String Quartet - musical ensemble of four strings bowed instruments: two violins, viola, cello. This is one of the most academic representatives of classical chamber ensembles. Almost all the great composers wrote works for the string quartet: V.A. Mozart, L.V. Beethoven, J. Brahms, A. Dvorak, D. Shostakovich and many others. A string quartet is not only a composition of instruments, but also an independent genre of academic (classical) music.
Quartet "Inspiration" - the highest skill of musicians
Playing in a quartet requires the highest skill, virtuosity, and ensemble coherence from the musicians. Experts know that a real string quartet takes years to “play.” This is the only way to create the incredibly beautiful combined sound of four stringed musical instruments. The highest skill and teamwork of the musicians of the Inspiration quartet is the result of their many years of cooperation. All musicians of the ensemble are artists of the Moscow State Academic symphony orchestra.
Classics and more
The quartet's repertoire is varied, it goes far beyond the scope of chamber academic music playing. Along with the traditional works of classical composers for string quartets, the musicians perform jazz compositions, famous pop hits, music from musicals and films.
Musical group for elite events
Musicians of the "Inspiration" quartet play on acoustic instruments and do not use any electrical equipment in their work. String quartet is real live music. In the summer, musicians often perform outdoors. “Inspiration” is strict and elegant; the quartet’s musicians have an impressive appearance and perform in elegant tuxedos and concert dresses. This is a reputable group that can decorate an elite event with live music: a wedding, a banquet, a ball.
How and where does a string quartet perform?
The most common is the use of this ensemble as light musical background on "welcome" (the time allotted for gathering guests before the start of the holiday). The string quartet does not sound loud and fills the room with the unobtrusive sound of light popular music. classical music, and does not interfere with guests’ communication. A string quartet performance does not require sound equipment and can be easily placed in almost any room. This allows the ensemble to be used as live musical accompaniment for any banquet or buffet. A string quartet is also invited to a wedding to provide musical accompaniment for the marriage registration ceremony (in recent years The so-called “exit marriage registration” has become extremely popular, when the official ceremony is held not in the registry office, but directly in banquet hall.) In the summer, the string quartet is often invited to perform in gardens and parks. However, when organizing performances in open areas, you must always remember that strings musical instruments cannot tolerate high humidity and low temperatures. Performing outdoors is only possible in warm and dry times.
String Quartet - piece of music for four stringed instruments. The term also refers to a group of four people who play a piece for four string instruments. Almost always a string quartet consists of 2 violins, a viola and. The balance between this composition of instruments is perfect, others string instruments, for example, the double bass, are not used due to its loud and heavy sound. This musical form is the most popular in chamber music, most major composers wrote string quartets.
Many other compositions of chamber music ensembles can be considered modifications of the string quartet:
string quintet - a string quartet with an additional viola, cello or double bass;
string trio - one violin, viola and cello;
piano quintet - string quartet with;
piano quartet - a string quartet in which one violin is replaced by a piano;
clarinet quintet - string quartet with clarinet.
History of the String Quartet
The string quartet originated in 18th century Italy, with composers such as Giovanni Battista Sammartini (1698-1775) composing music for two violins, viola and continuo. The role of continuo was played by either a harpsichord or a harpsichord and cello. Gradually, composers began to abandon the harpsichord. Alessandro Scarlatti wrote six works entitled "Sonata a Quattro per due Violini, Violetta, e Violoncello senza Cembalo" (Sonata for four instruments: two violins, viola and cello, without harpsichord), this was a natural transition to the string quatret.
The formation of the string quartet occurred in (1732-1809) he wrote many quartets and made this form very popular. His quartets from op.33 were written, in his words, “in a new and special style” in four movements.
The basic traditional form for, laid down by Haydn:
Part 1: quick in;
Part 2: slow;
3rd movement: minuet and trio;
4th movement: fast in sonata-rondo form.
