UNIVERSITY of the ARTS School of Interpretation And

UNIVERSITY OF THE ARTS "GEORGE ENESCU"- IASI

School of Interpretation and theoretical music studies

PhD THESIS THE STRING QUARTET IN THE CREATION OF DMITRI SHOSTAKOVICH -Abstract-

Scientific coordinator: Viorel Munteanu, Phd Academic Professor

Author: Sebastian Vîrtosu, PhD candidate

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Contents: Argument / 3 Part I, “Shostakovich – Style between styles in modern music” • Chapter I / 15 • Chapter II / 25 • Chapter III / 29 • III. 6. 1. Quartet no. 1, op. 49 / 44 • III. 6. 3. Quartet no. 4, op. 83 / 50 • III. 6. 4. Quartet no. 6, op. 101 / 55 • III. 6. 5. Quartet no. 12, op. 133 / 61 • III. 6. 6. Quartet no. 13, op. 138 / 66 • III. 6. 7. Quartet no. 14, op. 142 / 68 • III. 6. 8. Quartet no. 15, op. 144 / 72 Part II / 78 • 1. Introduction / 78 • 2. 1. Quartet no. 3, op. 73 / 81 • 2. 2. Quartet no. 5, op. 92 / 105 • 2. 3. Quartet no. 7, op. 108 / 133 • 2. 4. Quartet no. 8, op. 110 / 158 • 2. 5. Quartet no. 9, op. 117 / 181 • 2. 6. Quartet no. 10, op. 118 / 202 • 2. 7. Quartet no. 11, op. 122 / 221 Part III, Interpretative Parallels / 234 • 1. Preliminary analyzes / 234 • 1. 1. Quartet no. 3, op. 73 / 236 • 1. 2. Quartet no. 5, op. 92 / 241 • 1. 3. Quartet no. 7, op. 108 / 244 • 2. Detailed analyzes / 247 • 2. 1. Quartet no. 3, op. 73 / 247 • 2. 2. Quartet no. 5, op. 92 / 253 • 2. 3. Quartet no. 7, op. 108 / 257 • 2. 4. Quartet no. 8, op. 110 / 260 • 2. 5. Quartet no. 9, op. 117 / 265 • 2. 6. Quartet no. 10, op. 118 / 271 • 2. 7. Quartet no. 11, op. 122 / 276 Conclusions / 280

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Abstract /284 Appendix / 307 • Quartets formal analysis of Part II of the thesis / 307 • Discography List of the Dmitri Shostakovich string quartets / 388 • Creative interpretations. A scenic view of the author of this work, based on the music of the string quartet no. 5 op. 92 in B flat major by Dmitri Shostakovich / 390

References / 392 Index of names / 395

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ABSTRACT Keywords: string quartet, style, bow stroke, expression, vibrato, the Quartet "Beethoven", the Quartet "Borodin", the Quartet "Gaudeamus", Dmitri Shostakovich, politonalism, polimodalism. Was necessary and timely appearance of a doctoral thesis, entitled String Quartet Dmitri Shostakovich's creation in music-Romanian cultural space as we believe fills a gap of information on this topic. However, only the void of information alone can not be the engine emergence of this thesis, so we wanted to bring to the fore the interpretative vision of Gaudeamus quartet on several chamber works written for string quartet by Dmitri Shostakovich. Neither this interpretative vision Gaudeamus Quartet was not brought alone, but so rare, was put together side by side with two large interpretative vision of two Soviet formations. The first interpretive vision belongs to Beethoven Quartet, who were dedicated several works for string quartet by Dmitri Shostakovich and interpreted almost all quartets in absolute premiere, and the second interpretative vision belongs to Borodin Quartet. Both groups are considered the best interpretations reference of the string quartets by Dmitri Shostakovich. I joined the interpretative vision of the Gaudeamus Quartet with confidence that 25 years uninterrupted on the altar of Romanian chamber music entitling me to be able to express our opinions even in the company of a reference names. The third reason that led to the writing of this thesis is to describe and analyze what is this the interpretative vision of Gaudeamus Quartet. We believe that the younger generation, started on the road of instrumental music, and not only, are entitled to benefit from the experience gained over many years by the Gaudeamus Quartet members, experience that can translate into practical solutions to technical instrumental problems, or interpretation. A trade secrets are not really secrets, but hard work for years. Only then discover shortcuts, or practical solutions, to technical and interpretative

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problems, seemingly insurmountable, fixes wich can escape to a novice making him to struggle in vane and despair. Here comes one who has experience helping the young aspiring to became a master in his chosen profession. Scientific method chosen in this paper, a model that postulates means addressing some theses, to be confirmed gradually throughout the paper, and some predictions, due to those theses postulated in the model set. Also, our scientific method is based on a unit of research methods, such as, inductive method, the deductive method, analytical method, descriptive method, comparative method, extrapolation method, the method of simplification, approximation method, probabilistic method. Thus, our model postulates the following sentences; 1) Any description of the life of a man or his work will strike a similar paradox postulates of mathematics and physics. Will not be covered all aspects of Dmitri Shostakovich, nor all creation music for string quartet. 2) The fifteen string quartets of Dmitri Shostakovich's is a huge study material, unapproachable in one job, so we will examine several quartets, following the results to be extrapolated and applied for other quartets researched, after principle that once learned the algorithm research can be applied to the other. 3) Researchin all three diferent interpretative visions, of the Beethoven, Borodin and Gaudeamus Quartets, can be difficult to distinguish objectively, scientifically. On the one hand, subjectivism listener will have their own perceptions of certain characteristics of these groups performing chamber, on the other hand, measurement and playback equipment (metronome, DVD player, or computer) can have different technical characteristics and design software so there may be some differences in measuring and assessing the different playback devices. Following aspect should not be neglected: while interpretative vision of the Gaudeamus Quartet is performed live, with

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unprofessional equipment, registration wich has, unfortunately, some technical imperfections or interpretative, completely normal in these live recordings, the other two interpretative visions, of Beethoven and Borodin Quartets are made in studios with powerful equipment, professional, the string quartets works were recorded over a few years, and mistakes can be eliminated by repeated passage in many recordings. So not ideal laboratory conditions are met to perform parallel interpretative objectively. Therefore, a certain degree subjective in this research can not be avoided. But we think the the basic, important, will have a high degree of objectivity, such as scientific research is recured. Predictions arising from the model set by us, along with his theses, are these: 1) will remain many aspects of life and work of Dmitri Shostakovich what will be missing from this thesis, not because we have been careful, but that would be too big for a single work. 2) The thesis is focused on presenting interpretative vision of Gaudeamus Quartet, alongside with Soviet interpretations of the two Quartets, Beethoven and Borodin, and presenting technical solutions and performing. Monography, historiography, musicology, pedagogy will appear in the course of the thesis only where it is required for logical discourse imperative presence. 3) The thesis will address to a few string quartets of Dmitri Shostakovich's because, deep and anatomical research of each quartet, in terms of formal, stylistic, musicology, technical interpretative, brings a tremendous amount of information impossible in a short and limited time. Prediction, however, that extrapolation can be inferred quartets and other characteristics researched using information obtained from researched quartets. 4) Failure of the research objectives of the three interpretative visions of the three Quartets, Beethoven, Borodin, Gaudeamus, will leave room for ambiguities, making it difficult to detect similarities and

