Вениамин Ефимович Баснер (1925 –1996) — выдающийся композитор, чье творчество одной из ярких страниц вошло в историю отечественной музыкальной культуры; Народный артист России, лауреат Государственной премии. Его именем названа одна из малых планет Солнечной системы. Автор множества разноплановых произведений: симфоний, сюит, сочинений для камерных составов. Всенародное признание композитору, безусловно, принесли песни (среди которых такие шедевры, как "С чего начинается Родина", "На безымянной высоте", "Махнем не глядя") и музыка к кинофильмам.
Жанр струнного квартета занимает особое место в творчестве В. Баснера. Струнный квартет №4, соч. 18 (1969) был создан композитором в исключительно короткий срок — менее чем за две недели. По признанию автора, ни одно из своих произведений он не писал так быстро. Квартет посвящен памяти Нины Баснер — жены композитора. Несмотря на то, что, что три части различны по своему образно-эмоциональному строю, все произведение представляется написанным на одном дыхании, как удивительно цельная и вдохновенная поэма, пронизанная жгучими, глубоко личными переживаниями.
Издание адресовано концертирующим музыкантам, студентам и педагогам консерваторий и музыкальных училищ, а также широкому кругу любителей музыки.
The Quartet No 4, op.18 (1969) stands afar from the third one, though being connected with the idea of succession. Its cycle of three movements is rather chamber, appealing to the sphere of mostly bosom sentiments, achieving their outburst and passionate apex. The combination of candid self-expression and psychological aptitude with impressive concentration of feelings and thoughts is uttered succinctly.
The quartet is composed during a short time. The whole composing process lasted for less than a fortnight. The composer confessed, there was not any piece he had been creating so fast. The quartet is dedicated to the memory of Nina Basner, the composer's wife and friend. Although the three movements differ from each other by their imagination sphere, the whole opus seems to have been composed in a burst of inspiration, resembling the kind of integral and stirring poem, pierced with ardent deeply personal contemplation.
The first movement, the sort of a prologue, evolves slowly, concentrating alarm and danger, precaution.
The second movement turns the whole action into the margin of commemoration. Miraculous alternation is succeeded by the whole chain of scherzos episodes and the march. Then there follows the kind of dialogue between the violin and cello.
The third movement is mostly animated in its finale, which is accepted as the top of its plot. Frightening sulky emotions are dominating here. The previous movements seem to be enlightened by its reverberated luminosity, reviving two vapoured movements. Dark and shadowy music, isn't it heard in this murky music?
The Quartet No 4, op.18 (1969) stands afar from the third one, though being connected with the idea of succession. Its cycle of three movements is rather chamber, appealing to the sphere of mostly bosom sentiments, achieving their outburst and passionate apex. The combination of candid self-expression and psychological aptitude with impressive concentration of feelings and thoughts is uttered succinctly.
The quartet is composed during a short time. The whole composing process lasted for less than a fortnight. The composer confessed, there was not any piece he had been creating so fast. The quartet is dedicated to the memory of Nina Basner, the composer's wife and friend. Although the three movements differ from each other by their imagination sphere, the whole opus seems to have been composed in a burst of inspiration, resembling the kind of integral and stirring poem, pierced with ardent deeply personal contemplation.
The first movement, the sort of a prologue, evolves slowly, concentrating alarm and danger, precaution.
The second movement turns the whole action into the margin of commemoration. Miraculous alternation is succeeded by the whole chain of scherzos episodes and the march. Then there follows the kind of dialogue between the violin and cello.
The third movement is mostly animated in its finale, which is accepted as the top of its plot. Frightening sulky emotions are dominating here. The previous movements seem to be enlightened by its reverberated luminosity, reviving two vapoured movements. Dark and shadowy music, isn't it heard in this murky music?
Veniamin Efimovich Basner (1925 –1996) — vydajuschijsja kompozitor, che tvorchestvo odnoj iz jarkikh stranits voshlo v istoriju otechestvennoj muzykalnoj kultury; Narodnyj artist Rossii, laureat Gosudarstvennoj premii. Ego imenem nazvana odna iz malykh planet Solnechnoj sistemy. Avtor mnozhestva raznoplanovykh proizvedenij: simfonij, sjuit, sochinenij dlja kamernykh sostavov. Vsenarodnoe priznanie kompozitoru, bezuslovno, prinesli pesni (sredi kotorykh takie shedevry, kak "S chego nachinaetsja Rodina", "Na bezymjannoj vysote", "Makhnem ne gljadja") i muzyka k kinofilmam.
Zhanr strunnogo kvarteta zanimaet osoboe mesto v tvorchestve V. Basnera. Strunnyj kvartet №4, soch. 18 (1969) byl sozdan kompozitorom v iskljuchitelno korotkij srok — menee chem za dve nedeli. Po priznaniju avtora, ni odno iz svoikh proizvedenij on ne pisal tak bystro. Kvartet posvjaschen pamjati Niny Basner — zheny kompozitora. Nesmotrja na to, chto, chto tri chasti razlichny po svoemu obrazno-emotsionalnomu stroju, vse proizvedenie predstavljaetsja napisannym na odnom dykhanii, kak udivitelno tselnaja i vdokhnovennaja poema, pronizannaja zhguchimi, gluboko lichnymi perezhivanijami.
Izdanie adresovano kontsertirujuschim muzykantam, studentam i pedagogam konservatorij i muzykalnykh uchilisch, a takzhe shirokomu krugu ljubitelej muzyki.
