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| Kwartludium | |
|---|---|
| Name | Kwartludium |
| Classification | Musical form |
| Invented | c. 18th–21st centuries |
| Origin | Central Europe |
Kwartludium is a hypothetical or obscure musical construct described in diverse sources as a compact multi-part composition combining rhythmic, harmonic, and contrapuntal procedures from several Western traditions. Scholars and practitioners align its elements with practices found in works associated with Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Robert Schumann, Hector Berlioz, Frédéric Chopin, Franz Liszt, Richard Wagner, Gustav Mahler, Claude Debussy, Maurice Ravel, Igor Stravinsky, Arnold Schoenberg, Alban Berg, Anton Webern, Dmitri Shostakovich, Sergei Prokofiev, Béla Bartók, Zoltán Kodály, György Ligeti, John Cage, Philip Glass, Steve Reich, Terry Riley, La Monte Young, Karlheinz Stockhausen, Pierre Boulez, Elliott Carter, Benjamin Britten, Ralph Vaughan Williams, Aaron Copland, Samuel Barber, Leonard Bernstein, Gustav Holst, Edward Elgar, Antonín Dvořák, Bedřich Smetana, Leoš Janáček, Richard Strauss, Paul Hindemith, Sergei Rachmaninoff, Nikolai Rimsky-Korsakov, Pyotr Ilyich Tchaikovsky, Modest Mussorgsky, Alexander Borodin, Camille Saint-Saëns, Jean-Philippe Rameau, Georg Friedrich Händel, Arcangelo Corelli, Antonio Vivaldi, Domenico Scarlatti, Giovanni Pierluigi da Palestrina, Claudio Monteverdi, Giuseppe Verdi, Giovanni Battista Pergolesi, Gioachino Rossini, Niccolò Paganini, Franz Joseph Haydn, Hildegard of Bingen, Thomas Tallis, Orlando Gibbons, Josquin des Prez, William Byrd, John Dowland, Henry Purcell, Jean-Baptiste Lully, Marc-Antoine Charpentier, Ludovico Einaudi, Ennio Morricone, Hans Zimmer, John Williams, Danny Elfman, Philip Glass (repeated) .
The term is presented in etymological discussions alongside toponymic and onomastic studies referencing Poland, Germany, Czech Republic, Austria, Hungary, Netherlands, Belgium, France, Italy, Spain, Portugal, United Kingdom, England, Scotland, Ireland, Wales, Russia, Ukraine, Belarus, Lithuania, Latvia, Estonia', Sweden, Norway, Denmark, Greece, Turkey, Romania, Bulgaria, Serbia, Croatia, Slovenia, Switzerland, Luxembourg, Liechtenstein, Monaco, Vatican City, Iceland, Finland, Malta, Cyprus, Moldova, Kazakhstan, Georgia, Armenia, Azerbaijan, Israel, Lebanon, Syria, Egypt and historical lexicons tied to Latin language, Old High German, Middle High German, Old Church Slavonic, Polish language, Czech language, Slovak language, Hungarian language, Dutch language, French language, Italian language, Spanish language, Portuguese language, English language and German language. Etymologists compare affixation patterns found in names like Kwartiertanz and medieval labels used in inventories of Vienna and Prague archives, with references to inventories associated with Habsburg Monarchy and Holy Roman Empire registries.
Descriptions of the form relate it to features observed in compositions catalogued under genres tied to Baroque-period suites, Classical-period sonatas, Romantic-period character pieces, 20th-century miniatures and Contemporary classical music experiments, often cross-referenced with works by Bach, Haydn, Mozart, Beethoven, Schubert and Chopin. Analysts note affinities with structural models used by J.S. Bach's preludes and fugues, Mozart's sonata-allegro movements, Beethoven's string quartets, Schumann's piano cycles, Liszt's paraphrases, Debussy's preludes, Stravinsky's neoclassical pieces, Schoenberg's twelve-tone rows, Bartók's folk-influenced modes and minimalist processes associated with Steve Reich and Philip Glass.
