近距离内射合集

The Diderot String Quartet is bringing a dialogue between instruments to the New Mexico Museum of Art on Sunday, April 12.

Johanna Novom is one of two violinists in the quartet. She said in the Diderot String Quartet, the violin parts are not fixed but divided equally to help the quartet achieve balance and versatility. 

One of the three pieces the group is playing, the Quartet in C Major, Op. 20, No. 2 by Joseph Haydn, is written in a way that does this. 

Throughout the piece, the first violin is more of a melody and soloist part, while the second holds the ensemble together. The two violins act as a 鈥済lue of the inner voices鈥� between themselves and the other viola and cello parts, she said. 

鈥淗aydn was one of the first people to start featuring this sort of back-and-forth dialogue between the two violin parts in a more equal way,鈥� Novom said. 

The dialogue doesn鈥檛 exist solely between the violins, but among all instruments featured in the quartet, Novom said. 

She said it is a perfect unit of four voices, and every instrument鈥檚 part is significant in its own way. 

鈥淚 just feel like there鈥檚 the magic that happens when people put their expressive energy together in the moment like that,鈥� Novom said.

The three pieces in the program themselves form another dialogue, she said. Haydn鈥檚 work was a catalyst of inspiration for Wolfgang Amadeus Mozart and Ludwig van Beethoven. 

The program begins with Quartet in C Major by Haydn, followed by Mozart鈥檚 Quartet in D Minor, K. 421 and ending with Beethoven鈥檚 Quartet in B-Flat Major, Op. 18, No. 6. 

Kyle Miller, the quartet鈥檚 violist, described the music they play as classical, and they consider themselves a period string quartet.

鈥淲e do tend to focus on repertoire that is maybe a little bit earlier than probably many other string quartets tend to focus on,鈥� Miller said.

Diderot鈥檚 repertoire is centered on classical romantic periods, he said, with the earliest pieces being by Haydn and the most recent by Johannes Brahms. 

Novom said the quartet does 鈥渉istorical performances鈥� by staying as authentic to the pieces as possible and playing on period instruments. The instruments are similiar to those the composers would have originally used, with components like strings made of sheep gut. 

鈥淭he idea is to get as close as possible to the language of music that the composers might have been hearing at the time in order to make it new again,鈥� Novom said. 

She said these instruments create a different sound. The vibrato is less present than in a modern-day performance, and the pitch is lower. 

Miller said these period instruments make the music quieter and more intimate. 

鈥淭here鈥檚 kind of a chicken and egg thing where one aspect of what we think of as historical performances is the equipment that we鈥檙e playing on, and another aspect is the style of performance,鈥� Miller said. 

鈥淎nd so I鈥檇 say those two different elements kind of inspire each other in different ways, as far as our approach to this music.鈥�

Elizabeth Secor is an arts fellow from the New Mexico Local 近距离内射合集 Fellowship program. You can reach her at esecor@abqjournal.com.