{"id":3028,"date":"2011-03-15T14:50:12","date_gmt":"2011-03-15T14:50:12","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3028"},"modified":"2022-11-19T14:51:47","modified_gmt":"2022-11-19T14:51:47","slug":"manfred-trojahn-string-quartets","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/manfred-trojahn-string-quartets\/","title":{"rendered":"Manfred Trojahn: String Quartets"},"content":{"rendered":"

Infotext:<\/p>\n\n\n\n
\n
\n

Manfred Trojahn \u2013 Streichquartette<\/b><\/p>\n

Bislang sind in Manfred Trojahns Werkliste vier Streichquartette verzeichnet, und zwar aus den Jahren 1976, 1979\/80, 1983 und 2009. Indessen hat Trojahn noch weitere Werke f\u00fcr diese Besetzung geschrieben, mitunter erweitert durch zus\u00e4tzliche Instrumente \u2013 wie bereits im\u00a02. Streichquartett<\/i>, wo in drei S\u00e4tzen Mezzosopran und Klari-nette das Streicherensemble erg\u00e4nzen. In der\u00a0Sonata IV \u00bbPrintemps\u00ab<\/i>\u00a0von 1995 tritt eine Fl\u00f6te hinzu, und in der Schubert-Hommage\u00a0Palinsesto<\/i>\u00a0von 1996 eine Sopran-stimme.<\/p>\n

In dem siebens\u00e4tzigen Zyklus\u00a0Lettera amorosa<\/i>\u00a0von 2007 wiederum gehen Streichquartett, zwei weitere Violinen und zwei Soprane satzspezifische Besetzungskombinationen ein. Insgesamt gilt auch f\u00fcr Trojahns Quartettschaffen, was sp\u00e4testens seit Beethovens letzten Quartetten f\u00fcr die Gattung paradigmatisch ist: Auch Trojahns Quartette sind \u2013 wie im jeweils angeschlagenen Ton, so in der Konzeption \u2013 unverwechselbare Unikate.<\/p>\n

Auch sie sind, ankn\u00fcpfend an Beethovens hochgeschraubte Anspr\u00fcche ans eigene Komponieren, Zeugnisse kompositorischer Ambitioniertheit; und auch sie bieten, den verinnerlichten Ausdrucksgestus des Beethovenschen Quartett-\u0152uvres aufgreifend, den H\u00f6rern sozusagen ein Privatissimum der pers\u00f6nlichen Mitteilung.<\/p>\n

Das aus sechs aphoristischen St\u00fccken bestehende Werk\u00a0Fragmente f\u00fcr Antigone<\/i>\u00a0von 1988 war urspr\u00fcnglich als B\u00fchnenmusik f\u00fcr eine Auff\u00fchrung von Friedrich H\u00f6lderlins\u00a0Antigone<\/i>-\u00dcbersetzung in Bochum gedacht. Die Musik blieb dann aber unbenutzt, weil sie sich, so Trojahn \u00bbwegen ihrer radikalen Kargheit \u2026 der Eingliederung in das Schauspiel widersetzte\u00ab.<\/p>\n

Versehen mit fragmenthaften Satz\u00fcberschriften aus H\u00f6lderlins Text, formuliert die Musik gleichsam Endstationen der Antigone. Disparat gef\u00fcgte, mit zwei oder drei Motivgesten auskommende St\u00fccke wechseln mit monomotivischen St\u00fccken ab. Insbesondere in ihnen verzichtet Trojahn wegen des blockartigen Einsatzes des Instrumentariums auf den traditionellen Quartettsatz mit flexiblem Rollenspiel.<\/p>\n

Im letzten St\u00fcck, das lediglich den Ton c im steten Klopfmetrum des Cellos und den Pizzicato-Einsch\u00fcben der \u00fcbrigen Streicher pr\u00e4sentiert, wird die \u00bbEin-T\u00f6nigkeit\u00ab im urspr\u00fcnglichen Wortsinn zum fatalistischen Ausdrucksgestus der Schritt f\u00fcr Schritt aus dem Leben vertriebenen Titelheldin.<\/p>\n

