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Siegmund Nissel Geboren 1922 in Wien. Beginn des Violinstudiums im Alter von sieben Jahren beim Konzertmeister des Orchesters des Bayerischen Rundfunks. 1932 Fortsetzung des Studiums in Wien bei Max Weißgärber (Mitglied der Wiener Philharmoniker und des Staatsopernorchesters). 1939 unter dem Druck des Nationalsozialismus Emigration nach Großbritannien, 1940 Internierung auf der Isle of Man. Dort Bekanntschaft mit dem zukünftigen Quartett-Kollegen Peter Schidlof. 1941 Fortsetzung des Studiums bei Max Rostal und Bekanntschaft mit dessen Schüler, dem späteren Amadeus-Quartett-Kollegen Norbert Brainin. 1948 Gründung des Amadeus-Quartetts, das über 40 Jahre in derselben Besetzung spielte. Unterrichtstätigkeit (Kammermusik) zusammen mit den Mitgliedern des Quartetts an der Hochschule für Musik Köln, ab 1986 auch an der Royal Academy of Music London. Später Direktor der dortigen Kammermusik-abteilung. 1988 Gründung eines jährlich stattfindenden zweiwöchigen "Amadeus"-Sommerkurses. Angesehener Juror bei zahlreichen Kammermusik-Wettbewerben sowie Berater vieler musikalischer Organisationen. Born in 1922 in Vienna. Started studying violin at the age of seven under the concert master of the Orchester des Bayerischen Rundfunks. Continued his studies in Vienna under Max Weißgärber (member of the Wiener Philharmoniker and the Staatsopernorchester). Forced to emigrate to England in 1939 as a result of the National Socialist movement. Interned on the Isle of Man in 1940, where he met future quartet colleague Peter Schidlof. Continued his studies with Max Rostal in 1941 and got to know a fellow pupil, and later Amadeus Quartet colleague, Norbert Brainin. Founded the Amadeus Quartet, in which the same members played for over forty years, in 1948. Taught (chamber music) with the other members of the quartet at the Hochschule für Musik in Cologne, and from 1986 also at the Royal Academy of Music London. Later became director of the chamber music department there. Founded an annual two-week "Amadeus"-summer course in 1988. Respected juror at many chamber music competitions as well as advisor to many music organisations. .

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The Amadeus Quartet
The Uuive ·cal Society The Presents The Amadeus Quartet NORBERT BRAININ, Violinist PETER SCHIDLOF, Violist SIEGMUND NISSEL, Violinist MARTIN LOVETT, Cellist THURSDAY EVENING, APRIL 6, 1978, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Quartet in B-flat major, K. 458 ("Hunting") MOZART Allegro vivace assai Menuetto: moderato Adagio Allegro assai Quartet No.2 in C major, Op. 36 BRITTEN Allegro colmo senza rigore Vivace Chacony: sostenuto, molto piu andante, molto piu adagio INTERMISSION Quartet in F major, Op. 96 ("American") DVORAK Allegro rna non troppo Lento Molto vivace Vivace rna non troppo Deutsche Grammophon, Angel, and Westminster Records. Watch for alLnlJ"ltliCement next week of the new 1978-1979 Chamber Arts Series, part of next season's International Presentations marking the 100th year of the University Musical Society. Eighth Concert Fifteenth Annual Chamber Arts Series Complete Programs 4121 About the Artists England's internationally famous Amadeus Quartet has become one of America's favorite chamber music ensembles since its United States debut in 1952. Although their home base is in London, only one member of the Quartet, Martin Lovett, is a native Englishman. His colleagues, Norbert Brainin, Siegmund Nissel, and Peter Schidlof, are Austrian-born and received their early training in Vienna. To escape the oppressive Nazi regime, the families moved to England in 1938. In spite of such parallel events, they did not meet until 1941 when all four boys, employed in various war factories, were pursuing their music studies under Max Rostal. Thus began the association which led to the iormation of a permanent quartet, with their first public appearance in 1948.
