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he established the form's structural and musical hallmarks.
No. This-
That "form" would, for the most part, consist of four movements:
1. An Opening movement in sonata form,
2. A slower, more lyrical movement (or perhaps a set of theme and variations)
3. A minuet or scherzo, most likely in 3/4 time (or a variation such as 9/8 or 6/8 time).
4. A fast rondo with contrasting sections.
was something that pretty much everyone was doing in the 1760s-70s. What evidence is there they all learned it from Haydn?
And writing a string quartet didn't really require a very different technique from writing a symphony, serenade, divertimento, notturno, or other string ensemble works (in terms of part-writing and form). Please reconsider my post, #412.

Mara Parker, who claims to have examined over 650 string quartet works from 1750-1797 (and is much better than the overrated Charles Rosen) -

(2018)

"As so much scholarship is devoted to Mozart and Haydn at the expense of other composers, I wanted to avoid this pitfall as much as possible."

"Hickman criticizes the developmental approach, stating that the idea that Haydn invented the string quartet and single-handedly advanced the genre is based on only a vague notion of the true history of the eighteenth-century genre. In a number of articles, Hickman argues for the recognition of various types of quartet, each of which can be related to and distinguished from each other, and whose popularity and prominence rises and falls."

"The string quartet of the second half of the eighteenth century is often presented as a medium which underwent a logical progression from first-violin dominated homophony to the conversation among four equal participants. To a certain extent, this holds true if one restricts oneself to the works of Haydn and Mozart, and some of their contemporaries. My own research initially led to me believe this be to a provable and convincing argument. Once I began examining the actual works, however, I realized my assumptions were continuously being challenged, and that things were not nearly as nice and tidy as I had expected. Increasingly, I found numerous exceptions to my model and it was not long before I realized that my hypothesis was simply wrong."




I still don't know why they do that. (Maybe to make some composers seem more "significant" than others?)
Cliff Eisen wrote that, - in the dedication letter of certain works Mozart dedicated to a certain contemporary of his, Mozart wrote "They are, indeed, the fruit of a long and laborious study".
Actually, the dedication letter was originally written by Mozart in Italian, and Mozart's original writing for that part reads "Essi sono, è vero il frutto di una lunga, e laboriosa fatica". ("fatica" means "endeavor" or "effort"). So Eisen cleverly twisted Mozart's word, "endeavor", to "study", to make it seem like Mozart actually seriously studied the contemporary's works (as a crucial step before writing his own), even though there's no actual evidence of that. (Eisen, in his writing, actually uses the twisted sentence to support his claim Mozart did.)
There are other similar writings by guys like Landon (titled "What X Taught Mozart"), Greenberg. They fabricate at every opportunity - "Mozart always said he learned how to write [works of a certain genre] from X", and similarly nonsensical fantasies such as "Mozart never had grasp on 'independence of 4-part voices' in instrumental music before he studied X's works."

 
Discussion starter · #422 ·
203
String Quartet No 2 in D Major
Alexander Borodin

(1881)

  • Allegro moderato
  • Scherzo (Allegro)
  • Notturno (Andante)
  • Finale: Andante - Vivace
While the nocturne is likely the most popular and recognizable movement of this quartet, it’s the finale that demonstrates Borodin’s mastery of counterpoint.

If you’re familiar with the 1953 musical Kismet you may also recognize several sections.

Here’s the Esmé Quartet performing live on 2 June 2022.

 
203
String Quartet No 2 in D Major
Alexander Borodin

(1881)

  • Allegro moderato
  • Scherzo (Allegro)
  • Notturno (Andante)
  • Finale: Andante - Vivace
While the nocturne is likely the most popular and recognizable movement of this quartet, it’s the finale that demonstrates Borodin’s mastery of counterpoint.

If you’re familiar with the 1953 musical Kismet you may also recognize several sections.

Here’s the Esmé Quartet performing live on 2 June 2022.

Right back on track, Zach, well done - The Borodin string quartets are uniformly superb - Highly recommended.
 
Discussion starter · #424 ·
204
String Quartet in G Minor, Op 10
Claude Debussy
(1893)


Claude Debussy’s String Quartet was published only 12 years after Borodin’s 2nd String Quartet. It was the only one Debussy was to complete, although he had planned on writing two. This quartet foreshadows the equally groundbreaking Prelude à l'après-midi d'un faune that would come the following year.