Quartet (strings)(bowed) - chamber instrument. an ensemble performing quartet music; one of the most difficult and thin types chamber music performer lawsuit
Formation of K. as independent. will perform collective took place during the 2nd half. 18th century in decomposition countries (Austria, Italy, England, France) and was initially associated with home music playing, especially among the Viennese burghers, where instruments became widespread. ensemble playing (trio, quartets, quintets), learning to play the violin and cello. The repertoire of amateur K. consisted of production. K. Dittersdorf, L. Boccherini, G. K. Wagenseil, J. Haydn and others, as well as various. kind of arrangements for K. excerpts from popular operas, overtures, symphonies, etc. With the development in the work of Viennese classics of the genre of quartet music K. (2 violins, viola and cello) is established as the main leading type of prof. chamber-instrument ensemble. For a long time K. did not attract the attention of the conc. the public who visited Ch. arr. Italian opera performances, performances by instrumentalists. virtuosos and singers. Only at the end. 18th century (1794) a permanent prof. was organized in Vienna. K., maintained by the philanthropist Prince K. Likhnovsky. The group included prominent Viennese musicians: I. Schuppanzig, J. Meiseder, F. Weiss, J. Linke. In conc. in the season of 1804-1805 this ensemble gave the first music in history. art-va open public evenings of quartet music. In 1808-16 he was in the service of the Russians. Ambassador in Vienna Count A.K. Razumovsky. This K. performed all the chamber instruments for the first time. op. L. Beethoven (learned under the guidance of the composer himself), laying down the traditions of their interpretation. In 1814 in Paris, P. Baillot organized a cathedral that gave subscription evenings of chamber music by subscription. In the further development and popularization of prof. quartet performance important role played by K. German musicians br. Müller Sr., who was the first to appear, Prof. K., who toured (1835-51) in many places. European countries (Austria, the Netherlands, Russia, etc.). However, despite the conc. activities in the 1st half. 19th century series of K. and the existence of special liters, the style of quartet performance itself was just beginning to take shape. The features of music as a performing genre have not yet been clearly defined and identified. In the quartet performance there were strong manifestations of the solo virtuoso principle; K. was considered by many not as a single performing ensemble, but as a chapter. arr. as the “entourage” of this or that virtuoso violinist. The programs of the quartet evenings were of a mixed solo and chamber nature. Works written in the so-called genre occupied a large place in them. “brilliant quartet” (Quator brillant) with a spectacular virtuoso part of the first violin (quartets by N. Paganini, J. Meiseder, L. Spohr, etc.). Listeners appreciated not so much the ensemble as the soloist’s performance. K. were organized mainly by outstanding virtuosos; their composition was random and unstable. The emphasis on the solo element was also reflected in the arrangement of K.'s participants. For example, W. Bull performed the first violin part in W. A. Mozart's quartet, standing on the stage, while other participants played while sitting in the orchestra. pit. The usual arrangement of K. artists to the end. 19th century was different than now. time (the first violinist sat opposite the second, the cellist - opposite the violist). The formation of the quartet style of performance went simultaneously with the development of quartet music, the enrichment and complication of the style of quartet writing. New creativity arose before the performing ensemble. tasks. The main historical the tendency is from the predominance of the solo principle to the establishment of balance between the departments. the voices of the ensemble, the unity of its sound, the unification of the quartetists on the basis of a single art. interpretation plan. The first violinist, while maintaining a leading role in the ensemble, became only “first among equals.” At the same time, the formation of the performance style was influenced by the environment in which the concerts were held (small halls designed for a narrow circle of “selected” listeners), which gave the quartet music-making an intimate-chamber character. The quartet style received its most complete expression in the performing work of the J. Joachim Quartet (Berlin), which worked in 1869-1907 and created highly artistic works. examples of interpretation of classics. and romantic quartet music. His art revealed the typical features of quartet performance - stylistic unity, organic. unity of sound, careful and fine finishing of production parts, unity of technical. game techniques. During these years, K. became widespread, especially in Germany. Outstanding Western European The ensemble was K., principal. French violinist L. Kape, who introduced new arts. features in the quartet style of performance, in particular in the interpretation of L. Beethoven's late quartets. In modern period K. occupy a large place in the end. life. Technique of playing plural. K. reached a high, sometimes virtuoso, degree of perfection. The influence of modern quartet music. composers manifested themselves in the expansion of timbre and dynamics. palette of quartet sound, enriched rhythmic. sides of the quartet game. Row K. performs the conc. programs by heart (for the first time - R. Kolisch Quartet, Vienna). The release of K. into large concentrations. halls changed the understanding of the quartet style as a kind of intimately closed aesthetic. categories.