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Marshall University Music Department Presents
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Digital Booklet Porgy & Bess
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New Mexico Lobo, Volume 056, No 67, 3/30/1954." 56, 67 (1954)
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Mozart's String Quartet in D Minor, K
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Amadeus Quartet, Ludwig Van Beethoven
Amadeus Quartet String Quartets Part Two mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: String Quartets Part Two Country: US Released: 1972 Style: Classical MP3 version RAR size: 1667 mb FLAC version RAR size: 1799 mb WMA version RAR size: 1174 mb Rating: 4.6 Votes: 153 Other Formats: MIDI ADX RA MP2 AUD VQF MPC Tracklist String Quartet In F Major, Transcription Of The Piano Sonata, Op. 14,1 A1 1st Movement: Allegro Moderato A2 2nd Movement: Allegretto A3 3rd Movement: Allegro String Quartet In D Major, Op. 18 No. 3 A4 1st Movement: Allegro A5 2nd Movement: Andante Con Moto B1 3rd Movement: Allegro B2 4th Movement: Presto String Quartet In C Minor, Op. 18 No. 4 B3 1st Movement: Allegro B4 2nd Movement: Scherzo: Andante Scherzoso Quasi Allegretto B5 3rd Movement: Menuetto: Allegretto B6 4th Movement: Allegro - Prestissimo String Quartet In B Flat Major, Op. 18 No. 5 C1 1st Movement: Allegro C2 2nd Movement: Menuetto 3rd Movement: Andante Cantabile: Thelma - Variationen I-V - C3 Coda (Poco Adagio) C4 4th Movement: Allegro String Quartet In B Flat Major, Op. 18 No. 6 D1 1st Movement: Allegro Con Brio D2 2nd Movement: Adagio Ma Non Troppo D3 3rd Movement: Sherzo: Allegro D4 4th Movement: La Malinconia: Adagio - Allegretto Quasi Allegro String Quartet In F Major, Op. 59 No. 1 (Rasumovsky) E1 1st Movement: Allegro E2 2nd Movement: Alegretto Vivace E Sempre Scherzando F1 3rd Movement: Adagio Molto E Mesto F2 4th Movement: Theme Russe: Allegro String Quartet In E Flat Major, Op. 74 (Harp) F3 1st Movement: Poco Adagio - Allegro G1 2nd Movement: Adagio, Ma Non Troppo G2 3rd Movement: Presto - Piu Presto Quasi Prestissimo G3 4th Movement: Allegretto Con Variazioni String Quartet In E Flat Major, Op.
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Buffalo Chamber Music Society 1924-2019 Ensembles – Artists
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Digibooklet Romanticism Amad
THE AMADEUS QUARTET RECORDINGS VOL. VI HAYDN Berlin, 1950-1969 AMADEUS QUARTET violin I Norbert Brainin violin II Siegmund Nissel viola Peter Schidlof cello Martin Lovett JOSEPH HAYDN String Quartet in G major, Op. 9/3, Hob. III:21 I. Moderato 2:49 II. Menuet. Allegretto 2:27 III. Largo 6:20 IV. Finale. Presto 2:44 recording date: 15.12.1952 String Quartet in F minor, Op. 20/5, Hob. III:35 I. Allegro moderato 5:12 II. Menuet 5:19 III. Adagio 5:57 IV. Finale. Fuga a due Soggetti 3:03 recording date: 25.5.1952 String Quartet in E-flat major, Op. 33/2, Hob. III:38 ‘The Joke’ I. Allegro moderato 5:50 II. Scherzo 3:28 III. Largo e sostenuto 5:36 IV. Finale 3:35 recording date: 20.11.1951 String Quartet in C major, Op. 54/2, Hob. III:57 I. Vivace 5:29 II. Adagio 3:19 III. Menuet. Allegretto 3:36 IV. Finale. Adagio – Presto – Adagio 6:02 recording date: 18.11.1969 String Quartet in C major, Op. 54/2, Hob. III:57 II. Adagio 3:40 recording date: 10.6.1950 String Quartet in B-flat major, Op. 64/3, Hob. III:67 I. Vivace assai 4:16 II. Adagio 5:45 III. Menuetto. Allegretto 4:05 IV. Finale. Allegro con spirito 3:50 recording date: 8.2.1956 String Quartet in G major, Op. 64/4, Hob. III:66 I. Allegro con brio 3:31 II. Menuetto. Allegretto 2:56 III. Adagio. Cantabile e sostenuto 5:00 IV.
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The Interpretation of Unusual Dynamic Markings in Beethoven's String
The Interpretation of Unusual Dynamic Markings in Beethoven’s String Quartet in Bb Major, Op. 130: a Study of Selected Twentieth-Century Recordings A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Performance 2016 Cardiff University School of Music Owen Cox i DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed …………………………… (candidate) Date ………………………… STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD in Performance Signed …………………………… (candidate) Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ……………………………(candidate) Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ……………………………(candidate) Date ………………………… ii Summary This study takes as its stimulus the unusual dynamic markings in Beethoven’s String Quartet, Op. 130. Presenting an immediate interpretational problem for performers this leads to questions of execution and how this influences the character of the music. Whilst both analysts and performers use evocative metaphors to describe musical character, the explication of how this is achieved through performance has been little explored in academia. The study focuses on the intersection between metaphors found in the literature surrounding Beethoven’s late quartets and the performance choices made in eight renowned string quartet recordings.
