Quartets involve four players and are written in four “voices.” But even when all the players are playing, there may be only one or two things going on in the music. Or there may be more than four. Composers tend to have characteristic ways of playing with these numbers and the relationships between the voices. Haydn, Shostakovich and Brahms offer a wealth of contrasting examples of “four-ness” and its variants.
The lecture takes place at Hannaford Hall, USM Campus, Maine.
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