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| Características | |
| Año de publicación | 2010 |
| Duración | 36 min |
| Encuadernación | Grapas |
| Instrumentación | Flauta, Oboe, Fagot, Clarinete y Trompa |
| Numero de paginas guion | 64 |
| Numero de paginas partes | 80 |
| Número de edición | 1ª |
| Número de impesión | 1ª |
| Tamaño (alto x ancho) | 29,7 x 21 cm |
| ISMN | 979-0-69215-249-1 |
At the turn of the century to the twentieth century Spanish music tangled lived between two squabbling: the feasibility of a Spanish opera and the possibility of chamber music in Spanish. Around 1903 Chapí enriched the matter with his first String Quartet in G major to be followed by three others. All moderate Spanish, European and downright pleasant enough to hear. Quartets Chapí are a bridge between the de Arriaga, the Conrado del Campo and many of modernity. As Chapí, in the absence of Albéniz, he had become the great white hope of musical life in Madrid in the transition from the twentieth century, assumed the responsibility of leading the attempts of the Breton, Emilio Serrano, Manrique de Lara or Zurrón proposing four samples provided by some of the best moments of post-romanticism Hispanic chamber music, especially those offered by the Second and the Third Quartet, which reached their highest levels of inspiration. Conrad noted the Third Field that "there is less overt and dominant in previous popular influence, however, the quartet, very personal in all its procedures and melodies, is Spanish, so Spanish as the above." The transcript of the Third Quartet in D M presented makes use of wind instruments to reflect all the above, but that if, at times some parts are modified, provided improved result for timbre.
| File | Type | Description |
 Extracto obra |
Extract from the book | Extracto obra |
