Impressionist style, a few basic ideas in new lights. These deviations from the usual led to a failure at its premiere on 29 December 1893.
Maurice Ravel (1875-1937) MAURICE RAVEL (1875-1937)
String Quartet in F major, Ravel's String Quartet
was built between 1902 and 1903 and on 5 March 1904 in Paris premiered. The audience this concert reacted very negatively to the new composition. The turmoil of the first performance prevented Ravel's participation in the competition for the Rome Prize of 1905. In retrospect, the rejection and can hardly understand the confusion: Ravel's composition is very clear structure, the structures are simple and understandable. Thematic connections link the four movements of the work and produce an effective unit. So clearly lacking in individuality and the shape of the piece is so convincing is the embodiment of everything: new ideas are brought together imaginatively and yet everything remains, despite this diversity, transparent.
Introduction et Allegro
Ravel composed his most charming piece for harp, flute, clarinet and string quartet 1905th As in the string quartet also create common issues a close relationship of the two sets to one another. The piece offers delicious combinations of sounds in the mysterious first movement and in the floating-rhythmic Allegro. Much of this piece has the later formed "Valses nobles et sentimentale" out.
Source: Anonymous, in the booklet
TRACK LIST Disc 1
Gabriel Fauré (1845-1924)
Piano Quartet No. 1 in C minor,
Op 15 Quartet for Piano and Strings No.1 in C minor, op.15
1. I: Allegro molto 8:45
2. II: Scherzo 5:30
3. III: Adagio 7:19
4. IV: Allegro molto 7:19
Robert Casadesus, Klavier / piano
Joseph Calvet, Violine / violln
Pascal Leon, Viola / Viola
Paul Mas, cello / cello Recorded in 1935
CESAR FRANCK (1822 - 1890)
Streichquartett D-Dur / String Quartet in D major
5. I: Poco Lento, Allegro
17:10 6. II: Scherzo (Vivace) 4:39
7. III: Larghetto 11:59
8. IV: Finale (Allegro molto) 1:23 p.m.
Quator Pro Arte: Alphonse
Onnou, Violine / Violin
Laurent Halleux, Violine / Violin
Germaln Prevost, Viola / Robert Maas
viola, Cello / Cello
Recorded in 1933
Total Time: 76:21 CD 2
CLAUDE DEBUSSY (1862-1918)
Quartet g-moll / Quartet in G minor
1. I: Animated and very decided
6:00 2. II: Quite lively and well paced 3:39
3. III: Andantino (8:20
Gently expressive)
4. IV: Very moderate 6:46
Quator Calvet:
Joseph Calvet, Violine / Violin
Daniel Guilevitch, Violine / violln
Leon Pascal Viola / Paul Mas
viola, Cello / Cello
Recorded in 1931
MAURICE RAVEL (1875 - 1937)
Quartett F-Dur / Quartet in F Major
5. I: Allegro moderato 8:04
(Very mild)
6. II: Quite bright and very rhythmic
6:10 7. III: Very slow
8:50 8. IV: Vif and stirred 4:40
Quator Calvet:
Joseph Calvet, Violine / Daniel Guilevitch
violin, Violine / Violin
Leon Pascal Viola / Viola
Paul Mas, cello / cello
Recorded in 1936
9th Introduction et Allegro flute, 10:57
Lily Laskine, harp / harp
Marcel Moyse, flute /
Ulysse Delecluse, clarinet / clarinet
Calvet Quator:
Joseph Calvet, violin / violin Daniel
Guilevitch, violin / violin
Leon Pascal, viola / viola
Paul Mas, cello / cello
Recorded in 1938
Total Time: 63:43
(P) + (C) 2002
Georges Seurat: A Sunday Afternoon on the Island of La Grande Jatte, 1884-86, Art Institute of Chicago To begin
Georges Seurat (1859-1891)
This atmosphere of art fight [to the Salon of the Independent ] led Seurat a more comprehensive work, with more figures, while he drove away the ocher colors of the palette and based his technique on the "purity of the spectral ", in other words, he wanted to use only the pure colors of the solar spectrum in the image. End of May 1884, on Ascension Day, he began simultaneously with the picture of the series of preparatory studies. He wanted to show a Sunday Afternoon on the Island of La Grande Jatte , that his island in Neuilly , while the Paris came on a sunny day with the whole family to recover. Seurat explored the area with his paint box, is impressed upon the light conditions, not only laid down the exact location of the recreation scene, but the whole environment. One of the first croquetons, the Seine is in the spring, just as they looked at the Grande Jatte, other sections in the near or further from shore edges or undergrowth followed.