Quartet playing in Russia began to spread in the 70-80s. 18th century Initially, its sphere was the estate-landowner serf and adiv. music everyday life In con. 18th century In St. Petersburg, the serf K. of Count P. A. Zubov, who was headed by the gifted violinist N. Loginov, and the advent. chamber ensemble led by F. Tietz (performed at the so-called small Hermitages). From the end 18 - beginning 19th centuries amateur quartet music-making has become popular among artists and writers, in music. circles and salons in St. Petersburg, Moscow and a number of provinces. cities. In 1835, an outstanding violinist, director of the Pridv. singing choir in St. Petersburg A.F. Lvov was organized by prof. K., not inferior to the best foreign quartet ensembles of the 19th century. This K. was highly valued by R. Schumann and G. Berlioz. Despite the fact that his activities took place in an atmosphere of closed music-making (K. did not perform in open paid concerts), the ensemble introduced St. Petersburg over the 20-year period of work. audience with the best productions. classic music. In the 1st half. 19th century open public concerts in St. Petersburg were given by K., led by A. Vietun and F. Böhm (the latter played a large role in the popularization of L. Beethoven's quartet music). After the organization in 1859 Rus. music society (RMO), which opened branches and music educational institutions in St. Petersburg, Moscow and many others. provincial cities, permanent quartet ensembles began to be created in Russia. They were led by prominent violinists: in St. Petersburg - L. S. Auer, in Moscow - F. Laub, later I. V. Grzhimali, in Kharkov - K. K. Gorsky, in Odessa - A. P. Fidelman and others. , which existed at local branches of the RMO, were stationary. The first K. to undertake the conc. trips around the country, there was a "Russian Quartet" (founded 1872). This ensemble, headed by D. A. Panov, performed in St. Petersburg, Moscow and a number of provinces. cities. In 1896, the so-called. The Mecklenburg Quartet, headed by B. Kamensky until 1908, and from 1910 by K. K. Grigorovich. This first-class ensemble has performed in many. cities of Russia and was the first Russian K. to tour in Western European countries. Despite the great creative achievements of Russian quartet performance, permanent K. in Russia were few in number. Only after the Great Oct. socialist revolution quartet performance in the USSR under the state. support has reached a large scale. In con. 1918 The first owls were created in Moscow. K. - K. im. V.I. Lenin, headed by L.M. Tseytlin and K. im. A. Stradivari, led in the first composition by D. S. Crane. In March 1919, K. was organized in Petrograd. them. A.K. Glazunov, led by I.A. Lukashevsky. His activities played an important role in the development of owls. quartet performance. This K., who toured the whole country with concerts, performed not only at the end. halls, but also in factories and factories, for the first time he introduced the broad masses to the treasures of world quartet literature and aroused deep interest in chamber music. "Glazunovites" were the first to demonstrate the achievements of the owls. quartet suit in Western Europe. listeners; in 1925 and 1929 they toured in many. countries (Germany, France, the Netherlands, Belgium, Denmark, Norway, etc.). In 1921 the State was created. Quartet named after J. B. Villoma (Kyiv), in 1923 - K. im. L. Beethoven (Moscow), named after. Komitas (Armenia), in 1931 - K. named after. Bolshoi Theater of the USSR, in 1945 - K. named after. A.P. Borodina (Moscow) and others. In 1923 in Moscow. conservatory opened a special quartet playing class; future participants of the plurality graduated from it. quartet ensembles (including the Komitas Theater, the A.P. Borodin Theater, the State Quartet of the Georgian SSR, etc.). The development of quartet performance was promoted by the All-Union Quartet Competitions (1925, 1938). Quartet ensembles arose in the republics, in many of which there was no prof before the revolution. music lawsuit In Azerbaijan, Armenia, Georgia, Lithuania, Tatarstan and other republics, highly professional quartet ensembles work under philharmonic societies and radio committees. level. Performing skills inherent in the best owls. K., contributed to the creation of numerous. prod. owls quartet music (A. N. Alexandrov, R. M. Glier, S. F. Tsintsadze, N. Ya. Myaskovsky, V. Ya. Shebalin, M. S. Weinberg, E. K. Golubev, D. D. Shostakovich , S.S. Prokofiev, etc.). Innovation plural. from these products had a great influence on the development of owls. style of quartet performance, characterized by scale and breadth of music. breathing, turning to emotional perception large conc. audience.