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Communicating Real Musical Ideas: a Life-Long Mission
Click here for Full Issue of EIR Volume 32, Number 19, May 13, 2005 EIRMusic Communicating Real Musical Ideas: A Life-Long Mission A Conversation With Norbert Brainin Violinist Norbert Brainin died on April 10, 2005. His obituary cal art through sonata recitals, seminars, master classes for was published in EIR, April 29. The following interview ap- young artists, and more especially through the Brainin Foun- peared in the German magazine Ibykus in July 2004, and dation, that he set up shortly before his death. was translated from German by Katharine Kanter. The new Brainin showed remarkable strength of character from his introduction below was supplied by Ibykus. early youth, when in 1938, due to his Jewish background, he ﬂed from Vienna following the Nazi Anschluss. In England, The late Norbert Brainin, ﬁrst violinist of the legendary Ama- as a refugee, he became acquainted in the enemy-aliens in- deus Quartets, gave many interviews to Ibykus over the past ternment camp during World War II with two of the men who 20 years, but none perhaps so dense as the one below, which were later to join the Quartet. In the 1980s and 90s, on learning may perhaps be seen as his artistic Testament. that Lyndon LaRouche was persecuted by the U.S. neo-con- The fact that in 1947, Brainin, then a young violinist who servatives, and sentenced to prison after a show-trial in 1988, looked to make a great name as a virutoso soloist, quite delib- Brainin spoke out unreservedly in his defense. erately decided to focus uniquely on the string quartet, clearly Thus, seconded by the pianist Gu¨nter Ludwig, Brainin points to his qualities of musicianship, and of character, that gave solidarity recitals for LaRouche, including several led him to place the musical idea above all else, the raison within the United States itself.
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Amadeus Quartet
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Amadeus Quartet NORBERT BRAININ, Violinist PETER SCHIDLOF, Violist SIEGMUND NISSEL, Violinist MARTIN LOVETT, Cellist SUNDAY EVENING, APRIL 20, 1980, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Quartet in C major, Op. 76, No. 3 ("The Emperor") .... HAYDN Allegro Poco adagio cantabile (variations) Menuetto: allegro Finale: presto *Quartet No. 3, Op. 94 . BRITTEN Duets Ostinato Solo Burlesque Recitativa and Passacaglia (La Serenissima) INTERMISSION Quartet in D minor, Op. posth. ("Death and the Maiden") . SCHUBERT Allegro Andante con moto (variations) Scherzo: allegro rnolto Presto: prestissimo * Benjamin Britten wrote his Quartet No. 3 for the Amadeus Quartet and finished it in November 1975. It was his last work and the Quartet studied it with the composer shortly before his death; regrettably he did not live to hear its premiere performance in December 1976. The Amadeus Quartet retains sole rights of performance of the work and brings it to Ann Arbor for the first time this evening. Two years ago the Amadeus performed Britten's Quartet No. 2 in this series. DCG, Angel, RCA, and Westminster Records. 101st Season Sixty-first Concert Seventeenth Annual Chamber Arts Series A New Season of International Presentations 1980-1981 Summer Fare Series THE BORODIN TRIO ......... Wed. July 9 JOHN BROWNING, Pianist ....... Mon. July 14 GRANT JOHANNESEN, Pianist ...... Mon. July 28 NORTHWOOD SYMPHONETTE & JUDY MANOS, Vocalist Mon. Aug. 4 Choral Union Series TORONTO SYMPHONY ORCHESTRA / ANDREW DA vis Tues. Oct. 21 SAN FRANCISCO SYMPHONY / EDO DE WAART . Sat. Oct. 25 TOKYO PHILHARMONIC / TADAEIKO ODAKA Thurs. Nov. 6 MARTTI TALVELA, Basso ......
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SCHNITTKE. Alfred (B. 1E34)
BIS-CD-467 STEREO ItlDIb-l Total playing time: 61'40 SCHNITTKE. Alfred (b. 1e34) String Quartet No. 1 ( 1966) ((rniuersat/sikorski) 18'57 T- Lll Sonata 7',59 ft r Canon 4',02 -J L9l Cadenza 6',56 String Quartet No.2 (1 980) (rlnioersat/sikorski) 2l'54 tr Moderato 2'58 r Lrl Agitato 5',58 r Lql Mesto s',52 tr Moderato 6'59 String Quartet No.3 (1983) (Lrniaersat/sikorski) lg'33 tr Andante 5',07 tr Agitato 7',12 tr Pesante 7',11 The Tale Quartet (Tale Olsson, violin I; Patrik Swedrup, violin II; Ingegerd Kierkeeaard, viola; Helena Nilsson, cello) 's.itrrng in Leningrad in 1967 Alfred Schnittke Quartet No.,l $as first performed and created great interest in by the Boroclin Quartet, to whom it is cleclicatcil, - - inlbrmed circles. it comprises three movements Sonata,Canon and Cadenza which lbllow each other without a break. The formal descriptions are not to be taken too literallv: the Sonatadoes rvithgut the traditional recapitulati6n ' Ihe Canon holding is based on free imitation, wishinq to obtain the cffect of an echo without as on too flrmly to exact repeats of thc melodv. and the cadenzais t0 be understood a collectir.ecadenza for the four instruments bears Although the work is written in liee twelve-tone technique, it nevertheless mur:h clear sisni of a tonal order. Another traditional element is also emploved in a - altered iorm: the polyphony tends continuallv torvards heterophony to that type the ol manv-r.oiccd sn.,ni in which one and the same mel.dy is plaved by all a insrrumcnts in slightly modifiecl lbrms ancl rvith a small temporal olrset.
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