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differences ideal three interpretive options, but we consider that the basic moments, important similarities and differences are clear, net and objective of our research giving scientific character needed. At this point we can answer and question from the beginning, "Why Shostakovich?" Tough question, because people, even simple ones, are hard to describe in words. And weight does not come from lack semantic terms or categories that describe them but rather by infinitely small microcosm or characterizing human being. Infinity by its size, overwhelms us, so we avoid or simplify it. I went into the realm of physics? What relation is between music, musicians, mathematicians and physics? Links are multiple, would be to name only Einstein fiddle and violin always go after him. However, these links do not talk about here, but a comparison. The human being is finite, and in space and time, is therefore a clear limit, numerical finite and tangible theory, however, like those of physical quantities mentioned above, we can not know fully, completely, a human being, hence the dificulty of a good and real description. Resolving the impasse is to simplify, as is mentioned above, in response to misunderstanding of infinity, this time, the human being, and not an ordinary being but the great Shostakovich. This simplification of a human life is beyond our control, is an automatic reaction to describe his life. We can handle all aspects of life and its creation and therefore we never exhaust the subject itself. Physics do the same when calculations involves infinity; for it can not do calculations with infinite numbers, the infinite will be broken into a large finite number and approximate the infinite. We`ll proceed in our work in the same way. Especially when we`ll compare between them this three different interpretative ways of each of this three groups, Beethoven, Borodin and Gaudeamus. Artistic interpretation is essentially a subjective act, hard objectified in scientific terms. To succeed objectifying a subjective act of interpretation, should be used the methods of simplification, approximation and statistics. In this way science can quantify subjective act as interpretation of music.

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One of the reasons we choose Shostakovich was the destiny of a man, and an artist, in a world full of wars, revolutions, convulsions, terror, Stalinist dictatorship, taking contact with these issues even since his childhood. Another reason was our desire to stress, where the music allows, an another level of perception of his works. Until now, the perception of his works was noticed only as anti-communist struggle, or a double meaning, referring here to his music where some moments are in many cases, grotesque, sarcastic, even surreal, moments that critics and the public understood a criticism against Soviet power in general and Stalin in particular. We believe the time is right to suggest other plans of reception of his work, after all Shostakovich was first a man, with its joys and sorrows, and after a critic of the Power of his time. We must believe that it was a complete artist, able to play all human states and not reductionist perceive it only as a "masked" critical of Bolshevism. Leading figure of twentieth century music, inconsistent in terms of Soviet power since Dmitri Shostakovich had its ups and downs, agony and ecstasy. Could not otherwise. Composer was not allowed to waste him, and his music, into a false dignity confronting the Soviet power. Finally, without opening a controversy, we want to clarify a sensitive issue that is of independent music with the other arts. Yes, music is independent in the sense that it does not need the help of other arts to express herself, but it is not just a series of sounds, rhythms and arrangements that creates an aesthetic only, unrelated to the world we live in, and even if it was connected to another universe parallel to our own, all music would outline a universe, even different from ours, only a universe of sound. We find exaggerated these assertions and believe that it went too far with the release of music. Until halfway agree, which is beyond, is exaggeration. It would be undesirable if all philologists and literates decides to remove musicality, sound and images from the literary texts, considering them unnecessary to prose or poetry. Why should the music remove the picture, or the story,

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from it? All arts are independent of each other but when one of them manages to reach the realm of arts sisters, then, perfection is truly achieved. Arts complement each other. Visual arts plays music and sounds, music shows us images, stories (drama), literature visualize pictures, music and sounds. Terms arts borrowed from each other, for example in terms of visual arts to music, such as color, outline color, architecture, image, shape etc. In the visual arts, in music terms such as harmony, tone, sound, vibration, rhythm, composition etc. In literature using terms from both, music and visual arts, such as sound, tone, image, architecture, harmony, balance, composition etc. My role as interpreter makes me look and find meaning at any musical compositions and in that sense I try to imagine, visualize musical colors, true colors translate to imagine, a story, a state or more, feelings or sensations. These are just starting points, the rest is made by music itself. I can not imagine an interpretation that does not have direction and purpose, that does not come from somewhere and does not lead anywhere. The same thing happens in literature, as an actor or simply reader. Imagine, and even hear, everything you read, do not read just letters and words, and not only delight themselves. Of course, in music, like in literature, each one has a personal view, about that text, musical or literary. While I interpret or play a composition, I visualize a story, and every music lover from the concert hall, view as, or different from me; however, in both of us aesthetic awakens emotions from that text of music or literature. And even the same picture, seen by two or more people at the same time, "hear" or "listen" differently by viewers, since some of them will notice some details, and someone else other details. In this complementarity of the arts, of course they have specific features, with specific terms that handle a work, making it perfect. Music uses sound, literature words, letters (themselves, spoken, are sound), fine arts light, color, wood, stone, in a word, matter. Returning to the thesis, it is divided into the following parts:

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• Part I describes in the first chapter, the spirit of the age (zeitgeist) in the art of music. Showing searches, innovations and constant struggle against tradition pioneers of old masters. Atonalism, for example, was passed in response to the tonal system considered outdated, unable to satisfactorily reflect the new features of modern society. Serialism is undoubtedly the most accurate expression or mirror of the industrialized society, automated entry of the machines in people's lives dehumanizing the human being. Serialism, in order unchanged string of notes of music composition, strongly suggests automaticity inflexibility and the machines wich started with the industrial revolution. Dodecaphonism reflects strong egalitarian socialist and communist movements. As everyone should be equal in rights, so the 12 notes had a range equal right to express themselves fully, it may be any of them center end of a composition. In tonalism could not it. If the center was, for example, D major, could not complete the work than re note, not on any of the twelve notes. Slowly but surely, every new trend appeared to cause rupture increasingly larger unit destroying tradition in parts becoming smaller and more, reflecting the atomization of modern society and the hundreds and thousands of social groups, professional, cultural, or religious. Also in the first chapter then follows a review of various styles and composers, including Dmitri Shostakovich, highlighting similarities and differences, and current employment in a musical or another, his music. Thus, the first chapter contains mostly information and musicological or monography invoice. Chapter II contains an analysis parallel between quartets no. 7, no. 8 and no. 10 of quartets of Dmitri Shostakovich and, op. 17 no. 2 of Bartok, op. 22 no. 2 of Enescu and "5 Pieces for String Quartet" op. 5 of Webern. This will include information musicological parallel, general formal analysis and stylistic analysis. This chapter II will be a useful tool for those interested, brings together composers as different styles that have interesting similarities and can see the springs of time, dynamic avantgarde trends. This will help young players, not only in their work for the interpretation and study of the works of these composers. Chapter III is a brief selective through the creation of Dmitri Shostakovich (film music, symphonies, operas, instrumental concertos, chamber

