Word: quartetting
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...look for the same things from a rock group that they do from a cult: a sense of belonging, a sense of worship and the feeling that what they're doing will drive their parents absolutely crazy. Singer Perry Farrell's previous band, the Los Angeles-based alternative-rock quartet Jane's Addiction, provided fans with concerts of pagan celebration: their music was bursting with guitar-powered Dionysian frenzy and golden calf-esque imagery (Bored with your lives, children? We've got a cow god for you). The group's final album, Ritual de lo Habitual (1990), featured cover...
Thus, when a Jewish interviewee named Ephraim Isaac says, "Abraham, for me, is my ancestor -- my very own personal ancestor," his words are shredded, sliced, diced, pureed by a live vocal quartet and set to the implied, inherent music of his speech rhythms and intonation, accompanied by a small instrumental ensemble. In works such as the 1912 Pierrot lunaire, Arnold Schoenberg invented the device of sprechstimme, or speech-song; in The Cave Reich has perfected the principle and built an entire work upon...
...private musicales. In "model" camps such as Theresienstadt (Terezin) in Bohemia, the inmates were even encouraged to perform for visiting Red Cross workers to show that they were being treated humanely. The late French composer Olivier Messiaen wrote one of this century's most illuminating chamber works, the Quartet for the End of Time, while incarcerated in a Silesian camp. Messiaen survived. But for most victims time was something that indeed came...
...most accomplished composer of the three was Schulhoff, whose String Quartet No. 1 and two other chamber works, which date from 1924-25, reveal the kind of craftsmanship and imagination to be expected from a student of Reger and Debussy. The quartet in particular is outstanding, combining the rhythmic snap of Bartok with the plaintive melodic lines of Kodaly...
...performances by the Hawthorne String Quartet and other New England-based musicians are brisk and idiomatic. But such considerations are almost irrelevant in light of the music's larger issues. "If we consider the demands of the programs, together with the strains on the artists who live in new surroundings under unpleasant conditions," wrote Klein, "we will understand that these artistic efforts are not solely to be judged by the standards of a % metropolitan critic." History is now the judge...