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.
About Dr. Mary Hunter
Mary Hunter is a musicologist with interests in eighteenth-century opera, the history and ideology of performance, and music in culture. She has received research grants from the National Endowment for the Humanities, the American Philosophical Society and the National Humanities Center. She is the author of The Culture of Opera Buffa in Mozart’s Vienna (Princeton, 1999), which won the American Musicological Society’s Kinkeldey Prize, and Mozart’s Operas: A Companion (Yale, 2008). She is the co-editor, with James Webster, of Opera Buffa in Mozart’s Vienna (Cambridge 1997) and, with Richard Will, of Engaging Haydn: Culture, Context and Criticism (Cambridge 2012). She has been the editor of the Journal of Musicological Research, the Cambridge Opera Journal, and AMS Studies in Music. Teaching interests include music theory, Classical period music, gender and music, Arabic music, and the history of performance. She is an active violinist, coaching chamber music at Bowdoin and playing in the Midcoast Symphony Orchestra as well as in several chamber groups.
The lecture takes place at Hannaford Hall, USM Campus, Maine.
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