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music and quartets), providing information about the year in which the work was composed, work number, year of first absolute auditions and performers. This chapter will be useful as a practical tool work, prospective students will be on hand with information about different historiographical character compositions by Dmitri Shostakovich, enriching their professional culture. In this chapter we will see that Dmitri Shostakovich was one of the most prolific composers of his generation. So this part I full of information, monography, historical, musicological, serving to outline a framework analysis understandable and logical further support for string quartet creation of Dmitri Shostakovich, Part II. • Part II analyzes quartets no. 3 no. 5, no. 7, no. 8, no. 9. no. 10 and no. 11, in terms of historical, stylistic, technical, interpretive and even didactic-pedagogical strong accents. In this Part II of musicological information and didactic-pedagogical nature prevailed. Formal analyzes are at high resolution and can be found in the Appendix. Technical and interpretative information have teaching and pedagogical role, being useful to an young musician just starting out. Parts II and III contain clear and short, defining the technical and interpretive objective terms, some of the interpretative vision of Gaudeamus Quartet. All interpretative vision can not be displayed because of the limited space of a written work. The vast majority of such information is transmitted orally, in thousands of hours spent in the classroom with students. • Part III will present interpretive parallels between this three Quartets: Beethoven, Borodin, Gaudeamus of the string quartets analyzed in Part II. I watched closely as objective quantification of an act eminently subjective musical interpretation. Track parameters in the analysis of performances of the three groups were agogics, dynamics, expression and phrasing building affixed to musical syntactic structures. Interpretive parallels will be analyzed in more detail in quartets no. 3, no. 5 and no. 7, following that of the other remaining, ie quartets no. 8, no. 9, no. 10 and no. 11 essential tests to be performed, but the resolution of the first three. The reason for this decision is dictated by the huge size of data and reduced space of a

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thesis. To give an objective and scientific nature such as performing parallel we used an original method, namely, the creation of technical and interpretative cassette inserted in a table where you can clearly see the similarities and differences of the three visions interpretative and the concrete, practical, technical or interpretative resolution of a passage or phrase. In these tapes have shown, in fact, the skeleton for building an interpretation in thousands of hours of individual study and rehearse of a Quartet, revealing the thinking behind a vision of a musical work. It is, if you will, declassified thousands of laboratory experiments performed to find the best solution to a passage or phrase. And besides, all music competitions, the judges rank competitors from such technical and interpretative boxes, gathering competitor winning the most points after quantification track parameters, namely, tempo, dynamics, expression, instrumental technique and interpretation (and phrasing) appropriate and adapted to different musical styles and trends. • Conclusions. These conclusions will focus primarily on the information contained in Parts II and III, with references, and scoring on the information in Part I. • Apendix. Formal analyzes --- quartets. 3, no. 5, no. 7, no. 8, no. 9, no. 10 and no. 11 by Dmitri Shostakovich. These analyzes find them very useful, since were not made until today, and a high resolution, containing a huge amount of information. Will serve primarily students of musicology and composition, but also the instrumental music students who wish to increase their cultural baggage specialized information. --- Discography of Dmitri Shostakovich's string quartets. --- Creative interpretations. A scenic view of the author of this work, on the music of the Quartet no. 5, op. 92, in B flat major. This vision was staged by actor Mihai Bica, who directed the show, and theater actors form Brasov Theater "Sica Alexandrescu". DVD with show recording is attached on the cover art of the thesis.

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APPENDIX FORMAL ANALYZE OF QUARTET N. 3 OP. 73 IN F MAJOR

PART I --- Form of Sonata Sinoptic Table Exposition ---- Theme I (m. 1-10), preceed by 2 introductive measures ---- Theme II (m. 53 -61) ---- Theme III (m. 81-87) Development ---- Fugue (m. 102 -177) Theme I, Theme Bv1 and Theme III became Subject and Countersubjectes of Fugue. Reprise ---- (m. 177) Theme I (m. 177 -185) ---- Theme II (m. 199-206) ---- Theme III (m. 226-247) Coda ---- (m. 251) Exposition Introduction (m. 1-2) Vlc. + Br. + V.II Frase A (m. 3-10) --- a (m. 3-4), V.I --- b (m. 5-6), V.I --- c (m. 6-8), V.I --- d (m. 8-10), V.I, (m.9-10), Vlc. Frase A variated (Av) (m. 11-15) --- a (m. 11-12), V.I (mark 1-1) --- e (m. 13), V.I --- f (m. 14-15), V.I Frase A1 (m. 16-22) --- g (m. 16), V.I (mark 2-3) --- h (m. 17-18), V.I --- i (m. 19-20), V.I --- j (m. 21-22), V.I Frase Av1 (m. 23-27) --- av (m. 23-24), V.I (mark 2+3) --- k (m. 24-25), V.I --- l (m. 26-27), Vlc. Frase Av2 (m. 28-33) --- av1 (m. 28-29), V.I (mark 3-2) --- cv (m. 30-33), V.I+Vlc. Frase Av3 (m.34-43) --- a with an 8th down (m. 34-35), V.I (mark 3+4) --- b with an 8th down (m. 36-37), V.I --- m (m. 38-40), V.I --- c1v (m. 40-42), V.I+Vlc. --- dv (m. 42-43), V.I Concluzsion --- (m. 44-45, mark 5-2), V.I+Vlc. Transition --- (m. 46-53, mark 5), V.I+Vlc. şi Br.+V.II