Eine ganz andere musikalische Faktur weist der\u00a0Chant d\u2019insommnie III<\/i>, der sechste Satz des Zyklus\u2019\u00a0Lettera amorosa<\/i>\u00a0auf, der Anno 2007 zur Wiederer\u00f6ffnung der Anna-Amalia-Bibliothek in Weimar uraufgef\u00fchrt wurde: Nachdem die Molto-Adagio-Einleitung das Quartett zun\u00e4chst als einm\u00fctig agierendes Espressivo-Ensemble vorgestellt hat, nimmt die kompositorische Struktur in der Rollenaufteilung zwischen Begleitpatterns und Kantilenen Ma\u00df an der Tradition, und es entstehen postromantische Farbwerte.<\/p>\n

Es mag sich in diesem \u00bbGesang der Schlaflosigkeit\u00ab das poetische Bild eines zwischen Wachen, Halbschlaf und Wiederaufschrecken sich w\u00e4lzenden Liebenden einstellen, der schlie\u00dflich im schwerelos flirrenden Wohllaut des Schlussparts vollends ins Reich der Tr\u00e4ume entr\u00fcckt zu sein scheint.<\/p>\n

Mit dem weichen Melos dieser Nachtmusik kontrastiert Trojahns konzentriert-knappes\u00a03. Streichquartett<\/i>\u00a0von 1983 deutlich. In flexibler, von Beethovens Quartettkunst inspirierter Disposition reagieren die Parte h\u00f6chst spannend aufeinander und ben\u00f6tigen zur Kommunikation nur ein kleines Repertoire von scharf konturierten, kurzen und pr\u00e4gnanten Klanggesten. Die Satztypen der Tradition sind allenfalls noch zu erahnen: etwa in der Disparatheit der Motivik im 1. Satz, im ruhigen Tempo des in eine Siciliano-Bewegung m\u00fcndenden 2. Satzes oder dem auf Br\u00fcche, rhythmische Kontraste und Umschw\u00fcnge setzenden 3. Satz.<\/p>\n

Im Schlusssatz mit seiner kleinen Scherzando-Episode wiederum ist das Prinzip der Reihung wirksam, so dass die Motiv-Bausteine aufgrund ihrer mehrfachen Wiederkehr eine Rondo-Anmutung geben. W\u00e4hrend die Komprimiertheit des musikalischen Geschehens aus der Auseinandersetzung mit Werken der Wiener Schule hervorgegangen sein mag, schl\u00e4gt sich in der avancierten Harmonik, die allenfalls fl\u00fcchtige Ankl\u00e4nge an die Tonalit\u00e4t einflie\u00dfen l\u00e4sst, der Zeitstil des sp\u00e4ten 20. Jahrhunderts nieder.<\/p>\n

Freilich ist Avantgardismus kein Selbstzweck des Trojahnschen Komponierens \u2013 umso mehr die k\u00fcnstlerische Bekundung einer geschichtsbewussten Individualit\u00e4t. Und so bietet Trojahns\u00a04. Streichquartett<\/i>\u00a0nichts weniger als eine moderne Fortschreibung der musikalischen Romantik. Bereits im mit tristanesker Chromatik aufwartenden Eingangssatz ist tonale Fixierung einkalkuliert. Kantilenen und duettierende Passagen evozieren die Vorstellung einer elegischen Szene.<\/p>\n

Indem Trojahn dem 2. Satz, einem brillanten Scherzo, das mit durchbrochener Arbeit und virtuoser Spielfreude aufwartet, den Untertitel \u00bbErste fremde Szene\u00ab gibt, \u00fcberl\u00e4sst es der Komponist dem H\u00f6rer, herauszubekommen, worin die Fremdheit besteht. Mit Blick auf das Urauff\u00fchrungsjahr 2009 liegt es angesichts von Felix Mendelssohn Bartholdys 200. Geburtstag nahe, an eine turbulente Mendelssohniade zu denken.<\/p>\n

Der 3. Satz wiederum kn\u00fcpft stimmungsm\u00e4\u00dfig an den ersten an. Sanglichkeit, die Einf\u00e4rbung der melodischen Hauptlinien durch Begleitstimmen lassen Schubert- oder Dvo\u0159\u00e1k-N\u00e4he vermuten, wobei insbesondere im Schlussteil durch verfremdete Spielweisen jener fragil-schwebende Klangeindruck entsteht, der f\u00fcr Trojahns Quartettschaffen insgesamt typisch ist. Eine \u00bbZweite fremde Szene\u00ab setzt Trojahn in ironisch herbeizitierter Kehraus-Tradition an den Schluss des Werks. Tarantellahafte Rhythmik kontrapunktiert und st\u00f6rt volksliedhafte Sextenseligkeit.<\/p>\n

