Mari compozitori

At a first glimpse the title could seem to place the present paper among those dealing with a musicological superstructure which unites successfully the subjectivity of the interpretative phenomenon with the inherited guidelines of perceiving the work of art.

Nevertheless, going deeper to the profound significance of the subject we will discover the artist’s interior laboratory, that place where the musical score takes life along the difficult journey from its being deciphered to its being performed on the stage.

We have in front of us a musical phenomenon very much talked about (the orally transmitted interpretative traditions being an indisputable truth), about which, unfortunately, very little has been written about, so that we must admit in this context the quasi-inexistence of published works in this field.

Investigating the basic principles for the creation and the developing of the string quartet according to a concise, strictly scientific method, this paper would have the chance to become a valuable help for those who strive at an ample and professional knowledge of the problems characteristic to the interpretation of the chamber music and, especially of the music for the string quartet.

This chamber ensemble has the strength to penetrate with subtlety and refinement into the deeper corners of the human soul, can use its suggestive power to create the strongest and the most diverse emotional feelings, but above all, it can create that condition , people need so much now , that is , spiritual peace, a lofty alternative to the present every day turmoil. This is the reason why music lovers and composers have paid so much attention to chamber music and to the string quartet. From the sonorous and expressive virtues of this original and precious instrument we should embark on the fascinating adventure of becoming acquainted with the secrets of its handling in the complex and refined process of musical communication.

The present paper deals with a multitude of methods didactically elaborated. Its main purpose is not to be a manual for beginners. Its domain of investigation speaks to a large number of interpreters while the core of the paper represents the passion for chamber music and for the most balanced ensemble - the string quartet.

The practical aim of the paper comes out of our desire to meet the needs of those interested in this subject while it addresses not only the specialists but also to high school and university students who take the first steps in the new world of chamber music. We also address to the thousands of amateurs all over the world who will find in these pages much information and many suggestions regarding the re-creation and understanding of the music of yesterday and of today dedicated to the string quartet, which was also performed successfully by Voces Quartet along several decades already. The author, as the first violin player of the quartet, has been confronted with all the problems that are going to be presented in this paper. That is why we hope that answers and clues to these various problems will be answered and found. Reading the paper, it will be evident the author’s preoccupation to give as many details as possible regarding the individual technique on the basis of which a chamber music ensemble can be created. The technical elements characteristic to a quartet are also dealt with in an endeavour to outline the way leading to the final target –“the art of performance”.