The differences between Debussy’s Quartet and Borodin’s are striking. Debussy is, of course, an Impressionist, and this quartet is full of unusual (for the day) sonorities and textures, and eschews the traditional Romantic (and Germanic) harmonic structures that had been firmly in place only a decade earlier. Well, except that Debussy did still embrace the traditional quartet format. However, overlaid on this conventional form Debussy also interlaced a cyclic design, where a musical theme (in this case the opening theme) occurs in every movement.

  1. Animé et très décidé
  2. Assez vif et bien rythmé
  3. Andantino, doucement expressif
  4. Très modéré – En animant peu à peu – Très mouvementé et avec passion
There’s one other adjective that keeps popping up in pretty much every article about this quartet I’ve read: “Sensual”. It’s an apt, yet wildly subjective way to describe it.

That’s not to say that this bold foray into uncharted musical tonal territory was warmly embraced by everyone at the time.

The time period between 1875 to 1920 was really something, from the extraordinary technological developments to the changes in art and culture. The telephone, the wireless ship-to-ship telegraph, motion pictures, aerial flight, the automobile, recordings on disc, radio . . .

. . . And here, in music, a very new Impressionism that expanded the musical palette into new and exciting exoticism.

Here, again is the Esmé Quartet.

 
Discussion starter · #425 ·
205
String Quartet No 2, 'Lettres Intimes'
Leoš Janáček
1928


Janáček wrote only two quartets, his first in 1923, and this one, his second. Lettres Intimes (Intimate Letters) is often referred to as Janáček’s ‘Love Manifesto’. The work premiered a month after his death.

The inspiration for the quartet was the 700+ love letters exchanged between himself and a Czech woman almost 40 years his junior. Both were married, and though he was smitten with her, that deep love was not mutual.

The viola is allegedly a stand-in for his love Kamila, and each movement is a metaphor for one of those letters. My guess is that he uses the cello as his own voice, although I’ve not seen that elsewhere. The work is tonal, although not particularly so.

  1. Andante - Con moto - Allegro
  2. Adagio - Vivace
  3. Moderato - Andante - Adagio
  4. Allegro - Andante - Adagio

Here’s a lovely live version from the 2016 Cleveland ChamberFest.

 
Discussion starter · #426 ·
206
Piano Trio No. 7 "Archduke"
Ludwig van Beethoven

1811

The Piano Trio in Bb major, Op. 97, is commonly referred to as the Archduke Trio, because it was dedicated to amateur pianist and patron Archduke Rudolph of Austria.

Frankly, in a way, it’s just another brilliant piano trio from Beethoven (in a standard four movement format, with a 2nd movement scherzo, and a 4th movement rondo): However, as it was to be his last piano trio it’s a fitting final contribution from him to the genre. Absent are the “Beethovenisms” that might be expected; there are no epic fugal movements or passages, no jarring changes or changes, not even his brilliant mid-movement deconstructions, although the Rondo is a bit of a joyride. Instead there is humor, beauty, and a pleasant sense of joy.

The third movement is a series of five variations.

Here’s two different performances of the work. First off is a 2021 performance from Gilles Vonsattel, Paul Huang & Ani Aznavoorian. It’s a vibrant, dynamic, yet warm interpretation. They really get a lot of mileage out of the last movement. The audio here is also superb.

I. Allegro Moderato
II. Scherzo (Allegro)
III. Andante cantabile, ma però con moto
IV. Allegro moderato






. . . And for comparison’s sake, a 1974 performance from masters Yehudi Menuhin, Mstlav Rostropovich, and Wilhelm Kempff.



 
206
Piano Trio No. 7 "Archduke"
Ludwig van Beethoven

1811

The Piano Trio in Bb major, Op. 97, is commonly referred to as the Archduke Trio, because it was dedicated to amateur pianist and patron Archduke Rudolph of Austria.

Frankly, in a way, it’s just another brilliant piano trio from Beethoven (in a standard four movement format, with a 2nd movement scherzo, and a 4th movement rondo): However, as it was to be his last piano trio it’s a fitting final contribution from him to the genre. Absent are the “Beethovenisms” that might be expected; there are no epic fugal movements or passages, no jarring changes or changes, not even his brilliant mid-movement deconstructions, although the Rondo is a bit of a joyride. Instead there is humor, beauty, and a pleasant sense of joy.