QUARTETS OF FOREIGN COUNTRIES(the names of the first violinists are indicated; the list is given on a chronological basis)
I. Schuppanzig (Vienna, 1794-1816, 1823-30).
P. Baillot (Paris, 1814-42).
J. Böhm (Vienna, 1821-68).
Brothers Müller Sr. (Brunschweig, 1831-55).
L. Jansa (Vienna, 1834-50).
F. David (Leipzig, 1844-65).
J. Helmesberger Sr. (Vienna, 1849-87).
Brothers Müller Jr. (Brunschweig, 1855-73).
J. Armengot (Paris, with E. Lalo, from 1855).
C. Lamoureux (Paris, from 1863).
H. Hermann (Frankfurt, 1865-1904).
J. Becker, so-called Florence Quartet (Florence, 1866-80).
J. Joachim (Berlin, 1869-1907).
A. Rose (Vienna, 1882-1938).
A. Brodsky (Leipzig, 1883-91).
P. Kneisel (New York, 1885-1917).
E. Hubai (Budapest, about 1886).
J. Helmesberger Jr. (Vienna, 1887-1907).
M. Soldat-Röger (Berlin, 1887-89; Vienna, since 1889; women's quartet).
S. Bartsevich (Warsaw, from 1889).
K. Hoffman, so-called. Czech Quartet (Prague, 1892-1933).
L. Capet (Paris, 1894-1921).
S. Thomson (Brussels, 1898-1914).
F. Schörg, so-called Brussels Quartet (Brussels, since the 1890s).
A. Marto (Geneva, 1900-07).
B. Lotski, t. K. im. O. Sevchika (Prague, 1901-31).
A. Betty, so-called Flonzaley Quartet (Lausanne, 1902-29).
A. Onnu, so-called Pro Arte (Brussels, 1913-40).
O. Zuccarini, so-called. Roman Quartet (Rome, since 1918).
A. Busch (Berlin, 1919-52).
L. Amar (Berlin, 1921-29, with P. Hindemith).
R. Kolisch (Vienna, 1922-39).
A. Levengut (Paris, since 1929).
A. Gertler (Brussels, since 1931).
J. Calvet, so-called Calvet Quartet (Paris) 1930s, since 1945 with a new composition).
B. Schneiderhan (Vienna, 1938-51).
S. Veg (Budapest, since 1940).
R. Kolisch, t. Pro Arte (New York, since 1942).
J. Parrenen, so-called Parrenen Quartet (Paris, since 1944).
V. Tatrai (Budapest, since 1946).
I. Travnicek, so-called K. im. L. Janacek (Brno, since 1947; since 1972, headed by K. Krafka).
I. Novak, K. im. B. Smetana (Prague, since 1947).
J. Vlah (Prague, since 1950).
R. Barsche (Stuttgart, since 1952, etc.).
QUARTETS OF PRE-REVOLUTIONARY RUSSIA
N. Loginov (St. Petersburg, late 18th century).
F. Tietz (St. Petersburg, 1790s).
F. Boehm (St. Petersburg, 1816-46).
V. N. Verstovsky (Orenburg, 1820-30s).
L. Maurer (St. Petersburg, 1820-40s).
F. David (Dorpat, 1829-35).
F. F. Vadkovsky (Chita, 1830s).
A. F. Lvov (St. Petersburg, 1835-55).
N. Grassi (Moscow, 1840s).
A. Vietan (St. Petersburg, 1845-52).
E. Wellers (Riga, from 1849).
Petersburg Quartet. departments of the Russian Medical Society (I. X. Pikkel, 1859-67, with interruptions; G. Wieniawski, 1860-62; L. S. Auer, 1868-1907).
G. Wieniawski (St. Petersburg, 1862-68).
Moscow Quartet departments of the Russian Medical Society (F. Laub, 1866-75; I. V. Grzhimali, 1876-1906; G. N. Dulov, 1906-09; B. O. Sibor, 1909-1913).
"Russian Quartet" (St. Petersburg, D. A. Panov, 1871 - 75; F. F. Grigorovich, 1875-80; N. V. Galkin, 1880-83).
E. K. Albrecht (St. Petersburg, 1872-87).
Quartet of the Kyiv branch of the Russian Musical Society (O. Shevchik, 1875-92. A. A. Kolakovsky, 1893-1906).