croquetons Seurat developed to a real shorthand of light, its colors are usually dashed, but they have sometimes the appearance of stains that set the tone, and he does not hesitate a parasol carried by a round pad, fishing lines . To suggest He discovered the area piece by piece, here is a background view paints with a group, where a panorama of one man, then a study with some figures in shadow, partly in the sun, sitting or standing. Seurat searched out the figures for his image, one after another in the course of many observations, and he chose from all backgrounds. After Jules Christophe can be found there: "young girl, a nurse, a grandmother with character head under the hood, a lanky rower, smoking a pipe, without special feature, the bright pants goes down by strong sunlight, a dark purple dog, a fox red butterfly a young mother and her daughter in white with salmon-colored belt, two cadets in uniform, and then young girls, one of which is a bunch of maps, a child with red hair in the blue dress, a family with a nanny with the baby, and out right most indecent, scandalous couple, a young elegant, of its dolled attendant works the arms, leading to a lead a yellowish red exotic monkeys "
Georges Seurat. Boats at low tide, Grand Camp, 1885, Lefevre Gallery, London The final image of the Grande Jatte was ready for the exhibition of the Independent in March 1885, but since the exhibition could not take place, went on to other work Seurat. During his summer holiday residence in Grand Camp, a fishing village on the English Channel, he painted his first seascapes and enjoyed it, to describe the vastness of sky and sea. He painted the pure nature without the people living there. »Sunset Grand Camp" is strip of sky and ground straps to today. "Seascape Grand Camp" links heaven and earth and sea into a single impression of endless solitude. Sailing ships and revive the seascapes, but people are nowhere to be seen; the three boats on the beach at the "Location in Grand Camp" are similar to the remains of dead crabs, and boats and fishing boats in the flood, "is he focuses on the contrast between horizontal and vertical. Generally believed that poetry was a matter of a feverish, agitated man who expresses himself in poetry in exclamation style in painting and confusion. Seurat but gives us the example of a cool lyric. He is fascinated by what he sees, but he refuses to spread this enthusiasm: he hides under the mask of the geometry.
The marine pictures of Grand Camp are evidence for the study of harmonic triangular arrangement. In the "roads of Grand Camp" (Collection of Mr. and Mrs. David Rockefeller, New York) is offset a green triangle in the center front of the triangles the sails, in "Grand Camp in the evening" is a triangular area of land as opposed to the stairs that rise at an angle from a horizontal base. For "The Top of Hoc," the typical image of this series, there was a preliminary study with no visible horizon and two black triangles in front of the sea on the right. In the final version of heaven is much higher, the crag crowned reinforced by a seagull flying in Y-shape, tension and balance of the rock block. The variety of color patches is also typical of the seascapes of Grand Camp: swabs for the bottom, vertical lines for the rocks, level surface for the sea, etc. In "Boats at low tide, Grand Camp" as in "The Top of Hoc" you can discover something new: the Pointillage.
Georges Seurat: The Top of Hoc, 1885, Tate Gallery, London As Grand Camp Seurat returned to Paris, he had expanded his knowledge of the pictorial element is a new discovery: the point. He takes "La Grande Jatte" and again in order to be reviewed after all of his now full method, for now he possessed what he called the "two roots" (aesthetics and technology). Throughout the winter, took him into the finest detailed work of pointillism claim, she changed the atmosphere and characters Work. These points, which have the purpose to distribute the light better, give the picture the solemn spectacle of frescoes in the tombs of Karnak at Thebes. When such a large area Auspunkten Seurat had instinctively feel hypnotic vertigo, similar to that of the medium Joseph Crepin, which covered 1939 to 1948 own pictures with "paint nails," and it reached the rate of 1500 points per hour.
