Quartet no. 11, F minor, for 2 violins, viola and violoncello : op. 95 /

Mode of access: Internet.

Quartet no. 10, E♭ major for 2 violins, viola and violoncello, Op. 74 /

Mode of access: Internet.

Quartet, D major for 2 violins, viola and violoncello, composed 1814, Deutsch Cat. No. 94,

Mode of access: Internet.

On walls of marginal stability in N=2 string theories

We study the properties of walls of marginal stability for BPS decays in a class of N = 2 theories. These theories arise in N = 2 string compactifications obtained as freely acting orbifolds of N = 4 theories, such theories include the STU model and the FHSV model. The cross sections of these walls for a generic decay in the axion-dilaton plane reduce to lines or circles. From the continuity properties of walls of marginal stability we show that central charges of BPS states do not vanish in the interior of the moduli space. Given a charge vector of a BPS state corresponding to a large black hole in these theories, we show that all walls of marginal stability intersect at the same point in the lower half of the axion-dilaton plane. We isolate a class of decays whose walls of marginal stability always lie in a region bounded by walls formed by decays to small black holes. This enables us to isolate a region in moduli space for which no decays occur within this class. We then study entropy enigma decays for such models and show that for generic values of the moduli, that is when moduli are of order one compared to the charges, entropy enigma decays do not occur in these models.

Pure spinor formalism as an N=2 topological string

Following suggestions of Nekrasov and Siegel, a non-minimal set of fields are added to the pure spinor formalism for the superstring. Twisted (c) over cap = 3 N = 2 generators are then constructed where the pure spinor BRST operator is the fermionic spin-one generator, and the formalism is interpreted as a critical topological string. Three applications of this topological string theory include the super-Poincare covariant computation of multiloop superstring amplitudes without picture-changing operators, the construction of a cubic open superstring field theory without contact-term problems, and a new four-dimensional version of the pure spinor formalism which computes F-terms in the spacetime action.

Two-matrix string model as constrained (2+1)-dimensional integrable system

We show that the 2-matrix string model corresponds to a coupled system of 2 + 1-dimensional KP and modified KP ((m)KP2+1) integrable equations subject to a specific symmetry constraint. The latter together with the Miura-Konopelchenko map for (m)KP2+1 are the continuum incarnation of the matrix string equation. The (m)KP2+1 Miura and Backhand transformations are natural consequences of the underlying lattice structure. The constrained (m)KP2+1 system is equivalent to a 1 + 1-dimensional generalized KP-KdV hierarchy related to graded SL(3,1). We provide an explicit representation of this hierarchy, including the associated W(2,1)-algebra of the second Hamiltonian structure, in terms of free currents.

Pure spinor formalism as an N ≤ 2 topological string

Following suggestions of Nekrasov and Siegel, a non-minimal set of fields are added to the pure spinor formalism for the superstring. Twisted ĉ ≤ 3 N ≤ 2 generators are then constructed where the pure spinor BRST operator is the fermionic spin-one generator, and the formalism is interpreted as a critical topological string. Three applications of this topological string theory include the super-Poincaré covariant computation of multiloop superstring amplitudes without picture-changing operators, the construction of a cubic open superstring field theory without contact-term problems, and a new four-dimensional version of the pure spinor formalism which computes F-terms in the spacetime action. © SISSA 2005.

Siegfried-Idyll. Für Pianoforte, 2 Violinen, Viola und Violoncell nebst einem 2. Violoncell ad libitum,

Arrangement for pianoforte, 2 violins, viola, and violoncello.

Trio no. 2, C minor for piano, violin and cello, op. 66. [music] /

Mode of access: Internet.

Suite no. 1, C major, for 2 oboes, bassoon, 2 violins, viola and continuo. [music] /

Mode of access: Internet.

Quartett no. 2, Des dur für 2 Violonen, Viola und Violoncello. Op. 15.

Pl. no. 12321.

Quatuor pour 2 violons, alto et violoncelle, op. 112. [music] /

Pl. no. D.& F.6462.

Trio in D for two violins and violoncello : concerto no. IV, op. 2 /

For two violins, violoncello, and piano.

Two quartets for piano, violin, viola and cello: Op.1 in C minor; Op.2 in F minor.

Op.1, C minor.--Op.2, F minor.

Lament for String Quartet

This piece explores the changing nature of emotion focusing especially on the feeling of sorrow. The opening and ending parts of the first movement represent the overall motive of sorrow. The first movement opens with an augmented chord G-C#-F-B and from this chord the first violin expands upwards while the cello moves downwards towards the C chord (p.2). As the melody alternates between each part, there is a subtle change in harmony which creates tension and release and changes the sound color. In addition, ornamentation in each part reinforces the movement towards the C chord. This progression represents the inner emotion of lament. Sostenuto e largamente section (p.2) uses heterophony in order to express a feeling of chaos. Section Scherzando (p.4) uses the interval relationship M7 and m2, and is a respite from the overwhelming feeling of sorrow. The ending of the first movement (p.12) returns to create a second tension by every instrument ascending slowly, and the viola produces a distinctive melody derived from the previous chaotic section that ends on an Ab. The second movement contrasts with the first movement in order to express a concealed, not explicit, sorrow, and differs in both tempo and texture. The tempo is a waltz that is faster than the first movement. This produces a light, playful figure and a simple melody without much ornamentation. Imitation and canonic structure emphasize the individuality of the strings. The third movement merges material from the first movement rhythmic figure and the second movement pizzicato (p.17). It shows timbral change through con sordino, pizzicato arpeggio, and sul ponticello to display string techniques. An Allegro section (p.19) especially contrasts with Misterioso in rhythm and dynamics. In the Grazioso (p.22), random beats are accentuated by pizzicato arpeggio to de-emphasize the meter. Finally, there is a return to the ending figure of the first movement with con sordino (p.23) and sul ponticello in viola that articulates the internal tension and the timbral change to return to a voice of sorrow.