The third movement is a series of five variations.

Here’s two different performances of the work. First off is a 2021 performance from Gilles Vonsattel, Paul Huang & Ani Aznavoorian. It’s a vibrant, dynamic, yet warm interpretation. They really get a lot of mileage out of the last movement. The audio here is also superb.

I. Allegro Moderato
II. Scherzo (Allegro)
III. Andante cantabile, ma però con moto
IV. Allegro moderato






. . . And for comparison’s sake, a 1974 performance from masters Yehudi Menuhin, Mstlav Rostropovich, and Wilhelm Kempff.



Kudos for including the Menuhin, Rostropovich, and Kempff version for comparison and after listening I hope others will be able to hear the difference between "craft" and true "artistry". Each of the three was closer to retirement than their prime but that sense of pure intuitive "musicianship" can be clearly heard.
 
Discussion starter · #430 · (Edited)
207
String Quartet No 19, K465, 'Dissonance’
Mozart
1785


As an amateur history buff, I like to place music in historical context. As an Austrian, I don’t really know how much ‘News of the World’ Mozart would have been aware of, or if he were aware, how much he would have cared.

As an American, I’m far more familiar with American History (our educational system is rather Ameri-centric). Our Declaration of Independence was ratified in 1776, but we operated under the Articles of Confederation until 1789. In fact, John Hancock became the 4th President of the Continental Congress in 1785, and later served as its 13th President as well. In fact, we had 17 Presidents before George Washington became our first President of the United States in 1789. Between 1776 and 1789 we were just a loose confederation of 13 republics. Louis XVI was the King of France, and Joseph II (Marie Antoinette’s brother) was Holy Roman Emperor (which would make him King of Germany, Bohemia, Hungary, Croatia, and the Archduke of Austria).

Oh, the Quartet. Yes, well, it was the last of a set of six dedicated to Joseph Haydn, and was dubbed the “Dissonance” quartet because of its unusually ominous slow introduction that avoids defining the tonic (the key) until it finally settles on a suspended dominant resolving to a dominant seventh chord, which then plops into a happy and bright allegro in the key of C Major. But that opening adagio has every note of the chromatic scale in it, making Mozart the original 12-tone composer. And while this introduction doesn’t sound all that odd today, one can only imagine the listeners in the 18th Century thinking that Mozart had lost his mind.

I. Adagio - Allegro
II. Andante cantibile
III. Menuetto. Allegro
IV. Allegro molto

Here's a 'score' video. The 40 minute performance is from Quatuor Mosaïques.



As I also like live performances, here's a lively 30 minute 2005 performance from Gewandhaus Quartet. The sound is excellent; I'm guessing that it's partly due to the excellent acoustics of the Rammenau Baroque Castle.

 
dubbed the “Dissonance” quartet because of its unusually ominous slow introduction that avoids defining the tonic (the key) until it finally settles on a suspended dominant resolving to a dominant seventh chord, which then plops into a happy and bright allegro in the key of C Major. But that opening adagio has every note of the chromatic scale in it, making Mozart the original 12-tone composer. And while this introduction doesn’t sound all that odd today, one can only imagine the listeners in the 18th Century thinking that Mozart had lost his mind.
Classicism is all about keeping the rules of good taste, there's nothing that sounds "odd" to us today in that respect. But the sense of "thirst for resolution" is something atonal music lacks. With that in mind, I don't think it's really comparable to anything of today in terms of dissonant harmony.
Schoenberg called Bach the first 12-tone composer, by pointing to the B minor fugue from WTC 1. I like to think that all this harmonic practice is the extreme variants of the 18th century Germanic tradition. It's not like 'Mozart was the only guy who lost his mind'.
Try the C major quartet of Beecke (cir. 1780), which I posted earlier (Post#417). It also has a dissonant slow introduction. But the one who really shared this sort of language with Mozart (I mean, 'employed dissonance in a similar fashion')-

MH405/iii (which happened to be contemporaneous with the Mozart quartet, 1785)
 
