#aminor

4. Charles Villiers Stanford (1852-1924)

Stanford was born in Dublin and became Professor of Composition at thethen newly formed Royal College Of Music in London. He is pretty well known in the UK, I'm not sure if this is the case elsewhere in the world. Anyway, I'm just showing that there are gradations of well-knownedness, and that also, even with the more famous composer, not all of their compositions get recorded.

Stanford wrote eight string quartets. The first two were recorded some years back, the other six only recently by the Dante Quartet for SOMM Recordings. They are real good. I like them because they have such a full sound - there is so much going on. Here is the sixth string quartet in A minor and it really is the biz.

2. Eugen D'Albert (1864-1932)

Maybe slightly more well known than Hans Sommer, D'Albert - a vituoso pianist and composer - was born in Glasgow but moved to Europe to be taught by Liszt. He was famous as a concert pianist, but he also wrote a lot of operas, some orchestral pieces,songs and piano works. Also, he was married six times.

A few years back, I was just getting into string quartets and I wanted to hear music from composers born around the 1860's - I like that romantic period. I came across a recording of two string quartets by D'Albert (I'd never heard of him at the time), performed by the Sarastro Quartet. I loved them. It turns out that they were the only chamber music he composed, written when he was in his 20's.Here is the first movement of his first string quartet in A minor. I love thispiece and the way it's put together. It makes me think of windy, wet weather and the performance .....well it just works for me. I hope it works for you.

Publication date 1951 Nathan Milstein Violin Gregor Piatigorsky Cello Fritz Reiner Conductor The Robin Hood Dell Orchestra Of Philadelphia Johannes Brahms, a renowned composer of the Romantic era, crafted a masterpiece with his Double Concerto in A Minor, Op. 102. Composed in 1887, the Double Concerto marked a significant period in Brahms' career. It was a time when he sought to reconcile traditional musical forms with the innovative trends of the late Romantic era. The composition emerged as a testament to Brahms' maturity as a composer and his ability to push the boundaries of musical expression while remaining true to his classical roots. The Double Concerto in A Minor is a concerto for violin, cello, and orchestra, comprising three movements: 1. Allegro: The opening movement introduces a sense of intensity and drama. The orchestra sets the stage with a brooding theme, followed by the soloists' entrance. The violin and cello engage in a captivating dialogue, showcasing their technical prowess and emotional depth. Brahms masterfully weaves the soloists' melodies with the rich orchestral accompaniment, creating a tapestry of contrasting moods and textures. 2. Andante: The second movement offers a respite from the intensity of the first. It unfolds as a serene and lyrical dialogue between the soloists and the orchestra, evoking a sense of introspection and profound emotion. The violin and cello trade melodic phrases, seamlessly blending their voices in a harmonious and expressive conversation. 3. Vivace non troppo: The final movement bursts forth with a lively and energetic character. It features a playful and spirited dance-like theme, showcasing the virtuosity of the soloists. Brahms skillfully combines moments of dazzling brilliance with moments of tender introspection, building towards a triumphant and exhilarating conclusion. Brahms' Double Concerto demonstrates his mastery of harmonic progression. He artfully employs complex chord progressions and lush harmonies to create a rich and evocative musical tapestry. The composition highlights the interplay between the solo instruments and the orchestra, with the solo violin and cello engaging in dialogues both with each other and with the accompanying ensemble. This dynamic interaction adds depth and complexity to the piece. Brahms infuses the Double Concerto with a profound emotional depth. From moments of introspection and melancholy to passages of exuberance and joy, the piece traverses a wide range of emotions, captivating listeners with its raw and heartfelt expression. Johannes Brahms' Double Concerto in A Minor, Op. 102 stands as a testament to the composer's artistic genius and his ability to bridge the gap between tradition and innovation. With its captivating musical structure, rich harmonies, and emotional depth, this masterpiece continues to captivate audiences and secure its place as a beloved and timeless contribution to the classical music repertoire. Its enduring legacy is a testament to Brahms' ability to create music that resonates with the human spirit across generations.

INT. SCHUMANN’S COMPOSING ROOM – DAY Master Yoda, a small green Jedi knight with a wisened look, appears before Schumann, a frustrated composer. SCHUMANN Master Yoda, I am in desperate need of your guidance. I am struggling to compose my Piano Concerto in A minor, Op. 54. MASTER YODA Ah, young Schumann, a great challenge you face. Fear not, for with the power of music theory, I shall assist you.…