翻訳と辞書
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・ String Quartet No. 20 (Mozart)
・ String Quartet No. 21 (Mozart)
・ String Quartet No. 22 (Mozart)
・ String Quartet No. 23 (Mozart)
・ String Quartet No. 3
・ String Quartet No. 3 (Babbitt)
・ String Quartet No. 3 (Bacewicz)
・ String Quartet No. 3 (Bartók)
・ String Quartet No. 3 (Beethoven)
・ String Quartet No. 3 (Brahms)
・ String Quartet No. 3 (Carter)
・ String Quartet No. 3 (Dvořák)
・ String Quartet No. 3 (Mendelssohn)
・ String Quartet No. 3 (Nielsen)
・ String Quartet No. 3 (Piston)
String Quartet No. 3 (Rochberg)
・ String Quartet No. 3 (Rouse)
・ String Quartet No. 3 (Schubert)
・ String Quartet No. 3 (Shostakovich)
・ String Quartet No. 3 (Spohr)
・ String Quartet No. 3 (Tchaikovsky)
・ String Quartet No. 30 (Spohr)
・ String Quartet No. 4
・ String Quartet No. 4 (Babbitt)
・ String Quartet No. 4 (Bartók)
・ String Quartet No. 4 (Beethoven)
・ String Quartet No. 4 (Carter)
・ String Quartet No. 4 (Dvořák)
・ String Quartet No. 4 (Mendelssohn)
・ String Quartet No. 4 (Nielsen)


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String Quartet No. 3 (Rochberg) : ウィキペディア英語版
String Quartet No. 3 (Rochberg)
George Rochberg’s String Quartet No. 3 is an important piece in American contemporary music literature. Written in 1971 and premiered on May 15, 1972, by the Concord String Quartet, the third string quartet was an important move away from serialism for the American composer.
==Background of composition==
Early in his career George Rochberg wrote in a total serialist style that was popular with post World War II composers.〔''Rochberg: String Quartets No 3-6/Concord String Quartet,'' New World Records (album booklet)〕 Rochberg’s first and second quartets are written in this modernist style. Then in 1961 tragedy struck when Rochberg’s son became ill with an ultimately fatal brain tumor. His son’s death three years later left the composer deeply changed and struggling to compose.〔(George Rochberg: String Quartet No. 3 ) Vinca Quartet (Retrieved 24 January 2008)〕 His eventual conclusion that he was unable to adequately express his profound grief and loss through serialism led him towards his more mature style, an aesthetic which often mixes tonality and atonality and has sometimes been labeled “neo-romanticism.” Rochberg described his goal in this new style as an attempt to achieve “the most potent and effective way to translate my musical energy into the clearest and most direct patterns of feeling and thought.”〔

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