Quatuor Ebène : Bela Bartok String quartet Nr. 4 C-major Sz 91 

radiorelojdespertador . If only I was paying more attention, I would've noticed that while I was listening to this earlier!

I just can't believe it......

its a very common lick played by jazz players. search "the jazz lick" on yt

LOL, perfect.

go back to whatever adam neely video you came from

Could you please include timestamp for when the first movement starts, thnkx

@@firiel2366 you cant wait 4 seconds? sheesh

@@sneddypie 4 seconds is too long tho-

Merci beaucoup !

🤟

I've always said that. If only people who dislike classical music, but liked hard rock, were aware of String Quartet 4, V

Gyorgy Sandor, his student, once said to my orchestra that it was a mistake to think of Bartok as atonal. "He was VERY tonal. With lots of extra notes. Like paprika!"

@@RModillo yes, excellent 👏 and so true!

I think you must be referring to the 6th quartet, which was composed near the end of his life.

Cool

Fucking idiot.

@@reginaldmolethrasher437 IMO you are speaking of yourself.

@@RichardASalisbury1 Nah he gets is

It’s no coincidence that Miles Davis, John McLaughlin and Robert Fripp were all fans of Bartok. His stuff had the dark edginess you find in the blues and flamenco.

@@danielschaeffer1294 Indeed. Bartok's string quartets are genuine treasure.

There is NO randomness to this piece; only someone's not understanding.

I agree there is something that clicks when you get to see the performance. I've listened to recordings of this piece dozens of times, but being able to watch the music being made opened up a new world of discovery for me. Thanks for sharing that. I also wonder how much was the fact that this is an excellent performance and recording, perhaps the most exciting I've encountered. Also, I agree with Timothy Brittain's statement below, though it was said in a way that closes down communication and reenforces the some of the false narrative that you have to study this music and 'understand' the logic, musicality, and glorious economy of Bartok's compositional approach in order to enjoy the fuck out of it.

This quartet has always been a favorite of mine. Until seeing this performance I'd only ever heard audio recordings, and kind of forgot about it during the years of family-raising. It's wonderful to hear it again. While I never felt there was anything the least bit random about it - to me it's structurally very tight, which is what made me fall in love with it - the visual experience is certainly enriching.

can't stop watching this lol

the most impressive page turn I've ever seen

and at 22:52 :DD lmao the page flips are so intense tho

Twat.

@@reginaldmolethrasher437 wow, harsh

mine too!

Thanks for commenting Matthew. It's great to hear from someone who likes these quartets so much.

Indeed. It’s so elusive and yet so busy. Bartok was a sound magician.

not atonal

@@sneddypie it is not clear. Probably atonal for me.

Bartok himself said that with this quartet he wanted (also) to demonstrate to Schoenberg that it was possible to write music with all 12 tones without being atonal. this quartet is strongly rooted in C, but it' also highly chromatic (especially the first half) - it is technicalyy very interesting to see how he treated the matherial, I found especially revealing the third movement. The interest and force of the piece are obviously beyond mere technical questions...

@@michelrenard500 the first notes you hear are basically a spectrum of the low C (IV cello string)... :) the last ones of both the quartet and first movement are only Cs in different octaves, preceded by E/G/Eb and a Db as passing tone - basically a mixed major/minor chor with a phrigian flavour due to the passing tone. Not atonal at all :) very chromatic, but extremely choerent in its harmonic and motvic organization :)

Ooooo Thanks a lot 😍

Your dog has good musical taste.

My puppy seems very intrigued, as she keeps jumping onto the couch near me and crashing her neck to observe what is happening. She always come back to me when she realizes that what she hears is coming from the desk, so she obviously recognizes something! :)

Ben Mackenzie Great observation! I'm an old King Crimson fan and I think you're right. I hear the influence. Fripp and the band were classically influenced, so it's a definite possibility. Good ear!

Fripp once commented that King Crimson is his answer to the question "What if Jimi Hendrix played a Bartok Quartet?"

I see that about the rhitmic motifs, but i see more of larks I motifs (musically, not in the obvius string sound of the violin)

It is. It's so beautiful and ugly and menacing and spiritual all at once. And it really exploits the limits of what strings can do like no other quartet.

Dsc yingyue actually, it's in C... it's true - I wouldn't say C mayor, but it's in C...

Look at he last chord, which rsolves the harmonic tensions.

I would say 'on' C; it is not 'in' C

Yes C major. Look at the cadencces with a score.

Most recordings I've seen don't include a key signature in the title of this quartet. So let's cut the OP some slack. But if you cats who've looked at the score say it's so, I believe you. Correct me if I'm wrong, but didn't Bartok often present two conflicting tonalities? What do they call it, bi-tonality, or something like that? If I'm right about that, tell me about that concept, with regard to this work. I love picking the brains of music theory nerds :D

thanks i read this in a very fun accent

Over 100,000 views. Not everyone is lost.

@@pearspeedruns I think you missed his point!

David Watermeyer His point is that people can't appreciate classical music outside of standard tonality. I think that my comment was relevant.

@@pearspeedruns No worries. Its clear that he is very moved by it as I am. Let him be moved. No need to take things so incredibly literally. Relax and enjoy! That's whats most important. I say this to myself too in case you think I'm being patronizing. All good things.;

Extreme ' heavy metal ' listeners used to like this kind of work, specially 'death metal musicians'. You can find beauty in apparently chaos, sometimes by natural taste, sometimes by trained ears.