Much can be made of Michael Tippett's explorations of form, and a close examination of his study of Ludwig van Beethoven's innovations in the string quartet genre is likely to be fruitful for students of either composer. But for all his fascination with Beethovenian ideals, Tippett seems to have been less interested in the function of the Classical string quartet as a medium for lively repartee, and still less concerned with the coherence of his own music, either in style or substance. In his String Quartet No. 3 (1945-1946 ...
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Much can be made of Michael Tippett's explorations of form, and a close examination of his study of Ludwig van Beethoven's innovations in the string quartet genre is likely to be fruitful for students of either composer. But for all his fascination with Beethovenian ideals, Tippett seems to have been less interested in the function of the Classical string quartet as a medium for lively repartee, and still less concerned with the coherence of his own music, either in style or substance. In his String Quartet No. 3 (1945-1946), Tippett feels the weight of Beethoven's examples and grapples with the arch design he superimposed over the work's five movements. This is no doubt a reflection of the intellectual, neo-Classical approach to composing that dominated this period, before the appearance of post-Webern serialism, and Tippett's chief concerns are abstract and difficult to discern in the music itself. With an obsessive reliance on contrapuntal devices, Tippett tends to treat the quartet as a singular...
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Add this copy of String Quartets Nos 3 & 5 to cart. $18.74, new condition, Sold by First Coast Books rated 4.0 out of 5 stars, ships from Eatonton, GA, UNITED STATES, published 2009 by Naxos.
Add this copy of String Quartets Nos 3 & 5 to cart. $32.38, new condition, Sold by newtownvideo rated 4.0 out of 5 stars, ships from huntingdon valley, PA, UNITED STATES, published 2009 by Naxos.