Mit einem Augenzwinkern in T\u00f6nen stellt Trojahn damit zwischen Komponist und H\u00f6rern jenes kommunikative Einvernehmen her, das zwar beim H\u00f6rer aktive Rezeption voraussetzt, von der eigenen Musik aber ein Miteinbeziehen \u00fcberkommener Tonf\u00e4lle und Idiome verlangt, so dass \u00bbder Gedankenschluss vollzogen werden k\u00f6nnte\u00ab, so Trojahn 1989, dass \u00bbH\u00f6rer und Komponist \u00e4hnliche Erfahrungen und Kenntnisse verbinden\u00ab.<\/p>\n

Robert Maschka<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Programm:<\/p>\n

Manfred Trojahn<\/a><\/b>\u00a0(*1949)<\/p>\n

Third String Quartet<\/b>\u00a0(1983) 12:39
\n[01]\u00a0I. Molto Adagio<\/b>\u00a004:13
\n[02]\u00a0II. sehr zart, \u00e4u\u00dferst langsam<\/b>\u00a003:46
\n[03]\u00a0III. Agitato<\/b>\u00a001:27
\n[04]\u00a0IV. sehr langsam, mit \u00e4u\u00dferster Ruhe<\/b>\u00a003:16<\/p>\n

Fragmente f\u00fcr Antigone<\/b>\u00a021:46
\nSix pieces for string quartet (1988)
\n[05]\u00a0I. \u2026wenn uns nicht im Finstern h\u00e4lt die Zeit<\/b>\u00a0(H\u00f6lderlin) 03:31
\n[06]\u00a0II. nicht kam ein Wort zu mir\u2026<\/b>\u00a0(H\u00f6lderlin) 02:37
\n[07]\u00a0III. \u2026marmornen Glanz\u2026<\/b>\u00a0(H\u00f6lderlin) 03:17
\n[08]\u00a0IV. \u2026dieselben St\u00f6\u00dfe der Seele<\/b>\u00a0(H\u00f6lderlin) 05:21
\n[09]\u00a0V. O mir, grad vor dem Tode ist dies das Wort.<\/b>\u00a0(H\u00f6lderlin) 02:17
\n[10]\u00a0VI. \u2026und nicht wohin ich gehe.<\/b>\u00a0(H\u00f6lderlin) 04:40<\/p>\n

[11]\u00a0Chant d\u2019insomnie III<\/b>\u00a010:16
\nNo. 6<\/b>\u00a0from\u00a0Lettera amorosa<\/b>\u00a0(2007)<\/p>\n

Fourth String Quartet<\/b>\u00a0(2009) 20:43
\nDedicated in friendship to the Henschel Quartett
\nThis composition was commissioned and supported by Kunststiftung NRW
\n<\/i>[12]\u00a0I. molto moderato<\/b>\u00a005:15
\n[13]\u00a0II. moltissimo vivace (Erste fremde Szene)<\/b>\u00a003:29
\n[14]\u00a0III. lento, rubato<\/b>\u00a006:14
\n[15]\u00a0IV. andante, leggiero, sempre un poco staccato (Zweite fremde Szene)<\/b>\u00a005:44<\/p>\n

total time: 66:04<\/p>\n

Henschel Quartett<\/a>
\n<\/b>Christoph Henschel, violin \u00b7 Markus Henschel, violin
\nMonika Henschel, viola \u00b7 Mathias Beyer-Karlsh\u00f8j, violoncello<\/p>\n

Pressestimmen:<\/p>\n


\n24.02.2012<\/p>\n

H\u00f6lderlins Erneuerung<\/b>
\nfrm.<\/i>\u00a0Vielleicht konnte Friedrich H\u00f6lderlin in der neuen Musik auch deswegen zu einer zentralen Inspirationsquelle werden, weil er an eine Erneuerung der Welt durch die Kunst und die Musik glaubte. Nach zwei infernalischen Weltkriegen war diese Haltung Trost und Ansporn zugleich. Jedenfalls f\u00e4llt auf, dass so unterschiedliche Komponisten wie Paul Hindemith, Hanns Eisler, Stefan Wolpe, Wolfgang Fortner, Benjamin Britten, Hans Werner Henze, Aribert Reimann, Gy\u00f6rgy Ligeti, Wolfgang Rihm, Luigi Nono, Bruno Maderna oder Heinz Holliger den Dichter reflektierten.<\/p>\n

