During a period o f seven years (1931-1930), three masterpieces were written for a chamber ensemble, the piano quartet, for which there were barely any examples in the history of Spanish music:
The “Seconda Sonata Concertata a Quattro”, International Chamber Prize of Bruxels (Julian Bautista), Her Majesty Belgian Queen Elisabeth its dedicatee, is a major, forceful work, impetuously, overwhelming, evoking a degree of Stravinskyan primitivism or tinged with southern elegance. Incisive rhythms, obsessive melodic intervals and caustic harmonies flow into a sort of disfigured lyricism whose main theme alternates the instruments of the ensemble in dialogue form. Joaquín Turina conceived his Quartet in terms of purity of concept, both in the elegantly engraved melodic ideas and in the perfectly balanced instrumentation, no player ancillary or redundant. As part of the neoclassical aesthetic predominant in southern Europe, the Remacha’s Piano Quartet Op.67 formal structure is clear, ordered, its three movements designed around pure classical forms par excellence. Influences may be made out here and there of the neoclassical Stravinsky in the formal precision, incisive rhythms and sharp-edged gestures, and some taste for malevolent dissonance.
Julián Bautista: Sonata Concertata a Cuattro Op.15, I.Allegro assai (Frag.)
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