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Frase B (Theme 2) (m. 54-62, mark 6) --- m (m. 54-57), V.I --- n (m. 58-61), V.I Frase Bv (m. 62-69) --- mv (m. 62-67), V.I (mark 6+8) --- nv (m. 67-69), V.I Transition (m. 69-80) --- o at V.I (m. 69-73) (mark 7-1) --- ov at V.I (m. 74-77) --- p at Vlc. (m. 70-73) --- pv at Vlc. (m. 74-77) --- pv1 at Vlc. (m. 78-80) --- ov1 at Br. (m. 78-80) Frase C (Theme 3) (m. 81-87) --- r (m. 81-83), V.I (mark 8) --- s (m. 83-87) at Vlc. (m. 84-87) Frase Bv1 (m. 88-95, mark 9) --- mv (m. 88-89), V.I --- t (m. 89-95), V.I Frase Bv2 (m. 96-99, mark 10), V. I Transition (m. 99-102, mark 11-4), V.I Development (Fugue) Theme I = Subject, V.I (m. 102-108) - a1 (m. 102-104) (mark 11-1) - b1 (m. 105-106) - c1 (m. 105-108) Conclusion at V.I (m. 108-109, mark 12-2) Conclusion at V.II (m. 109-110, mark 12-1) Subject at Vlc. (m. 109-115, mark 12-1) Theme a III-a = CounterSubject at V.II (m. 111-117, mark 12+1) Conclusion at Vlc. (m. 115-117, mark 12+5) Conclusion at V.II (m. 118-119, mark 13-2) Theme Bv1 = CounterSubject at V.II (m. 120-125, mark 13) Subject at Br. (m. 119-125, mark 13-1) Conclusion at Vlc. (m. 119-120, mark 13-1) CounterSubject at Vlc. (m. 121-128, mark 13+1) Conclusion at Br. (m. 125-127, mark 14-2) Subject at V.I (m. 126-132, mark 14-1) CounterSubject at Br. (m. 128-132, mark 14+1) CounterSubject at Vlc. (m. 132-136, mark 14+5) Conclusion at V.I (m. 132-134, mark 14+5) Subject at V.II, augmentat (m. 132-135, mark 14+5) m1 at V.I (m. 135-138, mark 15-2) Subject at Vlc. (m. 136-142, mark 15-1) Conclusion at V.II (m. 136-137, mark 15-1) CounterSubject at V.II (m. 138-145, mark 15+1) CounterSubject at Br. (m. 138-143, mark 15+1) Conclusion at Br. (m. 143-144, mark 16-1) Subject at V.I (m. 143-149, mark 16-1) Conclusion at V.II (m. 145-147, mark 16+1) Subject at V.II (m. 147-152, mark 16+3) CounterSubject at Vlc. (m. 149-152, mark 17-4) Conclusion at Vlc. (m. 152-153, mark 17-1) Conclusionata V.I (m. 149-155, mark 17-4)

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Subject at Br. (m. 152-158, mark 17-1) CounterSubject at Vlc. (m. 154-158, mark 17+1) m2 at V.I (m. 155-158, mark 17+2) Conclusion at Br. (m. 158-159, mark 18-1) Stretto Subject at V.I (m. 159-164, mark 18) Conclusion at Vlc. (m. 159-160, mark 18) u at V.II (m. 160-163, mark 18+1) v at Br. (m. 160-162, mark 18+1) v1 at Vlc. (m. 163-170, mark 19-1) Subject at Br. (m. 163-167, mark 19-1) Subject at V.II (m. 167-168, mark 19+3) Conclusion at V.I (m. 165-167, mark 19+1) Codetă at V.I (m. 167-170, mark 19+3) Codetă at Br. (m. 167-170, mark 19+3) Codetă at V.II (m. 169-170, mark 20-1) Coda fugue Subject augmented, V.I (m. 170-176, mark 20) Subject augmented at V.II (m. 171-176, mark 20+1) Subject at Vlc. (m. 170-176, mark 20) Conclusion at Br. (m. 171-176, mark 20+1) Subject augmentated at Vlc. (m. 176-179, mark 21-1) with role of Introduction. Reprise Frase A (m. 177-185, mark 21) --- a (m. 177-179), V.I --- b (m. 179-181), V.I --- c (m. 181-183), V.I --- d (m. 183-185), V.I (m. 184-185), Vlc. Frase Av1 (m. 185-188) --- av1 (m. 185-187), V.I (mark 22-2) --- k (m. 187-188), V.I --- lv (m. 189) V.I Transition variated (m. 189-198, mark 22+2), V.I+Vlc. Frase B, a 4th down (m. 199-206) --- m1 (m. 199-202), V.I (mark 23) --- n1 (m. 202-206), V.I Frase Bv, a 4th down (m. 207-214) --- m1v (m. 207-210), V.I (mark 23+8) --- n1v (m. 210-214), V.I Transition (m. 214-222) --- o, with a 4th down (m. 214-218), V.I (mark 24-1) --- ov, with a 4th down (m. 219-222), V.I --- pv1, with a 5th down (m. 223-225), Vlc Frase C1 (m. 226-250) --- r with a 4th down (m. 226-228), V.I (mark 25) --- rv (m. 232-234), V.I --- rv1 (m. 235-237), V.I --- rv2 (m. 238-240), Vlc. --- rv3 (m. 244-245), Vlc. --- rv4 (m. 248-250), V.I Coda (m. 250, mark 27-1)

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Frase A --- at Vlc. (m. 250-258, mark 27-1) --- at V.I (m. 258-268, mark 28-1) --- at V.I+Vlc. (m. 268, mark 28+9)

PART II --- Lied pentapartite + Coda Sinoptic Table Section A (m. 1-69) SectionB (m. 70-125) SectionA1 (m. 128-151) SectionB1 (m. 160-173) SectionA2 (m. 174-182) Coda (m. 187) SectionA Introduction (m. 1-2) la Br. Frase A (m. 3-14) --- a (m. 3-4) V.I (mark 29+2) --- av (m. 5) V.I --- b (m. 6-7) V.I --- c (m. 7-8) V.I --- d (m. 9-10) V.I --- e (m. 11-14) V.I Frase A1 (m. 15-22) --- av1 (m. 15-16) V.I (mark 30) --- f (m. 17-19) V.I --- g (m. 19-22) V.I FraseAv (m. 23-31) --- av2 (m. 23-24) V.II (mark 31) --- av3 (m. 25) V.I --- bv (m. 26-28) V.I --- cv (m. 28-31) V.I Introduction --- p (m. 32-33) Vlc., V.II, V.I Frase B (m. 34-42) --- h (m. 34-38) Br. (mark 32+2) --- i (m 39-42) Br. Frase A2 (m.43-50) --- j (m. 43-44) V.I + V.II (mark 33) --- e1 (m. 45-50) V.I Introduction --- pv (m. 51) Vlc., Br., V.II Frase B1 (m. 52-60) --- hv (m. 52-56) V.I (mark 34) --- i (m. 57-60) V.I Frase A1v (m. 61-67) --- av4 (m. 61-62) V.I (mark 35) --- fv (m. 63-66) V. I --- gv (m. 66-67) V.I Transition (m. 68-69, mark 36-2) V.I, Vlc., Br. Section B Frase C (m. 70-82) --- k (m. 70-73) V.I (mark 36) --- l (m. 74-75) V.I --- kv (m. 76-80) V.I

