{"id":1043,"date":"2017-01-03T15:02:06","date_gmt":"2017-01-03T20:02:06","guid":{"rendered":"http:\/\/www.artsjournal.com\/curves\/?p=1043"},"modified":"2017-01-03T16:26:17","modified_gmt":"2017-01-03T21:26:17","slug":"nine-for-four","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/curves\/2017\/01\/nine-for-four.html","title":{"rendered":"Nine for Four with Prism Quartet"},"content":{"rendered":"<p><a href=\"https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2017\/01\/group.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-1045\" src=\"https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2017\/01\/group-300x206.jpg\" alt=\"group\" width=\"300\" height=\"206\" srcset=\"https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2017\/01\/group-300x206.jpg 300w, https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2017\/01\/group-768x527.jpg 768w, https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2017\/01\/group-1024x702.jpg 1024w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>In 2009 I heard the <a href=\"http:\/\/www.prismquartet.com\/?concerts=art-transcription-nyc\"><strong>Prism Quartet<\/strong><\/a> play <em>Pagine<\/em>, a set of arrangements by Salvatore Sciarrino of works spanning several centuries.\u00a0 I was taken with suppleness of the ensemble, its ability to adapt itself to widely divergent styles.\u00a0 I was also struck by the license Sciarrino took in collecting vastly different works into a single set, a license that fit nicely with my view of music.<\/p>\n<p>The generations born in the mid-20<sup>th<\/sup> century were the first to experience music in their formative years via both live performance and on recordings.\u00a0 As one result, juxtapositions that would have confounded our forebears sound perfectly reasonable.\u00a0 Jumping from Carlo Gesualdo to Cole Porter is stimulating, where it once might have been distressing.<\/p>\n<p>I latched onto Sciarrino\u2019s premise as a foundation for <em>Nine for Four<\/em>, a collection of pieces from the 14<sup>th<\/sup> to the 20<sup>th<\/sup> centuries that have had a strong impact on the way I think about music.\u00a0 The pungent harmonies of Machaut and Scriabin, the nimble wit of Josquin and Beethoven: listening to these compositions through the prism of a saxophone quartet emphasizes how vastly different they are from one another, and how similar.<\/p>\n<p>Eight years later, Prism is premiering the set on a concert with Sciarrino\u2019s <em>Pagine<\/em> and William Bolcom\u2019s arrangements from Schumann\u2019s <em>Album for the Young<\/em>.\u00a0 The performance is this Saturday night \u2013 Jan. 7 \u2013 at the DiMenna Center in NYC.\u00a0 Details below.<\/p>\n<blockquote class=\"wp-embedded-content\" data-secret=\"Qx6PrmOdPb\"><p><a href=\"https:\/\/dimennacenter.org\/event\/prism-quartet-the-art-of-the-transcription\/\">PRISM Quartet: The Art of the Transcription<\/a><\/p><\/blockquote>\n<p><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;PRISM Quartet: The Art of the Transcription&#8221; &#8212; The DiMenna Center for Classical Music\" src=\"https:\/\/dimennacenter.org\/event\/prism-quartet-the-art-of-the-transcription\/embed\/#?secret=g1dHM75q02#?secret=Qx6PrmOdPb\" data-secret=\"Qx6PrmOdPb\" width=\"500\" height=\"282\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In 2009 I heard the Prism Quartet play Pagine, a set of arrangements by Salvatore Sciarrino of works spanning several centuries.\u00a0 I was taken with suppleness of the ensemble, its ability to adapt itself to widely divergent styles.\u00a0 I was also struck by the license Sciarrino took in collecting vastly different works into a single [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1043","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/1043","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/comments?post=1043"}],"version-history":[{"count":3,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/1043\/revisions"}],"predecessor-version":[{"id":1047,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/1043\/revisions\/1047"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/media?parent=1043"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/categories?post=1043"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/tags?post=1043"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}