Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Suite, G-moll, aus Delitiae musicales oder Lust-Music, für zwei Violinen, zwei Violen, Violoncello (Fagott) Kontrabass und Cembalo (Klavier)

Originally for 2 violins, 2 violas, bassoon, and continuo. Continuo part realized for keyboard instrument.

Quintette für Streichinstrumente.

Contains the Quintets for 2 violins, 2 violas and violoncello, K. 174, 516b (406), 515, 516, 593, and 614; Quintet for violin, 2 violas, violoncello and horn, K. 386c (407); Quintet for clarinet, 2 violins, viola and violoncello, K. 581; Eine kleine Nachtmusik, K. 525.

Orchester-trio in E dur, Op. 5, Nr. 3 /

Originally for string orchestra (violin I, II and continuo); includes realization of continuo part.

Konzert, C moll, für Violine und Oboe oder für zwei Violinen mit Klavierbegleitung /

Publisher's no.: Edition Peters no. 3722.

Six duets for two violins and piano /

Pastorale = Souvenir de Campagne -- Sadness = Tristesse -- Abandon -- Cradle-song = Berceuse -- Midnight = Minuit --Serenade.

Introduction et allegro pour harpe avec accpagnement de quatuor à cordes, flûte et clarinette /

For harp, flute, clarinet, and string quartet.

Six easy duets for two violins, op. 61

Mode of access: Internet.

Three duets, op. 9, for two violins /

Mode of access: Internet.

Duets, for two violins.

Mode of access: Internet.

Sanderson's duettinos, or, Select violin miscellany : comprising a series of the most esteemed songs, airs, marches, waltzes, quadrilles, &c arranged in their proper keys as duetts for two violins /

Mode of access: Internet.

Alla sarabanda : from Phantasy quintet for strings ; Antiphon : from Five mystical songs /

Publisher no.: 1.5076.

Twelve sonatas for two violins : with a bass for the violoncello or harpsichord /

Mode of access: Internet.

Preferential self-association of basic fibroblast growth factor is stabilized by heparin during receptor dimerization and activation.

Central to signaling by fibroblast growth factors (FGFs) is the oligomeric interaction of the growth factor and its high-affinity cell surface receptor, which is mediated by heparin-like polysaccharides. It has been proposed that the binding of heparin-like polysaccharides to FGF induces a conformational change in FGF, resulting in the formation of FGF dimers or oligomers, and this biologically active form is 'presented' to the FGF receptor for signal transduction. In this study, we show that monomeric basic FGF (FGF-2) preferentially self-associates and forms FGF-2 dimers and higher-order oligomers. As a consequence, FGF-2 monomers are oriented for binding to heparin-like polysaccharides. We also show that heparin-like polysaccharides can readily bind to self-associated FGF-2 without causing a conformational change in FGF-2 or disrupting the FGF-2 self-association, but that the bound polysaccharides only additionally stabilize the FGF-2 self-association. The preferential self-association corresponds to FGF-2 translations along two of the unit cell axes of the FGF-2 crystal structures. These two axes represent the two possible heparin binding directions, whereas the receptor binding sites are oriented along the third axis. Thus, we propose that preferential FGF-2 self-association, further stabilized by heparin, like "beads on a string," mediates FGF-2-induced receptor dimerization and activation. The observed FGF-2 self-association, modulated by heparin, not only provides a mechanism of growth factor activation but also represents a regulatory mechanism governing FGF-2 biological activity.