Though his later works relied almost exclusively on his trademark twelve-tone atonality, Schoenberg was always one to pay homage to the masters and traditions that came before him. The Third and Fourth string quartets, while clearly atonal, are prime examples of this trait. The Third Quartet reminds listeners of rondo, minuet, and theme and variations while describing a gruesome image from Schoenberg's childhood in the first movement. The Fourth Quartet uses a system of sustained variation while echoing composers of the ...
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Though his later works relied almost exclusively on his trademark twelve-tone atonality, Schoenberg was always one to pay homage to the masters and traditions that came before him. The Third and Fourth string quartets, while clearly atonal, are prime examples of this trait. The Third Quartet reminds listeners of rondo, minuet, and theme and variations while describing a gruesome image from Schoenberg's childhood in the first movement. The Fourth Quartet uses a system of sustained variation while echoing composers of the Classical and Romantic eras. Both of these quartets are elaborate and sophisticated pieces of music that can easily be rendered nebulous without a strong, authoritative performance. Fortunately for listeners, the Fred Sherry String Quartet, under the supervision of renowned conductor and Schoenberg scholar Robert Craft, produces just such a performance. The quartet's technical execution is beyond reproach: brilliant intonation, striking tone colors, tight-knit ensemble, and precise...
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