Quartet of the Kharkov branch of the Russian Medical Society (K.K. Gorsky, 1880-1913).
Petersburg Quartet. chamber society (V. G. Walter, 1890-1917).
Quartet of the Odessa branch of the Russian Musical Society (P. P. Pustarnakov, 1887; K. A. Gavrilov, 1892-94; E. Mlynarsky, 1894-98; I. I. Karbulka, 1898-1901, in 1899-1901 simultaneously with A. P . Fidelman; A. P. Fidelman, 1902-07; Y. Kocian, 1907-10, 1914-15; V. V. Bezekirsky, 1910-13;
Mecklenburg Quartet (St. Petersburg, B. S. Kamensky, 1896-1908; J. Kocian, 1908-10; K. K. Grigorovich, 1910-18).
SOVIET QUARTETS
K. im. V. I. Lenin (Moscow, L. M. Tseitlin, 1918-20).
K. im. A. Stradivari (Moscow, D. S. Crane, 1919 - 20; A. Ya. Mogilevsky, 1921-22; D. Z. Karpilovsky, 1922-24; A. Knorre, 1924-26; B. M. Simsky, 1926-30).
K. im. A.K. Glazunova (Petrograd - Leningrad, I.A. Lukashevsky, from 1919).
Muzo Narkompros (Moscow, L. M. Tseitlin, 1920-22).
K. im. J. B. Villioma (Kyiv, V. M. Goldfeld, 1920-27; M. G. Simkin, 1927-50).
K. im. L. Beethoven (Moscow, D. M. Tsyganov, from 1923 - Moscow Conservatory Quartet, from 1925 - Moscow Conservatory, from 1931 - L. Beethoven Moscow Conservatory).
K. im. Komitas (Yerevan - Moscow, A.K. Gabrielyan, from 1925; arose as a quartet of students of the Moscow Conservatory, from 1926 - “Quartet of Promoters”, from 1932 - K. Komitas).
State BSSR Quartet (Minsk, A. Bessmertny, 1924-37).
K. im. R. M. Gliere (Moscow, Ya. B. Targonsky, 1924-25; S. I. Kalinovsky, 1927-49).
K. Muz. Moscow Art Theater studio (Moscow, D. Z. Karpilovsky, 1924-1925).
K. im. N. D. Leontovich (Kharkov, S. K. Bruzhanitsky, 1925-1930; V. L. Lazarev, 1930-35; A. A. Leshchinsky, 1952-69 - K. teachers of the Institute of History). K. All-Ukrainian about-va revolutionary. musicians (Kyiv, M. A. Wolf-Israel, 1926-32).
Cargo. quartet (Tbilisi, L. Shiukashvili, 1928-44; from 1930 - State Quartet of Georgia).
K. im. L. S. Auer (Leningrad, I. A. Lesman, 1929-34; M. B. Reison, 1934; V. I. Sher, 1934-38).
V. R. Vilshau (Tbilisi, 1929-32), later - K. im. M. M. Ippolitova-Ivanova.
K. im. Big T-ra USSR (Moscow, I. A. Zhuk, 1931-68).
K. im. A. A. Spendiarova (Yerevan, G. K. Bogdanyan, 1932-55).
K. im. N. A. Rimsky-Korsakov (Arkhangelsk, P. Alekseev, 1932-42, 1944-51; V. M. Pello, since 1952; from this year under the jurisdiction of the Leningrad Region Philharmonic).
K. im. Potash plant in Solikamsk (E. Khazin, 1934-36).
K. Union of Owls. composers (Moscow, Ya. B. Targonsky, 1934-1939; B. M. Simsky, 1944-56; in the new composition).
K. im. P. I. Tchaikovsky (Kyiv, I. Liber, 1935; M. A. Garlitsky, 1938-41).
State Georgian Quartet (Tbilisi, B. Chiaureli, 1941; from 1945 - Georgian Philharmonic Quartet, from 1946 - State Quartet of Georgia).
Uzbek Quartet Philharmonic (Tashkent, H. E. Pover, since 1944 under the Radio Information Committee, since 1953 under the Uzbek Philharmonic).
Est. quartet (Tallinn, V. Alumäe, 1944-59).