Auch Manfred Trojahn und Peter Ruzicka haben sich mit H\u00f6lderlin auseinandergesetzt, wie zwei CD mit Streichquartetten von Trojahn (Henschel-Quartett) und Klavierwerken von Ruzicka (Sophie-Mayuko Vetter) bezeugen. So verarbeitet Ruzicka in \u00abParergon\u00bb von 2006\/07 sechs Abbilder aus seiner Oper \u00abH\u00f6lderlin\u00bb, wobei die \u00abewige Sehnsucht des Menschen nach Einheit mit sich und der Natur\u00bb von schattenhaftem Erschaudern \u00fcber gr\u00f6\u00dfte Zerst\u00f6rungslust bis zur \u00e4ussersten Stille f\u00fchrt.<\/p>\n

Einen \u00e4hnlichen inneren Zyklus zeichnen Trojahns sechs \u00abFragmente f\u00fcr Antigone\u00bb von 1988, die als B\u00fchnenmusik f\u00fcr eine Auff\u00fchrung von H\u00f6lderlins \u00abAntigone\u00bb-\u00dcbersetzung geplant waren; in ihnen lebt gleichsam eine radikale Kargheit. Aus diesen zwei H\u00f6lderlin-Zentren entwickeln die Musiker zwingende H\u00f6rreisen.<\/p>\n

 <\/p>\n


\n11\/2011<\/p>\n

<\/p>\n

 <\/p>\n


\n28.07.2011<\/p>\n

Born in 1949, Manfred Trojahn is one of a number of middle-aged, middle-ranking German composers whose music remains practically unknown in Britain. To date, he’s composed five symphonies, four operas, and four numbered string quartets, two of which the Henschel Quartet play here alongside the six pieces for quartet that make up his\u00a0Fragmente f\u00fcr Antigone<\/i>, and a shorter work taken from an ensemble cycle called\u00a0Lettera Amorosa<\/i>.<\/p>\n

Pinning down Trojahn’s personal style from these works is tricky, though. The Third Quartet and the\u00a0Fragmente<\/i>, both from the 1980s, are essentially latter-day expressionist in style. They are terse, economical, and impressively coherent, most clearly indebted to the Second Viennese School and to Webern especially, but also to the composers who followed in his wake after the second world war.<\/p>\n

The\u00a0Fourth Quartet<\/i>\u00a0from 2009, is, however, very different. Its music is never neo-romantic in a simplistic way, but seems to look back at the great 19th-century string quartets \u2013 notably Schubert, Mendelssohn and Brahms \u2013 through a prism that adds piquancy to the string writing while remaining fundamentally tonal and classical in form.<\/p>\n

It’s sometimes striking and sometimes disconcerting, though the Henschels‘ performance is always wonderfully assured.<\/p>\n

Andrew Clements<\/p>\n

www.guardian.co.uk<\/a><\/p>\n

<\/p>\n

My experience has been that Manfred Trojahn\u2019s music is rarely encountered. I have come across his Symphony No. 3 with the Berlin RSO under John Carewe as part of a six CD box set titled German Symphonic Works 1950-2000, Volume 2 on RCA Red Seal. In addition his opera Enrico 1989\/90 is available on the CPO label.<\/p>\n

The present fine release of music for string quartet should assist Trojahn to gain notice by a larger audience. The performers the Henschel Quartet inform me that all scores contained on the disc are world premiere recordings.<\/p>\n

Trojahn was born in 1949 at Cremlingen Braunschweig in Germany. Studying mainly at the Hochschule Hamburg he later spent a year of study at the Villa Massimo, Rome. From 1991 Trojahn has been professor of composition at the Robert-Schumann-Hochschule, Dusseldorf. A close contemporary of fellow German composers Wolfgang Rihm and Detlev Glanert, Trojahn\u2019s work list shows he has composed a substantial body of scores including operas and five symphonies.<\/p>\n

I have been following the career of the outstanding Munich-based Henschel Quartet for some time and was excited to hear that a disc of contemporary works for string quartet by Manfred Trojahn was in the process of being recorded.<\/p>\n

Trojahn\u2019s four movement String Quartet No. 3 was composed in 1983 and premi\u00e8red the same year by the Auryn Quartet in Hamburg. Stark and uncompromising the score initially seemed uninviting and even a touch threatening. With repeated hearings this highly absorbing music became far more engaging.<\/p>\n