soon spread among his friends the rumor that he divided the color by using a brush stroke, which is quite different from the comma stroke of the Impressionists. His studio neighboring Signac takes over from him this revolutionary Art of painting. Pissarro, Seurat, in October of the meets starts since the beginning of 1886 pointillistic pictures to paint, his son Lucien and his friend Louis Hayet follow him. It was decided that Seurat, Signac and Pissarro father and son together would show their works in the same room at the Eighth Exhibition of the Impressionists, Degas in the first floor of the Maison Dorée organized in the Rue Laffitte . As Renoir, Monet, Sisley, and Caillebotte heard the nature of the image was intended to exhibit the Seurat, they withdrew from the show, they called on Pissarro, to do likewise, but he refused. Now wanted the organization Degas take no longer under the wing of Impressionism, and found a new name VIII exhibition of painting. She was reserved united drawings by Odilon Redon, and landscapes of Estoppey Zandomeneghi, pastels by Degas, various works by Gauguin, Guillaumin, Forain, Berthe Morisot, Mary Cassatt, and then you came to the corner, Seurat, Signac, Pissarro, father and son . But Paris saw the whole of this show only one image, keeping only one name: Seurat.
Georges Seurat: Woman walking with monkeys. Study for "A Sunday Afternoon on the Island of La Grande Jatte". 1884, Smith College Museum of Art, Northampton, Massachusetts "La Grande Jatte," which was exhibited in a room where you could not withdraw, between "The Top of Hoc" and "The harbor of Grand Camp," causing annoyance. The crowd marched continuously around it and made fun of how the picture was painted and the wooden figures, the couple attracted attention with the monkey merriment. Even the naturalist writers, Manet had defended against all turned against the innovator. Huysmans indignant: "Too much process, system, not shiny enough flame, not enough life," Octave Mirbeau mourned: "I do not have the courage to laugh in front of his huge, horrible image that looks like an Egyptian imagination. "Fortunately, a few enthusiastic visitors, including Félix Fénéon , twenty-five years old, clerk in the War Department and chief editor of the Revue Independante. He was a phlegmatic, self-willed, with a hat like a chimney on her head and a small chin beard, he played a Yankee, such as the caricature of Uncle Sam. He was enthusiastic about the painting with dots, in which he "a technically fruitful reform" and looked and found his caustic wit at the service of Seurat (who wrote him on June 24, 1890: "In 30 articles, call me an innovator, count I was six of you ").
In the same year a group of poets in Paris began against the naturalism of Zola and fight the Goncourts , and they founded the symbolist school, even before Jean Moréas published the manifesto of Symbolism . On 18 September 1886 referred the magazine La Vogue "at the request of Gustave Kahn to this new trend. Now supported the naturalists, the pioneers of Impressionism and Seurat damn, it found the Symbolists do quite naturally, the opposite. Fénéon criticized in the June issue of "La Vogue" the diehards, which the "Impressionism clinging, as it could be seen on the previous shows," and analyzed the boldness of the Grande Jatte, also praised the pointillist landscapes and stated: "Of great and novel interest is the exhibition in the Rue Laffitte ;. that light-filled room, where in white frame the sky limitless and flaming "After the praise of Seurat in" La Vogue "that shortly after the " published illuminations " of Rimbaud , it is not surprising that the painter once a poet has been identified.
Georges Seurat: angler on the banks of the Seine. Study for "A Sunday Afternoon on the Island of La Grande Jatte". 1884-85, private collection also another art viewer Émile Verhaeren , who had just finished his first book "The Flemish published" La Grande Jatte enthusiastic. He says: "The unexpected first at this art spurred my curiosity. Not for a moment I doubted the sincerity and complete the essential novelty, as it obviously is argued before me. I spoke of the evening with artists, you gave me with laughter and derision, "Verhaeren was not discouraged". The next day I went back to the Rue Laffitte. La Grande Jatte struck me as a crucial Step in the search for the real light. Nothing disturbs uniform atmosphere, the transition without hindrance from one level to another, and especially the astonishing transparency of the air "
source. Sarane Alexandrian : Seurat (Translated by Arnim Winkler), Gondrom Verlag GmbH, Bayreuth, 1994, ISBN 3-8112-1151-X, page 29 et seq
CD Info & Scans (tracklist, cover, booklet, Music Sample, Bonus Pictures), 51 MB
Faure Franck Debussy Ravel - Chamber Music INFO.rar
Read the file "Download links.txt" for links to the Ape + Cue Files
Sample:
Track 1: Gabriel Fauré: Piano Quartet No. 1 in C minor, Op. 15 - I. Allegro Molto
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