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--- lv (m. 81-82) V.I Frase C1 (m. 83-96) --- k (m. 83-86) V.I (mark 38) --- lv1 (m. 87-88) V.I --- m (m. 89-92) V.I --- lv2 (m. 93-96) Frase C2-Transition (m. 97-100, mark 40-4) V.I Frase D (m. 101-104, mark 40) Br. Transition (m. 105-107, mark 41-5) Br. Introduction (m. 108-109, mark 41-2) Br., Vlc. Frase C3 (m. 110-115) --- k, an 8th upper (m. 110-113) V.I (mark 41) --- l, un 8th upper (m. 114-115) V.I Introduction (m. 116, mark 42-1) Vlc., Br. Frase C4 (m. 117-125) --- k (m. 117-120) V.I, V.II an 8th upper (mark 42) to Frase C. --- lv3 (m. 121-125) V.I + V.II Introduction (m. 126-127, mark 43) tutti Section A1 Frase A1v1 (m. 128-133) --- av4 (m. 128-129) Vlc. (mark 43+2) --- fv2 (m. 130-131) Vlc. --- bv1 (m. 132-133) Vlc. Introduction (m. 134) tutti Frase B2 (m. 135-147) --- hv1 (m. 135-140) V.I (mark 44+1) --- hv2 (m. 141-147) Frase D (m. 148-151, mark 46) Vlc. Transition (m. 152-157, mark 46+4) V.I Introduction (m. 158-159, mark 47-2) V.I, V.II Section B1 Frase C5 (m. 160-174) --- kv1 (m. 160-163) V.I, V.II (mark 47) --- lv4 (m. 164-165) V.I, V.II --- Introduction (m. 166) Vlc., Br. --- kv1 (m.167-170) V.I, V.II --- lv4, an 8th down (m. 171-173) --- Introduction (m. 173) Br. Section A2 Frase A1v2 (m. 174-182) --- av5 (m. 174-175) Vlc. (mark 49) --- fv3 (m. 176-177) Vlc. --- o (m. 178-180) Vlc. --- ev (m. 181-182) Vlc. Transition (m. 183-186, mark 50-4) Vlc. Coda (m. 187, mark 50) --- bv2 (m. 187-188) Br. --- pv1 (m. 189-) Br.

17

PART III --- Lied tripartite + Coda Sinoptic Table Section A (m. 1-95) Section B (m. 96-153) Section A1 (m. 153-218) Coda (m. 220) Section A Introduction (m. 1-4) Vlc., Br., V.II Frase A (m. 4-12) --- a (m. 5-6) V.I (mark 51+3) --- a1 (m. 7-8) V.I --- b (m. 9-10) V.I --- b1 (m. 11-12) V.I Frase A1 (m. 12-16) --- a (m. 13-14) V.I (mark 52-5) --- a2 (m. 15-16) V.I Frase B (m. 17-28) --- c (m. 17-18) V.I (mark 52) --- c (m. 19-20) V.I --- d (m. 21-22) V.I --- e (m. 23-24) tutti --- ev (m. 25-26) tutti --- ev1 (m. 27-28) tutti Introduction (m. 29-30) Vlc., Br., V.II Frase A2 (m. 30-38) --- a (m. 31-32) V.I, Br. (mark 53+1) --- a1 (m. 33-34) V.I, Br. --- b (m. 35-36) V.I, Br. --- b1 (m. 37-38) V.I, Br. Frase A3 (m. 38-42) --- a (m. 39-40) V.I, Br. (mark 54-5) --- a2 (m. 41-42) V.I, Br. Frase Bv (m. 43-54) --- c (m. 43-44) V.I (mark 54) --- c (m. 45-46) V.I --- c (m. 44-45) Br. --- c (m. 46-47) Br. --- d (m. 47-48) V.I --- e (m. 49-50) tutti --- ev (m. 51-52) tutti --- ev1 (m. 53-54) tutti Introduction (m. 55-56) Frase C (m. 57-64) --- f (m. 57-58) V.I (mark 55+2) --- f1 (m. 59-60) V.I --- g (m. 61-64) V.I Frase D (m. 64-75) --- h (m. 64-67) V.I (mark 56-1) --- i (m. 68-70) V.II --- j (m. 68-70) V.I --- k (m. 71-77) V.II --- l (m. 71) V.I --- j1 (m. 72-75) V.I Frase E (m. 76-81) --- e (m. 76-77) V.I (mark 57) --- e1 (m. 78-79) V.I, V.II --- e2 (m. 80-81) V.I, V.II

18

Frase B1 (m. 82-87) --- cv (m. 82-83) V.I (mark 57+6) --- cv (m. 83-84) V.II --- cv (m. 84-85) V.I --- cv (m. 85-86) V.II --- Transition (m. 86-87) tutti Frase C1 (m. 88-95) --- f (m. 88-89) V.I (mark 58) --- f (m. 89-90) V.II --- f1 (m. 90-91) V.I --- f1v (m. 91) V.II --- m (m. 92-93) tutti --- Conclusion (m. 94-95) tutti

Section B Frase F (m. 97-119) --- n (m. 97-101) Br. (mark 59+1) --- nv (m. 101-104) Br. --- nv1 (m. 105-109) Br. --- n1 (m. 109-113) Br. --- nv2 (m. 113-115) Br. --- o (m. 116-119) Br. Frase F1 (m. 119-125) --- nv3 (m. 119-123) Br. (mark 62-1) --- Conclusion (m. 124-125) tutti Frase G (m. 126-136) --- p (m. 126-127) Vlc. (mark 63) --- pv (m. 128-129) Vlc. --- p1 (m. 130-136) Vlc. Frase Fv (m. 136-144) --- n (m. 136-140) V.I (mark 64-1) --- n (m. 137-141) V.II --- nv (m. 140-144) V.I --- nv (m. 141-144) V.II Transition (m. 145-153, mark 65) --- o1 (m. 145-149) V.I --- r (m. 150-153) V.I Section A1 Frase Av, a 2nd minor down (m. 153-161) (mark 66-1) --- a (m. 154-155) V.I --- a1 (m. 156-157) V.I --- b (m. 158-159) V.I --- b1 (m. 160-161) V.I Frase A1v, a 2nd minor down (m. 161-165) V.I (mark 67-5) --- a (m. 162-163) V.I --- a2 (m. 164-165) V.I Frase Bv1, a 2nd minor down (m. 166-177) (mark 67) --- c (m. 166-167) V.I --- c (m. 167-168) V.II --- d (m. 170-171) V.I --- d (m. 171) V.II --- e (m. 172-173) tutti --- ev (m. 174-175) tutti --- ev1 (m. 176-177) tutti