The opening movement greets the listener with a wall of harmonics. Cold as steel, there is an unwelcoming quality to this bleak writing. From 0:52 the singing tone of the violin serves as a gleaming shaft of light through all the gloom. This is music of significant tension and heavily laden with harmonics. Dying away quietly the writing could depict a lonely figure walking towards a distant horizon. Movement two inhabits a warmer more tranquil sound world. At 0:54-1:33 the doleful cello plays its deep rich line. The slowly shifting music provides a sense of the metaphysical, leaving a breathlessness that fades to nothing. Unquestionably unsettling the extremely short third movement consisting of sharp contrasts just thrusts and surges forward. In the Finale the atmosphere is similar in many respects to the opening movement but with a more prominent cello. The fluctuating patterns and varying tempi and textures are predominantly austere and unwelcoming. Overall there is a surprising degree of tranquillity in the writing that at times suggested to me the late quartets of Webern and Berg.<\/p>\n

From 1988 Fragments for Antigone are a set of six pieces for string quartet. Trojahn created the series as incidental music for a staging in Bochum of the Friedrich H\u00f6lderlin version of Sophocles\u2019s tragedy Antigone. Considered inappropriate for the play the music wasn\u2019t actually used. Described in the accompanying booklet notes as \u201caphoristic pieces\u201d the titles for each of the six have been allocated titles extracted from H\u00f6lderlin\u2019s text. I have been provided with an approximate English translation of each of the six titles to serve as a guide. The score was premi\u00e8red by the Auryn-Quartet at the Goethe-Institute at Barcelona in 1988.<\/p>\n

The opening piece ….wenn uns nicht im Finstern h\u00e4lt die Zeit (\u2026if not time holds us in the darkness) is music of severity, recurrently prodding, punching and screeching. The hostility of the writing conveys an atmosphere of gathering anxiety.<\/p>\n

Piece number two ….nicht kam ein Wort zu mir\u2026 (\u2026not came a word to me\u2026) uses a nervy ostinato that just flashes by. The writing is interspersed with numerous silences that seem almost as important as the music.<\/p>\n

Containing liberal use of high harmonics the third piece titled .\u2026marmornen Glanz\u2026 (\u2026marble shine\u2026) projects an eerie tension. I was struck by the wide and often razor-sharp dynamics of the writing. From 1:17 and 2:43 there are short shifts of mood and texture after which any remaining vitality seems to burn itself out.<\/p>\n

Playing tightly as a unit the febrile fourth piece …dieselben St\u00f6\u00dfe… der Seele\u2026 (\u2026the same convulsions… of the soul\u2026) contains a strident and unrelenting ostinato like a septic throb. The overload of tension created is of neurosis proportions. On first hearing the uneasiness that the writing creates was quite overwhelming.<\/p>\n

Contrastingly piece five O mir, grad vor dem Tode ist dies das Wort. (O me, just before death this is the word.) is marked by feather-light textures. A mesmerising drone is interrupted by an abundance of silences.<\/p>\n

The final piece six .\u2026und nicht wohin ich gehe. (\u2026and not where I go.) is underpinned by incessant and deeply resonant beats on the cello that ever so gradually lessen in weight. A remarkable grief-laden sound created by the cellist hitting the string very near the bridge with his right thumb. Intermittent dancing pizzicato impedes only fleetingly on the cello texture.<\/p>\n

Chant d\u2019insomnie III (Song to Insomnia III) is the penultimate movement of the seven movement score Lettera amorosa (Love letter) for 2 sopranos, 2 violins and string quartet (2007). The Henschel premi\u00e8red the piece in 2007 at the reopening after fire damage of the Duchess Anna-Amalia Library in Weimar, Germany. This substantial nocturne-like movement is probably the most immediately accessible work on the disc. Long melodic lines create a dreamlike and mainly romantic setting. From 4:33 the intensity increases to form music that borders on the delirious. At 5:04 the mood lightens becoming one of essentially calm refection with a curious sense of weightlessness. A terse, acrimony-filled episode from 7:35-7:59 is the only real disruption. From 8:45 birdlike fluttering accompanies the sorrowful melodic line and brings the score to a close.<\/p>\n

The most recent score on the disc the String Quartet No. 4 was written for and dedicated to the Henschel Quartet. At its premi\u00e8re in 2009 at the Haus der Stadt,
\nD\u00fcren the four movement work garnered considerable acclaim for both composer and performers. With its broad melodic lines the Elysian opening movement is an engaging mix of the amorous with an occasional sense of heartbreaking despair. Trojahn could easily be depicting a torrid love affair.<\/p>\n