Discussion starter · #432 ·
Classicism is all about keeping the rules of good taste, there's nothing that sounds "odd" to us today in that respect. But the sense of "thirst for resolution" is something atonal music lacks. With that in mind, I don't think it's really comparable to anything of today in terms of dissonant harmony.
Schoenberg called Bach the first 12-tone composer, by pointing to the B minor fugue from WTC 1. I like to think that all this harmonic practice is the extreme variants of the 18th century Germanic tradition. It's not like 'Mozart was the only guy who lost his mind'.
Try the C major quartet of Beecke (cir. 1780), which I posted earlier (Post#417). It also has a dissonant slow introduction. But the one who really shared this sort of language with Mozart (I mean, 'employed dissonance in a similar fashion')-

MH405/iii (which happened to be contemporaneous with the Mozart quartet, 1785)
I think that someday M Haydn will finally be recognized for being a master of composition and orchestration. He's been underrated because of "Great Masters" (like Mozart) hogging the spotlight for centuries.
 
Discussion starter · #433 · (Edited)
So, there you have it, seven significant Chamber works. Six of the seven were string quartets, and only one wasn’t pre-20th Century, namely Leoš Janáček String Quartet No 2, 'Lettres Intimes', from 1928.

Perhaps you might be wondering just where Chamber music was traveling in the 20th Century and beyond.

Let’s explore some CHAMBER MUSIC 20th & 21st Centuries of interest, starting with . . .



208
String Quartet No. 2
Morton Feldman
1983


Well, as string quartets go, Feldman’s Second Quartet is likely the longest I’ve ever seen, clocking in at five to six hours. It’s a mostly quiet piece, and the players do not get a break. Between having to play somewhat quietly (there are passages marked for ppppp’ in places, and an overindulgence in the use of harmonics and pizzicato) for over five hours, the work requires a grand dose of stamina, whether you’re playing it, or simply listening.

Feldman is considered to be one of the most significant composers of the latter 20th century. He was associated with the experimental New York school that also included John Cage. Later in his life he began to compose very long, very quiet pieces, and the longest of all is the String Quartet No. 2.

Just as John Cage’s 4’33” may have been about the sound that does or doesn’t happen when an audience is confronted with ‘silence’, then perhaps this piece is about the effects of time passing for the listener.

Oddly enough, the work seems more of a collection of sound pastiches, and the slow, steady progress the progression from one to the next has on the listener. Most are quite interesting, and when they aren’t, you can rest assured that something different will come along in just a couple of minutes or less.

The Quartet is divided into 124 pages, with three systems per page, each system consisting of nine measures of music. Feldman uses four or five dozen repeated motifs, and around a hundred ‘patterns’ of notes. While there is certainly a copious use of repetition, there are also subtle variations of these repetitions.

In a way it’s a bit like a complex mobile hanging on the veranda, while a gentle breeze changes its look subtly from moment to moment.

The ultimate result is one of the listener being transported in the time and space, with slowly changing music that may tend to force the listener into a meditative state.

If you’re brave, here’s the Flux Quartet, from a live performance of the entire piece in 2016. Five hours thirty-two minutes long.




For those less brave, or simply don’t have that sort of expendable time, the Kronos Quartet performed a extremely edited live version in 1982, lasting a mere 94 minutes.

 
Discussion starter · #434 · (Edited)
209
Pléïades, for six percussionists
Iannis Xenakis
1978


The title likely derives from the Greek myth regarding the Seven Sisters, the daughters of Atlas. However, it’s likely it directly references the constellation of the Pleiades, of which only six of the seven stars are visible now to the naked eye, thus, the work is for six, rather than seven percussionists. Merope (The Lost Sister , or the ‘lost Pleiad’) is that missing star/sister, as it was the last star to be mapped by astronomers, and is the dimmest star in the constellation. (Various legends hint that she got lost because she felt disgraced about marrying a mortal, King Sisyphus.)

Pléïades is also notable for its use of the sixxen, an instrument Xenakis had constructed specifically for the piece. The sixxen is made of nineteen bars of aluminum, or bronze and steel, and tuned to an unequal 21-note scale built from quarter tones or third tones, and laid out keyboard-style, and played with metal hammers.

The work is in four movements, although the order in which they are played seem to be left to the discretion of the musicians. Xenakis himself proposed two different orders. The four movements are titled Métaux (Metals), Claviers (keyboards), Peaux (Skins), and Mélanges (mixtures). Métaux has all six percussionists playing the sixxen, Claviers utilizes vibraphone, marimba, xylophone, and xylorimba, Peaux uses only percussion instruments with skins (timpani, bass drum, congas, bongos and tom-toms), and Mélanges uses all of the aforementioned percussion instruments.