19

Introduction (m. 178-179) Vlc., Br., V.II Frase C (m. 180-187) --- f (m. 180-181) V.I (mark 68+2) --- f1 (m. 182-183) V.I --- g (m. 184-187) V. I Frase Dv (m. 187-199) --- h (m. 188-190) V.II (mark 69-1) --- i (m. 191-194) V.I + Vlc. --- j (m. 191-193) V.II --- j1 (m. 195-198) V.II --- k (m. 194-199) V.I + Vlc. --- l (m. 194) V.II Frase Ev (m. 200-204) --- e (m. 199-201) V.II (mark 70-5) --- e1 (m. 201-202) Vlc. + Br. --- e2 (m. 203-204) Vlc. + Br. Frase Bv2 (m. 205-210) --- cv (m. 205-206) Br. (mark 70) --- cv (m. 206-207) Vlc. ---cv (m. 207-208) Br. --- cv (m. 208-209) Vlc. --- Transition (m. 209-210) tutti Frase C1v (m. 211-218) --- f (m. 211-212) Br. (mark 71) --- f (m. 212-213) Vlc. --- f1 (m. 213-214) Br. --- f1 (m 214) Vlc. --- Conclusion (m. 215-218) tutti Coda Introduction (m. 219-220) tutti Frase F2 (m. 220-228) --- nv (m. 220-223) V.I (mark 72+1) --- nv (m. 221-224) Vlc. --- nv1 (m. 224-228) V.I --- nv2 (m. 225-228) Vlc. Frase Bv3 (m. 229-232) --- cv1 (m. 229-230) V.I (mark 73) --- cv1 (m. 230-231) Br. --- cv1 (m. 231-232) V.I --- cv1 (m. 232-233) Br. Frase Bv4 (m. 233-236, mark 73+4) V.II + Br. Codette (m. 237, mark 73+8)

20

PART IV --- Rondo Sinoptic Table Theme A-Chorus (m. 1-5) Theme B-Cuplet (m. 6-13) Theme Av (m.14-18) Theme Bv (m. 19-28) Theme Av1 (m. 29-33) Theme C (m. 34-37) Theme Av2 (m. 40-44) Theme B1 (m. 44-47) Theme Av3 (m. 48-52) Theme B2 (m. 52-56) Theme Av4 (m. 57-61) Theme B3 (m. 61-64) Theme Av5-Coda (m. 68) Frase A (m. 1-5) --- a (m. 1-2) Vlc., Br., V.II (mark 74) --- b (m. 3-5) Vlc., Br., V.II Frase B (m. 6-13) --- c (m. 6-7) V.I (mark 75) --- cv (m. 7-13) V.I Frase Av (m. 14-18) --- a (m. 14-15) Vlc., Br., V.II (mark 76) --- bv (m. 16-18) Vlc., Br., V.II Frase Bv (m. 19-28) --- cv1 (m. 19-20) V.I (mark 77) --- cv2 (m. 20-22) V.I --- d (m. 23-26) V.I --- Conclusion (m. 26-28) V.I Frase Av1 (m. 29-33) --- a (m. 29-30) Vlc. (mark 78) --- bv1 (m. 31-33) Vlc. Frase C (m. 34-37) --- e (m. 34-35) Br. (mark 79-6) --- f (m. 36-37) Br. Introduction (m. 38-39) --- g (m. 38-39) Vlc., Br., V.II Frase Av2 (m. 40-44) --- a ( 40-41) V.I (mark 79) --- b (m. 42-44) V.I Frase B1 (m. 44-47, mark 79+4) V.I Frase Av3 (m. 48-52) --- a (m. 48-49) V.I (mark 80) --- bv (m. 50-52) V.I Frase B2 (m. 52-56, mark 80+4) V.I Frase Av4 (m. 57-61) --- av (m. 57-58) Vlc. (mark 81) --- b (m. 59-61) Vlc. Frase B3 (m. 61-64, mark 82-2) V.I Cadence Vlc. (m. 64-67, mark 82+1) Frase Av5 (Coda) (m. 68-73) --- a (m. 68-69) Br. (mark 83) --- gv (m. 68-) Vlc. --- b1 (m. 70-73) Br. --- h (m. 73-79) Br. --- gv1 (m. 79) Br.

21

PART V --- Form bipartite + Codă Tabel sinoptic Partite I --- Section A (m. 1-138) --- Section B (m. 139-195) Partite II --- Section Av --- Cadence (m. 195-291) --- Section Bv --- (m. 291-352) --- Coda (m. 353) PARTITE I Section A Frase A (m. 1-14) --- a (m. 1-3) Vlc. (mark 85) --- a1 (m. 3-6) Vlc. --- a2 (m. 6-7) Vlc. --- a3 (m. 8-13) Vlc. --- a4 (m. 13-14) Vlc. Frase A1 (m. 14-20) --- av (m. 14-17) Vlc. (mark 86-1) --- a1v (m. 17-20) Vlc. Frase B (m. 21-32) --- b (m. 21-23) Vlc. (mark 86+6) --- b1 (m. 24-25) Vlc. --- b2 (m. 26-27) Vlc. --- b3 (m. 28-29) Vlc. --- b4 (m. 30-33) Vlc. Frase A2 (m. 32-42) --- a (m. 32-35) V.I. (mark 87) --- a1v1 (m. 35-39) V.I --- a5 (m. 39-40) V.I --- c (m. 41-42) V.I Frase A3 (m. 42-52) --- a6 (m. 42-43) V.I (mark 88-1) --- c (m. 44-45) V.I --- b5 (m. 46) V.I --- a7 (m. 47-48) V.I --- a8 (m. 49-52) V.I --- cv (m. 48-50) Vlc. --- d (m. 51-52) Vlc. Frase B1 (m. 53-60) --- b1v (m. 53-54) V.I, V.II (mark 89+1) --- b2v (m. 55-56) V.I, V.II --- b3v (m. 57-58) V.I, V.II --- b4v (m. 59-60) V.I, V.II Transition (m. 61-69) --- cv1 (m. 61-63) V.I, V.II (mark 90-2) --- b5 (m. 61-62) Br. --- a9 (m. 63-69) Vlc. Introduction (m. 69-70) tutti Frase C (m. 71-80) --- e (m. 71-76) V.I (mark 91) --- f (m. 77-78) V.I --- Conclusion (m. 79-80) V.I Frase C1 (m. 81-90) --- e1 (m. 81-86) V.I (mark 92) --- a9v (m. 84-90) V.II, Br. --- f1 (m. 86-89) V.I --- Conclusion (m. 89-90) V.I

