Towards the end of 1949, the composer focused on composing his third string quartet, for which he went back to two musical themes, quite different one from the other, that he sketched around 1931-1932.
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|Subheading / Parts||I.Mesto–Allegro moderato - II.Adagio - III.Moderato|
|Instruments||2V, Vla, Vc|
|Contents||Score and parts|
Towards the end of 1949, I focused on composing my third string quartet, for which I went back to two musical themes, quite different one from the other, that I sketched around 1931-1932. My aim in those days was to develop either or both themes in a later works. Theme one: composed by a full 12 notes series. Theme two: based on a modal eolic scale. These two themes appear in their original form only at the central Adagio of the third Quartet with a secondary theme to interconnect them. In this Quartet, all other ideas regarding themes and melodic figures derive essentially from the two main themes. Although each theme has its own musical construction and its personal musical expression clearly different one from the other -, they both share a quality of inner recollection and intimate expression. The form in this Quartet is the result of contrast, juxtaposition, and counterpoint combinations arising from the two themes. The fact that I used them eighteen years after I noted them down, confers to this music a very special significance and a particular expressive nuance marking the whole difference between this Quartet and my other musical works.
This Quartet consists of three movements, linked one to the next with no interruption. The work was completed by the end of March 1950.