Here’s the PERCURAMA Percussion Ensemble, conducted by Gert Mortensen. Their order is

Métaux
Claviers
Peaux
Mélanges





And for us nerds, a “Score” version, performed by Percussions de Strasbourg. They perform it in the following order:

Mélanges – 0:00
Métaux – 8:30
Claviers – 21:57
Peaux – 32:00


 
Discussion starter · #435 ·
210
Fantasia for Theremin, Oboe, String Quartet and Piano, H. 301
Bohuslav Martinů
1944


Prolific Czech composer Bohuslav Jan Martinů (1890-1959) was born in a church tower apartment in Bohemia, where his family lived, as his father was church sexton, town fire watchman, and shoemaker.

Martinů finished this Fantasia for Theremin, Oboe, Sting Quartet and Piano in 1944, and dedicated it to Lucie Bigelow Rosen, who had commissioned it and was the theremin soloist at its premiere at New York’s Town Hall in 1945.

A quirky characteristic of the theremin is that in experienced hands it can mimic a violin , or a human voice, quite well.

But the addition of the theremin to a quite ‘normal’ sextet of piano, oboe, and string quartet was a somewhat brilliant move for the Neoclassicist (or was he ‘avant-garde’?). The instrument was brand spankin’ new (well, invented in 1919, and patented in the USA in 1928). The first orchestral composition written for theremin was Andrei Pashchenko’s Symphonic Mystery, which premiered in 1924, and Edgard Veresé composed ‘’Equatorial’’ for two Theremin Cellos and percussion in 1934.

As for an analysis of this work, it’s . . . well . . . it’s often reminiscent of Stravinsky, yet at the same time quite unique. In any event it’s actually fascinating to watch a theremin being played.

Here’s the Apollo Chamber Players in 2019.

 
210
Fantasia for Theremin, Oboe, String Quartet and Piano, H. 301
Bohuslav Martinů
1944


Prolific Czech composer Bohuslav Jan Martinů (1890-1959) was born in a church tower apartment in Bohemia, where his family lived, as his father was church sexton, town fire watchman, and shoemaker.

Martinů finished this Fantasia for Theremin, Oboe, Sting Quartet and Piano in 1944, and dedicated it to Lucie Bigelow Rosen, who had commissioned it and was the theremin soloist at its premiere at New York’s Town Hall in 1945.

A quirky characteristic of the theremin is that in experienced hands it can mimic a violin , or a human voice, quite well.

But the addition of the theremin to a quite ‘normal’ sextet of piano, oboe, and string quartet was a somewhat brilliant move for the Neoclassicist (or was he ‘avant-garde’?). The instrument was brand spankin’ new (well, invented in 1919, and patented in the USA in 1928). The first orchestral composition written for theremin was Andrei Pashchenko’s Symphonic Mystery, which premiered in 1924, and Edgard Veresé composed ‘’Equatorial’’ for two Theremin Cellos and percussion in 1934.

As for an analysis of this work, it’s . . . well . . . it’s often reminiscent of Stravinsky, yet at the same time quite unique. In any event it’s actually fascinating to watch a theremin being played.

Here’s the Apollo Chamber Players in 2019.

A genuinely lovely piece - A well-curated selection - but whenever I hear a theremin, I keep waiting to hear the chorus kick in -

"I'm pickin' up good vibrations
She's giving me the excitations (oom bop bop)
I'm pickin' up good vibrations (good vibrations, oom bop bop)
She's giving me the excitations (excitations, oom bop bop)
I'm pickin' up good vibrations (oom bop bop)
She's giving me the excitations (excitations, oom bop bop)
I'm pickin' up good vibrations (oom bop bop)
She's giving me the excitations (excitations)"



And if it's not that, it's this - the "Doctor Who Theme Song" -



;)
 
Discussion starter · #437 · (Edited)
211
Septet for Winds, Strings and Piano
Chick Corea
1983


Ah, so, what have we here?

A-list jazz pianist Chick Corea actually has an impressive background in Classical music, having studied, as a teenager, with concert pianist Salvatore Sullo, who had studied with the great pianist-pedagogue and conductor Alfred Cortot, through whom he could trace a pedagogical lineage to Frédéric Chopin.