22

Frase C2 (m. 90-10) --- ev (m. 90-95) Br. (mark 93-1) --- e2 (m. 96-100) Br. Transition (m. 101-110) --- cv2 (m. 101-102) Br. (mark 94-2) --- bv (m. 103) V.I, V.II --- b3v (m. 104-105) V.I, V.II --- b4v (m. 106-107) V.I, V.II --- b6 (m. 108-111) Br. Frase Av (m. 110-124) --- a (m. 110-113) V.I (at V.I is Frase A, from begenning of the movement) (mark 95) --- a1 (m. 113-116) V.I --- a2 (m. 116-117) V.I --- a3v (m. 118-124) V.I Frase A1v (m. 124-130) --- av (m. 124-127) V.I (mark 96-1) --- a1v (m. 127-130) V.I Frase Bv (m. 130-135) --- bv (m. 130-131) V.I (mark 96+5) --- b1v (m. 131-133) V.I --- b2 (m. 133-135) Transition (m. 136-138, mark 97-3) tutti Section B Introduction (m. 139-140) V.I, V.II, Br. Frase D (m. 140-154) --- g (m. 140-143) Vlc. (mark 97+1) --- g1 (m. 144-147) Vlc. --- g2 (m. 147-150) Vlc. --- g1v (m. 151-154) Vlc. Frase D1 (m. 154-163) --- gv (m. 154-158) V.I + Vlc. (mark 98-1) --- g1v1 (m. 159-161) V.I+Vlc. --- gv1 (m. 161-163) V.I, Vlc. Frase E (m. 164-175) --- h (m. 164-165) V.I (mark 99) --- hv (m. 166-167) V.I --- i (m. 168-171) V.I --- j (m. 172-175) V.I --- Conclusion (m. 175) Vlc. Frase D2 (m. 175-179) --- k (m. 175-177) V.I (mark 100-1) --- g1v1 (m. 177-179) V.I --- gv2 (m. 175-177) Vlc. --- l (m. 177-179) Vlc. --- gv3 (m. 179-182) Vlc. --- lv (m. 182-185) Vlc. Frase B2 (m. 183-191) --- b5 (m. 183-185) V.I (mark 101-2) --- b2v (m. 186) V.I, V.II --- b3v (m. 187-189) V.I, V.II --- b4v (m. 190-191) V.I, V.II Transition (m. 192-195) --- g1v3 (m. 192-193) V.I (mark 102-4) --- Conclusion (m. 194-195) V.I --- b7 (m. 192-195) Br. PARTITE II Section Av Frase A4 (m. 195-208) --- a (m. 195-198) Vlc.

23

(mark 102-1)

--- a (m. 196-198) V.I --- a1 (m. 198-201) Vlc. --- a1 (m. 198-201) V.I --- a2 (m. 201-202) Vlc. --- a2 (m. 201-204) V.I --- a3 (m. 203-209) Vlc. --- a3 (m. 204-208) V.I Frase A5 (m. 208-219) --- a10 (m. 208-211) V.I (mark 103-2) --- a10 (m. 209-211) Vlc. --- a11 (m. 211-214) V.I --- a11 (m. 211-214) Vlc. --- a12 (m. 214-219) V.I --- a12 (m. 214-219) Vlc. Introduction (m. 219-220) V.I, V.II, Br. --- a13 (m. 219-226) Vlc. Frase B3 (m. 221-226) --- bv3 (m. 221-224) V.I, V.II (mark 104+2) --- m (m. 225-226) V.I, V.II, Br. Frase B4 (m. 227-234, mark 105) --- bv4 (m. 227-234) Vlc. Frase G (m. 235-244) --- n (m. 235-244) Br. (mark 106) --- n (m. 236-244) Vlc. Frase H (m. 245-253, mark 107) --- o (m. 246-253) Br. (Chorus from part IV) --- o (m. 246-253) Vlc. Frase I (m. 253-260, mark 108) --- p (m. 253-260) V.I + V.II (Couplet D from part IV) Frase Iv (m. 260-265) --- pv (m. 260-265) Vlc. (mark 109-1) --- r (Theme III from part I) (m. 263-268) V.I Cadence (m. 270-291, mark 110) Vlc. Section Bv Frase D1v (m. 291-299) --- gv4 (m. 291-295) V.I (mark 111-1) --- g1v4 (m. 295-297) V.I --- gv1 (m. 298-299) V. I + Vlc. Frase Ev (m. 300-307) --- h (m. 300-301) V.I (mark 112) --- i (m. 302-303) V.I --- j (m. 304-307) V.I --- Conclusion (m. 307) Vlc. Frase D2v (m. 307-311) --- k (m. 307-309) V.I (mark 113-1) --- gv3 (m. 307-310) Vlc. --- g1v2 (m. 309-311) V.I --- lv1 (m. 310-313) Vlc. Frase B2v (m. 311-321) --- b5 (m. 311-313) V.I (mark 114-3) --- b2v (m. 314) V.I, V.II --- b6 (m. 315-317) V.I, V.II --- b7 (m. 318-321) V.I, V.II Frase C3 (m. 322-330) --- ev1 (m. 322-327) V.I (mark 115) --- f1v (m. 327-330) V.I Introduction (m. 330) V.I, V.II Frase A6 (m. 331-342) --- a14 (m. 331-334) V.I, V.II (mark 116) --- a 15 (m. 334-342) Vlc.