K. Latv. radio (Riga, T. Wayne, 1945-47; I. Dolmanis, since 1947).
K. im. A. P. Borodin (Moscow, R. D. Dubinsky, since 1945).
State Quartet Litov. SSR (Vilnius, J. B. Targonsky, 1946-47; E. Paulauskas, since 1947).
K. im. S. I. Taneyev (Leningrad, V. Yu. Ovcharek, from 1946; from 1950 - Leningrad Philharmonic Quartet, from 1963 - K. named after S. I. Taneyev).
K. im. N. V. Lysenko (Kyiv, A. N. Kravchuk, since 1951).
Azerbaijan state quartet (Baku, A. Aliyev, since 1951).
K. Kharkov Conservatory (A.A. Leshchinsky, since 1952), now the Institute of Art.
K. im. S. S. Prokofiev (Moscow, E. L. Brakker, since 1957, since 1958 - quartet of graduate students of the Moscow Conservatory, since 1962 - S. S. Prokofiev Moscow State University, P. N. Guberman, since 1966).
K. Union of Composers of the BSSR (Minsk, Yu. Gershovich, since 1963).
K. im. M. I. Glinka (Moscow, A. Ya. Arenkov, since 1968; previously - K. CK USSR).
Four musicians, usually playing two violins, a viola and a cello, are called String Quartet in Moscow. Usually these bands play classical works, but there are also those who play interpretations of modern songs or melodies, and there are also those who manage to perform rock hits. The latter sound very unusual and fresh when performed by bowed instruments.
A string quartet in Moscow can be ordered for almost any social event: this group will look elegant and rich at presentations, exhibitions, and galleries. Having prepared a romantic dinner for your loved one, you can complement it with musical accompaniment from a quartet. Corporate evening just as good to fill it with the charm of the sound of violins supported by a powerful viola and a sophisticated cello. The sounds of “Mendelssohn March” performed by a string quartet in Moscow at a wedding will leave vivid memories of this day for many years.
By ordering a string quartet in Moscow on our website, you receive reliable information about all groups of this genre, reviews of past events, access to artist materials, photos and videos of performances, as well as a clear price for the performance, without any additional extra charges or payments. Our specialists will help you understand all the nuances of choosing musicians of a given genre, and if something remains unclear, they will answer all, even the most difficult questions.
When choosing string quartet in Moscow, pay attention to what audience they will work with. Is the repertoire of a particular group suitable for your event? Don't forget to check the reviews, they will be helpful when making your final decision. Contact the team in advance to agree on the repertoire or express your wishes. Perhaps, if you have your own preferences or want to include your favorite works in the performance, there will be a need for additional payment.
Our recommendation when choosing a string quartet in Moscow is to send a request not to one group, but to several at once. This way, you will have maximum options when it comes to selecting musicians that will suit your unique event.
Do you believe in fairy tales? A magical wedding is possible!
A wedding is the most memorable event in the life of any person. After all, the wedding will be the birthday new family, from this moment the countdown of all the most exciting and expensive events in life will begin.
And also, the wedding becomes a kind of presentation of the new family to all relatives, friends and acquaintances. After all, you must admit, it’s tiring to visit everyone and hold shows. Therefore, it is so important to make this event a truly lively, bright, unforgettable holiday.
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And where there is a holiday, there is music! Beautiful, tender, soul-stirring! What could be more wonderful than live music for a wedding! Wonderful classical melodies and beautiful costumes of the musicians will help you organize a wedding in the old style.
If you want a modern celebration, then the Vivat string music quartet will specially select a repertoire that will be the ideal musical background for your holiday.
You will enjoy lively, magical, tender and fiery music performed by musicians of the highest level, winners of international competitions.
Incendiary music for a wedding will allow you and your guests to feel a real holiday and have fun with all your heart. You will never be able to forget this day if you invite a string quartet to your wedding. Music will fill the holiday with emotions, magic, and make it look like a fairy tale.
We live in a time when people lack real, sincere, good feelings and experiences. Nowadays you can find less and less true art and beauty. That’s why live music touches us so much, it leaves a good mark on our souls and helps us open up.
You can order a string quartet for on-site marriage registration in Moscow. Photo and video shooting will help you preserve these wonderful memories for life. You can also order a string trio for your wedding. The price is affordable in Moscow. We will select for you a unique repertoire that will not leave anyone indifferent!