But Corea was also a percussionist, which is reflected in both his jazz and classical works. This is reflected in his piano performances in both Jazz, and in his forays into Classical music.

In fact, you can clearly hear that percussive element in his Septet for Winds, Strings and Piano, which is scored for traditional string quartet, piano, flute, and French horn. Septet was originally written for the Chamber Music Society of Lincoln Center, who asked Corea to compose some music for the New World Festival held in Miami in 1982. In 1984 Septet was recorded and released on the ECM label, and received a Grammy nomination for Best Contemporary Composition.

I detect Corea’s jazz influences in the harmonic structures, which seem to gravitate more to jazz structures than typical classical harmonic theory. But, hey!, it’s the 1980s, and there really isn’t any “typical” or “normal” anymore anyway.

But here’s the entire five movement work, performed Live from the Russian National Museum of Music in 2018. The performers are Anton Baronin (piano), Arkady Shilkloper (horn), Victor Khotulev (flute), Eugene Subbotin (violin), Artur Adamyan (violin), Shamil Saidov (viola), and Nikolay Solonovich (cello).

 
Discussion starter · #438 ·
212
Three Whistler Miniatures for Piano Trio
Helen Grime

2011

Tha! Sgrìobhadair Albannach!

Agus obair a tha nas lugha na fichead bliadhna a dh'aois!

Let’s start with the fact that this is a rather recent work, from a composer that’s still living. In fact, Scottish composer Helen Grime was born in 1981. And she’s a well respected composer at that, having received her MBE for services to music in 2020.

The Three Whistler Miniatures for Piano, Violin and Cello is, obviously, a three movement piece:

I: The Little Note in Yellow and Gold (Tranquillo)
II: Lapis Lazuli (Presto)
III: The Violet Note (Lontano, molto flessibile)


The titles are loosely based on three chalk and pastel miniatures, which are displayed in the Veronese Room of the Isabella Stewart Gardner Museum in Boston.

The first movement unfolds gradually, with an ethereal piano melody opening the movement, only to be joined by the strings, slowly at first, then developing into some sort of overlapping melody. It reminds me of a conversation by some bar patrons, which turns into a debate, then an argument, then a fistfight between the noisy piano and the less drunk string players.

I think the real gold is the second movement. After a jagged opening, a melody is cleverly passed between the cello and violin, ultimately with the complete melody being being saved as a climax.

The final movement is rather clever in how it revisits, in a twisted fashion, themes from the first movement.

The composer herself gives a more detailed explanation and analysis of the work and movements here: http://www.lifesci.sussex.ac.uk/home/Chris_Darwin/WebProgNotes/pdfs/GrimeMiniatures.pdf

If you like the piece, you may enjoy her most popular orchestral work, Virga, which premiered in 2007.

Here’s the Claremont Trio performing The Three Whistler Miniatures for Piano Trio in 2019 (They also co-commissioned the work in 2011, and premiered it in 2012).

00:01 I: The Little Note in Yellow and Gold (Tranquillo)
03:23 II: Lapis Lazuli (Presto)
07:13 III: The Violet Note (Lontano, molto flessibile)


 
Discussion starter · #440 ·
213
The Named Angels
Mohammed Fairouz

2015


American composer Mohammed Fairouz’ string quartet, The Named Angels, was written for the Borromeo String Quartet. The work is about the mythology of angels in Middle Eastern Folklore.

I do appreciate how he 'eases' the listener into the more atonal and bolder sounds, by starting with some tonal stuff.

Fairouz began composing at an early age and studied at the New England Conservatory of Music and the Curtis Institute of Music. His teachers included Gunther Schuller, Halim El-Dabh, and John Heiss. Fairouz has written four symphonies, four concertos, and a couple of operas.

I. Mikhael's Thunder
II. Azrael Malak al-Maut


Del Sol String Quartet from the Sono Luminus album 'Scrapyard Exotica'
Show less






III. Jibreel at Hira

The BAMA Players

Sarah Nordlund Dennis, violin; Pei-Ju Wu, violin; Rene Reder, viola; Andrew Dunn, cello




IV. Israfel's Spell

Del Sol String Quartet
from the album 'Scrapyard Exotica'

 
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