Even though Franz Joseph Haydn is widely credited as the father of the string quartet, the Casal Quartet makes a startling claim that the honor may belong to Franz Xaver Richter, whose seven String Quartets, Op. 5, seem to have determined the character of the genre, from their first performance by Carl Ditters von Dittersdorf's quartet in 1757. Richter's quartets preceded Haydn's and Boccherini's earliest efforts by several years, suggesting that they were likely influential. Furthermore, the sophistication and polish of his Op. 5 suggests that he may well have composed other such quartets, though if he did, they are lost.
Introducing 7-String Guitar , the first-ever method book written especially for seven-stringed instruments. It teaches chords, scales and arpeggios, all as they are adapted for the 7-string guitar. It features helpful fingerboard charts, and riffs & licks in standard notation and tablature to help players expand their sonic range in any style of music. …
The 7-String guitar is the foundation that gives some of popular music, especially heavy metal its ferocious sound. In this program, Buz McGrath of Unearth reveals his lead and song writing techniques. Learn sweep arpeggios, 7 string minor seventh arpeggios, hammer pull off runs and shred riffs spanning the neck. Buz teaches his unique way of creating harmony sections and pivoting lead techniques.
Mozart's String Quintet in C minor, K 406 is the composer's own arrangement of a Wind Serenade, K. 388, for two oboes, clarinets, horns and bassoon, written in 1782 at the end of July, shortly after the completion of the Singspiel Die Entführung aus dem Serail (The Abduction from the Seraglio). It is mentioned by Mozart in a letter to his father on 27th July in that year, described as Nacht Musique but is not in the form or mood of a Serenade. The later arrangement was presumably designed to be advertised with the Quintels K. 515 and 516 on 2nd, 5th and 9th April 1788 in the Wiener Zeitung, where they are announced as schön und korrekt geschrieben, to be had from Johann Michael Puchberg, the textile-merchant and fellow freemason of Mozart, to whom he had lent various sums of money...
The musicians can play each in their own keys or their own rhythms, but for the listener who encounters the totality what is manifested is a quivering figure, an oscillating but quite clear gesture, in descending or ascending motion or arches. - Liner notes
It was Robert Schumann who praised the Anglo-French Georges Onslow, alongside Mendelssohn, as one of the successors to the chamber music legacy of Haydn, Mozart and Beethoven. His string quintets were intended for a market of cultivated amateurs, with parts for a second cello or bass. No. 10 in F minor, Op. 32 reflects Beethoven’s influence, its Sturm und Drang elements revealing a masterly balance between the stable and unpredictable. No. 22 in E flat major, lively and playful, offers an almost Schubertian songfulness. Of the first volume (8.573600) Gramophone wrote: ‘these five players make a beguiling case for this music’.
Between 2013 and 2014, the Heath Quartet performed Michael Tippett's five string quartets in four concerts at Wigmore Hall, and this double CD presents the cycle with great clarity and freshness. Tippett composed these eclectic works over a period of almost 60 years, so the many changes in style and expression can be explained by that long time span, and attributed to the composer's constant search for new sources of inspiration.