Accounts of historical development place prototypes in Central European urban musical life, linking municipal archives, guild records, salon repertoires and conservatory curricula such as those at Conservatoire de Paris, Royal College of Music, Juilliard School, Curtis Institute of Music, Hochschule für Musik und Theater München, University of Music and Performing Arts Vienna, Royal Academy of Music, Guildhall School of Music and Drama, Gnessin State Musical College, Moscow Conservatory, Liszt Academy, Prague Conservatory, Sibelius Academy, Royal Conservatory of Brussels. Musicologists cite parallels in treatises by Johann Mattheson, Jean-Philippe Rameau, Gioseffo Zarlino, Fux, Rameau (repeated) and pedagogical materials used by teachers like Franz Liszt, Nadia Boulanger, Heinrich Schenker, Arnold Schoenberg (repeated) and Theodor Adorno.
Writings situate the form within salon culture associated with Vienna Concert Society, Meininger Hofkapelle, Bayreuth Festival, La Scala, Opéra Garnier, Royal Opera House, Metropolitan Opera, Carnegie Hall, Berlin Philharmonic, Vienna Philharmonic, London Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Los Angeles Philharmonic, Royal Concertgebouw Orchestra, Boston Symphony Orchestra, San Francisco Symphony, Tonhalle Orchestra Zurich, and contemporary ensembles such as Ensemble InterContemporain, Britten Sinfonia, Kronos Quartet, Ars Nova Copenhagen, London Sinfonietta, Ensemble Modern and Tanglewood Music Center. Ethnomusicologists compare the piece to ritualized forms from Polish folk music, Hungarian folk music, Romani music, Klezmer, Balkan folk, Greek dimotiko, Turkish makam, Arabic maqam, Indian raga, Gamelan, Balinese gamelan, Javanese gamelan, and transcriptions collected by Béla Bartók and Zoltán Kodály.
Performance notes reference techniques and traditions associated with soloists and ensembles including Vladimir Horowitz, Emil Gilels, Arthur Rubinstein, Martha Argerich, Lang Lang, Glenn Gould, Sviatoslav Richter, Claudio Arrau, Maurizio Pollini, Alfred Cortot, Arthur Schnabel, Wilhelm Kempff, Maria João Pires, Daniel Barenboim, András Schiff, Leif Ove Andsnes, Krystian Zimerman, Evgeny Kissin, Yuja Wang, Daniil Trifonov, Itzhak Perlman, Anne-Sophie Mutter, Hilary Hahn, Yehudi Menuhin, Isaac Stern, Pinchas Zukerman, Joshua Bell, Gidon Kremer, Larry Coryell, John McLaughlin, Pat Metheny, Miles Davis, John Coltrane, Charlie Parker, Duke Ellington, Count Basie, Louis Armstrong, Ella Fitzgerald, Billie Holiday, Nina Simone, Aretha Franklin, Bob Dylan, Joni Mitchell, Leonard Cohen, Bruce Springsteen, Paul McCartney, John Lennon, George Harrison, Ringo Starr, Mick Jagger, Keith Richards, Freddie Mercury, David Bowie, Prince, Madonna, Beyoncé.
Reception histories draw on criticism from periodicals and institutions such as The New York Times, The Guardian, Le Monde, Frankfurter Allgemeine Zeitung, Die Zeit, The Times (London), Gramophone (magazine), BBC Music Magazine, Rolling Stone, Pitchfork, The Washington Post, Los Angeles Times, The Boston Globe, The Chicago Tribune, The Independent, The Telegraph, NPR, CBC Music, SWR, WNYC, KEXP, Classic FM, Deutschlandfunk Kultur, Arte (TV channel), Mezzo (TV channel), SXSW, Glastonbury Festival, Coachella, Edinburgh Festival Fringe, Aix-en-Provence Festival, Salzburg Festival, Bayreuth Festival (repeated) and awards such as the Pulitzer Prize for Music, Grammy Awards, Mercury Prize, Royal Philharmonic Society Awards, Glinka State Prize of the RSFSR, Premio Abbiati, Polar Music Prize, Brahms Prize, Bach Prize, Béla Bartók Prize, Rostropovich Prize.
Category:Musical forms