The Henschel asked Trojahn to design a Mendelssohnian link in the score and they got it in movement two. Subtitled \u2018First strange scene\u2019 the movement comes across as a contemporary version of an elfin Scherzo in the manner of Mendelssohn. This is intriguing and highly virtuosic writing from Trojahn creating thrilling and vibrantly imaginative music twisting and weaving that just gallops on and on with great momentum. Quartet violist Monika Henschel-Schwind has described this writing as a contemporary Sommernachtstraum (Midsummer Night’s Dream) movement.<\/p>\n

Broad languid melodies in the third movement provide a warm and comforting blanket. The prominent ostinato figure first heard at 1:40 could have come from a Dvor\u00e1k quartet. Wistful introspection strangely draws the listener in. From 4:29-5:04 harmonics surround the singing melodic line. A romantic close to the movement provides an ethereal sense of floating. This would make a wonderful independent piece.<\/p>\n

The concluding movement subtitled \u2018Second strange scene\u2019 is an uncommon mix of
\ntarantella rhythms and cheerful melodies of a distinct folk feel. Although maintaining Trojahn\u2019s unique style the writing seemed on occasions suggestive of Romantic composers: Beethoven, Schubert and Schumann. A race at breakneck speed sends the listener hurdling to the conclusion.<\/p>\n

Clearly the preparations for these demanding Trojahn scores, all world premi\u00e8re recordings, must have presented the quartet with innumerable challenges. Scrupulously prepared as always the Henschel Quartet demonstrate an impeccable unity to their expressive playing. With an enviable control notable is their outstanding phrasing, articulation and tone. Yet to reach their peak I marvel at how much better these hard-working and talented players can become.<\/p>\n

Trojahn doesn\u2019t seem an overly derivative composer; he has his own unique sound-world. These are challenging and rewarding contemporary scores certainly within the compass of the average listener. They can be best appreciated with an open mind and a reasonable degree of concentration. The two most immediately accessible scores Chant d\u2019insomnie III and the String Quartet No.4 are quite exceptional and deserve to be staples of the contemporary string quartet repertoire. Lovers of progressive chamber music repertoire should search out this outstanding Neos music release from the Henschel Quartet. A cast-iron certainty to be one of my \u2018Recordings of the Year\u2019 for 2011.<\/p>\n

Most discerning about their choice of repertoire it would be good to see the Henschel turn their attention to the string quartets of Haydn and Schumann or maybe Schulhoff and Britten.<\/p>\n

Michael Cookson<\/p>\n

www.musicweb-international.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: Manfred Trojahn \u2013 Streichquartette Bislang sind in Manfred Trojahns Werkliste vier Streichquartette verzeichnet, und zwar aus den Jahren 1976, 1979\/80, 1983 und 2009. Indessen hat Trojahn noch weitere Werke f\u00fcr diese Besetzung geschrieben, mitunter erweitert durch zus\u00e4tzliche Instrumente \u2013 wie bereits im\u00a02. Streichquartett, wo in drei S\u00e4tzen Mezzosopran und Klari-nette das Streicherensemble erg\u00e4nzen. In […]<\/p>\n","protected":false},"featured_media":3029,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[26],"product_tag":[],"class_list":{"0":"post-3028","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-zeitgenossische-musik","7":"pa_artikelnummer-neos-11017","8":"pa_brand-neos-music","9":"pa_ean-575","10":"desktop-align-left","11":"tablet-align-left","12":"mobile-align-left","14":"first","15":"instock","16":"taxable","17":"shipping-taxable","18":"purchasable","19":"product-type-simple"},"yoast_head":"\nManfred Trojahn: String Quartets - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/manfred-trojahn-string-quartets\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Manfred Trojahn: String Quartets - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Manfred Trojahn \u2013 Streichquartette Bislang sind in Manfred Trojahns Werkliste vier Streichquartette verzeichnet, und zwar aus den Jahren 1976, 1979\/80, 1983 und 2009. Indessen hat Trojahn noch weitere Werke f\u00fcr diese Besetzung geschrieben, mitunter erweitert durch zus\u00e4tzliche Instrumente \u2013 wie bereits im\u00a02. Streichquartett, wo in drei S\u00e4tzen Mezzosopran und Klari-nette das Streicherensemble erg\u00e4nzen. 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