SKU: HL.50603994

ISBN 9781705164679. UPC: 196288068310. 9.0x12.0 inches.

Quatuor No 2 was first performed by the Tana string quartet on April 14, 2013, at Radio France, Paris. I conceived a piece whose principal subject was going to consist in the description of a minuscule sonic element. The description of this tiny initial material would be so precise, so detailed that, deployed on a much larger scale than its original one, it would occupy the entire duration of the piece. At that point, I just had to choose a sound model as the starting point of the piece, the sound that would best characterize the string instruments themselves: the noisy sound produced by the bow barely coming in contact with one of the strings, getting ready to acquire speed, weight, acceleration, and producing a full sound of a violin, a viola or a cello... -Daniel D'Adamo.

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SKU: AP.36-52703034

ISBN 9781682962206. UPC: 654690579935. English.

Bach's organ works seem to work perfectly for string quartet, with everyone getting in on the thematic material. These three works are some of his best-known and are a nice addition to the concert and contest repertoire. Contents: Prelude and Fugue in C minor, BWV 537; Great Fugue in G minor, BWV 542; Fugue in D major, BWV 532.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: HL.14030980

ISBN 9788759871973. 12.0x16.0x0.285 inches.

Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angel's Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angel's Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angel's Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music, or more correctly; crawl from the small cells into the general pattern.'.

SKU: BR.EB-9270

ISBN 9790004185704. 9 x 12 inches.

I fell in love with the remarkable singing of the Tenores di Bitti on hearing their recordings as a student. Their uniquely intense vocal timbre, their harmony, which seemed pure and rough at once, and the sense that this music was, at root, not so much about performance as simply being together in the world, in a community of spirit. At the time, I had no intention of using this music to my own creative ends, but now, here we are: Sardinian Songbook is the second in a cycle of works for the Ligeti Quartet, all based on transcriptions of music from different throat-singing traditions. Like string quartets, the tenores usually sing in groups of four voices, but being free from instruments they stand very close together enabling the resonances of their voices to blend and interact in a special way. The quartet, of course, can only sit so close before their bows clash, so I have chosen instead to reflect this physical closeness inversely, by getting the players to stand increasingly far from one another as the piece progresses. In so doing, the initial state of sonic blend gives way to hocketing lines, opening up the sense of space.Christian Mason, 2018 The four movements may be played separately or as a collection. If played together the following order should be observed (see table of contents).

World premiere: Sheffield/UK, Firth Hall, April 14, 2018, Commissioned by Ligeti Quartet.