NER concerts; Contemporary Chamber Players play Boone and more, part two

­ ­ ...a to beat. Hervet!

Lai! Hervet! Hervet! Hervet! Hervet! Hervet! Lai! Hervet! Hervet! Hervet! Hervet! Hervet! Lai! Hervet! Hervet! Ha, hu, sryt grân. Vite.

Vite. Vite. Vite. Vite. Vite. ...of the hill... ...saxons... ...heil... ...heil... ...yomstel... ...red, red, red...

...we... ...if... ...for God... ...don't know us... ...saxons... ...red, red, red... ...we... ...saxons... ...heil... ...saxons... ...heil... ...heil... ...no... ...yomstel... ...yomstel...

...vomstel... ...saxons... ...heil... ...no... ...saxons... ...saxons...

...no... ...no... ...no... ...no... ...no... ...no... ...along... ...days... ...some... ...risings... ...to fall... ...blow...

...I receive... ...saxons... ...play... ...to the oration... ...saxons... ...saxons...

Jure sonododun Figreların. Ma osn'l pr'l! Na e'ro' en t살 B'Ј'R ferva fi'l, Na forty quia! Tout j & h はい I, I, I …ez, ab goes, I go

Down the corners, to deal with Of a recollection of it resolved ere action. Hoi, hoi, heit, gather in deception, el affant trance, let no man put us under. Hoi, hoi, hoi, hoi, hoi, hoi, hoi, hoi, hoi, hoi, hoi, hoi. That was John Furitos, Quattro Medrigale, Popus Five.

Ruff Shave deconducted the contemporary chamber players, and Charles Van Tessel was our future baritone. Here is Charles Van Tessel, recalled to the stage for a bow, and another. Again, Charles Van Tessel, and our conductor Ruff Shave deconducted the contemporary chamber players, who would like to take this opportunity now to pause ten seconds for station identification. This concert of the contemporary chamber players is coming to you pre-recorded from

Mandel Hall at the University of Chicago. The second half of our concert will consist of three works performed by the contemporary chamber players, String Quartet, which includes Elliott Gallab, a violin, Daniel Ruslin violin, and Michikov Fiola, and Margaret Jacobs-Cello. We will hear Anton Weberns, five movements for String Quartet Opus 5, Easily Blackwood String Quartet No. 1, and Isaac Nemerov's String Quartet. Rene Liewicz has written the five movements for String Quartet Opus 5 were written in 1909 towards the end of Abrins Apprenticeship with Strenberg. They are one of Abrins' first eight-tonal works. What is more important is that they constitute Abrins' first radical step towards great economy of means. The tool with which such economy can be achieved is the principle of perpetual variations, a principle of which great use is made in the work at hand.

The quartet is just coming on stage now. Again to Quartet Rene Liewicz, the second theme of the first movement, for example, shows how Weberns has virtually made variation into an exact science. It is first exposed by the cello and its low register, the accompaniment being furnished by a tremolo in the viola. In the courses of the development, the theme is given to the viola in the middle register of the quartet. The major thirds previously used in the accompaniment are now transformed into broken minor six. The last appearance of the same theme is in the high register of the violin, with all four instruments participating in the elaboration. The four other movements of Opus 5 clearly indicate the same intention to avoid every literal repetition. Furthermore, the second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces Opus 19, which had just then been written, and which was to become, for a while, one of the essential characteristics of the art of Weberns.

In just a few seconds then, we'll hear Anton Weberns five movements of a string quartet. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces.

The second and fourth movements display that tendency to extreme brevity, suggested in Strenberg's six little piano pieces. His orchestral and chamber works have been performed by many of the major orchestras and quartets of the country. His orchestral and chamber works have been performed by many of the major orchestras and quartets of the country.