24

Frase A7 (m. 342-346, mark 117) V.I Frase A8 (m. 346-352, mark 118-7) V.I Coda (mark 118) Frase Av2 (m. 354-357, mark 118+1) V.I Frase Av3 (m. 358-362, mark 118+5) V.I Frase Av4 (m. 363-367, mark 118+10) V.I Frase Av5 (m. 368-374, mark 119-7) V.I Conclusion (m. 375, mark 119) V.I

25

SELECTIVE BIBLIOGRAPHY Bentoiu, Pascal, Capodopere enesciene, Editura muzicală, Bucureşti, 1975. Bentoiu, Pascal, Imagine şi sens, Editura muzicală, Bucureşti, 1973. Berger, Wilhelm-Georg, Cvartetul de la Haydn la Debussy, Bucureşti, Editura Muzicală, 1979.

vol. 1,

Berger, Wilhelm-Georg, Cvartetul de la Debussy la Enescu, vol. 2, Bucureşti, Editura Muzicală, 1979. Bughici, Dumitru, Dicţionar de forme şi genuri muzicale, Editura muzicală, Bucureşti, 1978. Bouscant, Liouba, Les quatuors a cordes de Chostakovitch, Paris, L’Harmattan, 2003. Călinescu, Matei, Cinci feţe ale modernitătii – Modernism, Avangardă, Decadentă, Kitsch, Postmodernism, traducere de Tatiana Pătrulescu si Radu Ţurcanu, Postfaţă de Mircea Martin, Bucureşti, Editura Univers, 1995. Cezar, Corneliu, Introducere în sonologie, Bucureşti, Editura Muzicală, 1984. Cholopow, J, Modalitat in den Streichquartetten von Dmitri Schostakowitsch, in: Schostakowitschs Streichquartette. Ein internationales Symposion. Schostakowitsch – Studien, 5, hg. v. A. Wehrmeyer, Berlin 2002 (studia slavica musicologica 22), S 121-161. Corredor, J. M. A., De vorbă cu Pablo Casals, Editura muzicală, Bucureşti, 1964. Danilevici, L., Şostakovici, Bucureşti, Editura Muzicală a Uniunii Compozitorilor din R.P.R, traducere de Nelson Vladimir, 1960. Denizeau, Gerard, Să înţelegem şi să identificăm genurile muzicale, Editura Meridiane, Bucureşti, 2000.

26

*** Dicţionar de termeni muzicali, Bucureşti, Editura stiintifică şi enciclopedică, 1984. *** Dicţionar de estetică generală, Editura politică, Bucureşti 1972. Emoto, Masaru, Adevărata putere a apei, Braşov, Editura Adevăr Divin, traducere Cristina-Mihaela Miharţ, 2008. Firca, Gheorghe, Bazele modale ale cromatismului diatonic, Bucureşti, Editura Muzicală, 1966. Gavoty, Bernard, Les souvenirs de George Enescu, Paris, Flammarion Editeur, 1955. Hamza, George, Contribuţii la interpretarea cvartetului de coarde, Editura muzicală, Bucureşti, 1977. Hartmann, Nicolai, Estetica, Editura Univers, Bucureşti, 1974. Hermes Trismegistos, Corpus Hermeticum, Editura Herald, Bucureşti, 2009, îngrijire ediţie Dan Dumbrăveanu, traducători Dan Dumbrăveanu, Alexandru Anghel. Iarosevici, George, Metodica predării şi a studiului instrumentelor de coarde, Editura Didactică şi Pedagogică, Bucreşti, 1962. Iorgulescu, Adrian, Timpul muzical. Materie si metaforă, Bucureşti, Editura Muzicală, 1988. Marcu, Măriuca; Moga, Ion, Dicţionar elementar de ştiinţe, Editura ştiinţifică şi enciclopedică, Bucureşti, 1978. Messiaen, Olivier, Technique de mon language musical, 2 vol., Paris, Alphonse Leduc, 1944. Meyer, Krzysztof, Dmitri Chostakovitch, Librairie Artheme Fayard, 1994. Traduit de l’allemand par Odile Demange. Mihalovici, Marcel, Amintiri despre Enescu şi Brâncuşi, Editura Eminescu, Bucureşti, 1990.

27

Milhaud, Darius, Polytonalite et atonalite, Paris, La revue Musicale, IV, 1923. Munteanu, Viorel, Roman Vlad.Modernitate şi tradiţie, Bucureşti, Editura Muzicală, 2001. Natiez, J. J., Fondements d’une semiologie de la musique, Union generale de l’education, Paris, 1976. Niculescu, Ştefan, Reflecţii despre muzică, Bucureşti, Editura Muzicală, 1980. Platon, Opere, vol. V, Editura ştiinţifică şi enciclopedică, Bucureşti, 1986. Prelipcean, Bujor, Probleme tehnice şi interpretative specifice cvartetului de coarde, Editura Artes, Iaşi, 2005. Prelipcean, Dan, Creaţia clasică pentru cvartet de coarde, Editura Artes, Iaşi, 2005. Radian, H. R., Cartea proporţiilor, Editura Meridiane, Bucureşti, 1981. Ricoer, Paul, Eseuri de hermeneutică, Editura Humanitas, Bucureşti, 1995. Sandu-Dediu, Valentina, Ipostaze stilistice şi simbolistice ale manierismului în muzică, Bucureşti, Editura Muzicală, 1997. Servien, Pius, Estetica (Muzică – Pictură – Poezie – Stiintă), Bucureşti, Editura Ştiinţifică şi enciclopedică, 1975. Stravinsky, Igor, Poetica muzicală, Bucureşti, Editura Muzicală, 1967. Terenyi, Ede, Structuri de straturi acordice în muzica contemporană, în Lucrări de muzicologie, vol. 6, Conservatorul Gh. Dima, Cluj-Napoca, 1970. Vieru, Anatol, Cuvinte Românească, 1994.

despre

sunete,

Bucureşti,

Editura

Cartea

Vieru, Anatol, O teorie muzicală pentru perioada postmodernă, Revista Muzica, serie nouă, anul V, nr.2 (18), Bucureşti, aprilie – iunie, 1994.

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Vieru, Anatol, Atlas de muzică nouă, Bucureşti, Editura Universităţii Naţionale de Muzică, 2006. Vlad, Roman, Storia della dodecafonia, Milano, Edizioni Suvini-Zerboni, 1958; traducere de Irina Passa si Viorel Munteanu; ediţie îngrijită şi adăugită, studiu, note, şi comentarii de Viorel Munteanu, Bucureşti, Editura Naţional, 1998. Voiculescu, Dan, Aspecte ale polifoniei în muzica contemporană, în Revista Muzica, Bucureşti, nr.6/1974.

românească

Voiculescu, Dan, Aspecte ale polifoniei secolului XX, Teză de doctorat, Conservatorul Gh. Dima, Cluj-Napoca, 1983.

Adrese de internet : http://www.musicweb-international.com/mwork_index/shost_sq.htm

24 martie

2011.

http://www.quartets.de/compositions/ssq02.html, 28 august 2012.

Edituri muzicale : Musikverlag Hans Sikorski, Hamburg. Ed. Nr. 2265, 1966. Musikverlag Hans Sikorski, Hamburg. Ed. Nr. 2266, 1966. Musikverlag Hans Sikorski, Hamburg. Ed. Nr. 2267, 1966. Musikverlag Hans Sikorski, Hamburg. Ed. Nr. 2268, 1966. Musikverlag Hans Sikorski, Hamburg. Ed. Nr. 2209, 1966. Edition Peters, Leipzig, Band I, Band II, 1979.

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