SKU: PR.114405050
UPC: 680160008377. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: HL.49018921
ISBN 9790001169677.
The content and formal structure of the two-movement Poem have been subjectively borrowed from the poem Steps [Stufen] by Hermann Hesse. The frequently appearing short motifs in both parts of the work are based in 'magic formulaic style' on the parable of the Glass Bead Game which in the ring for the game with coloured beads becomes a game with symbols.Magic and dreams, a sense of departure and grievance and valediction and transfiguration are the moods which follow one another, frequently in rapid succession - fundamentally the thirst for life and the yearning for sorrow and consummation.
SKU: BT.WH30668
ISBN 9788759812310. International.
In Latin Anima means soul but it is also a Jungian expression for the female element of the male. Anima> forms the first part of a nameless trilogy of solo concertos, which emphasizes reflective moods. In this cello concerto it is mainly the melodic aspect that is in the foreground, a bitter-sweet but always gentle song for cello.
SKU: PR.11440505S
UPC: 680160008391. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: SU.29120110
A compelling & compact set of variations for solo cello that explores various moods, textures and chromatic harmonies for the cello. YouTube link from New York premiere by cellist, Laura Metcalf, in 2022.Solo Violoncello Duration: 5'30 Composed: 2021 Published by: Todd Mason Variations (Youtube):.
SKU: HL.14027968
ISBN 9788759859971. 12.0x16.5x0.704 inches. International (more than one language).
In Latin Anima means soul but it is also a Jungian expression for the female element of the male. Anima forms the first part of a nameless trilogy of solo concertos, which emphasizes reflective moods. In this cello concerto it is mainly the melodic aspect that is in the foreground, a bitter-sweet but always gentle song for cello.
SKU: BT.PMC1491
Cauca Valley Moods.
SKU: HL.49045283
ISBN 9790001162470. UPC: 841886028913. 9.0x12.0x0.073 inches.
Take Seven is a tried and trusted showpiece with audience appeal. The title Take Seven is of course a play on Paul Desmond's famous Take Five and its recording by the Dave Brubeck Quartet. As there, the rhythms in this piece are largely based on an asymmetric metre - in this case, 7/4 time. Unlike most jazz pieces with an uneven metre, however, Take Seven goes through various moods, sections and tempo changes, illuminating the main theme from different angles.
SKU: OU.9780193408654
ISBN 9780193408654. 12 x 8 inches.
A virtuosic single movement piece for cello and piano which moves through a series of moods from mysterious and atmospheric to turbulent and agitated, and takes full advantage of the range of timbral, rhythmic, and textural possibilities allowed by this combination of instruments.
SKU: SU.29150031
String Quartet No. 8 was composed in the summer of 2016 and premered in April 2017 by the Auriga String Quartet at Indiana State University. Set in three large movements of constrasting moods.2vn, va, vc Duration: 30’ Composed: 2016 Published by: Elliott Miles McKinley String Quartet No. 8 (Youtube):.
SKU: FG.55011-510-1
ISBN 9790550115101.
Matthew Whittall's preface to Bright Ferment (2019): I have a complicated history with the string quartet. Actually, it's not that complicated. I spent months writing a huge one in my early twenties and hastily withdrew it after a long delayed premiere, vowing never to write another. In a typical case of karmic retribution, my fear of the form would eventually be overcome by the unrefusable offer to write the compulsory piece for the Banff International String Quartet Competition in my native Canada. The short duration requested, about nine minutes, also felt like a good way to wade gingerly back into the medium. The title was originally just a nice-sounding pair of words that surfaced in a brainstorming session with fellow composer Alex Freeman over an injudicious amount of fermented barley. When I looked it up later, I found that it was a phrase of older coinage, seemingly used more for poetic resonance than any fixed meaning. Ferment by itself denotes a state of confusion, change or lack of order. With bright, it takes on a more positive connotation with regard to society and creativity: a wild profusion of ideas barely checked by reason. (It may not actually mean that, but it describes this piece nicely, so let's go with it.) Fermentation in its trendy culinary usage is also hinted at via a recurrent percolating device of scattered pizzicati. As one may guess from the tone of this introduction, there is little attempt at gravity in Bright Ferment, the only means by which I felt I could sidestep the historical and expressive weight of the string quartet genre. Styles, gestures and moods are tossed around, cross-cut and abandoned in stream-of-consciousness fashion, connected by little except an intuitive sense of rightness in their juxtaposition. If the piece acquires depth in spite of me, it will only be because its disparate parts amplify and strengthen each other simply by being together - much like the ensemble itself. Bright Ferment was commissioned by the Banff Centre for the Arts and Creativity and the Canadian Broadcasting Corporation, with additional funding from the Americas Society (New York), for the 2019 Banff International String Quartet Competition. Duration: ca. 9 minutes.
SKU: HL.14031827
ISBN 9788759871089. Danish-English.
Preface The three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts: it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods. The final way out is a retrograde one, (back) into the source: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The into the source of the titlemay be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ... The musical motifs are varied: there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies. INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fe in 2002 and in Oslo in 2003. Per Norgard.
SKU: PR.14440572S
ISBN 9781598066029. UPC: 680160617685. 9x12 inches.
When the family heirs to the legendary Galimir String Quartet (three sisters and a brother) gathered to commemorate the centenary birth years of these famed performers, they chose Ellen Taaffe Zwilich to commission for this honor. The composer, who has also worked professionally as a violinist, responded with a one-movement odyssey entitled Voyage, cross-breeding her own characteristic style with glimpses of Viennese waltzes and other Galimir flavor. There is a sweet, sad lyricism to this work, a hectic discord..., some wailing and moaning, these moods alternating with dancing klezmer rhythms of Jewish wedding music that take over and make things right in the end. (Stanley Fefferman, BachTrack.com).
SKU: BO.B.3388
English comments: A Bach for string quartet is another evocation of the past, in this case of J.S. Bach's works for violin. Written in 2004, it is a recreation of two of the most important movements in the series of Sonatas and Partitas: The Adagio of the third Sonata and the Prelude of the third Partita (BWV 1005 and 1006, respectively). Jordi Cervello was a violinist and, as such, it should come as no surprise that he once again makes use of compositions written for his instrument. The Adagio, here in common time (the original by Bach is in three-four time), keeps up the constant rhythmic figure of the dotted quaver and semi-quaver throughout the movement, with a calmness that is shrouded in mystery. The second movement, Preludiando, retains the same lively spirit as the original, but explores different moods. Moments of calm, vigour and even some dramatic points give it a new dimension thanks to the fact that it is written for a quartet and to Cervello's original treatment of harmony and counterpoint.Comentarios del Espanol:A Bach para cuarteto de cuerda es otra evocacion del pasado, en este caso de la obra para violin de J.S. Bach. Escrita el ano 2004, se trata de una recreacion de dos de los movimientos mas importantes de la serie de Sonatas y Partitas: El Adagio de la tercera Sonata y el Preludio de la tercera Partita (BWV 1005 y 1006 respectivamente). Jordi Cervello fue violinista y, como tal, no debe sorprender que una vez mas se sirva de material compositivo procedente de su instrumento. El Adagio, aqui en compas de cuatro (el original de Bach es de tres) conserva en todo el movimiento la constante figura ritmica de corchea con puntillo y semicorchea, dentro de un clima sereno pero rodeado de misterio. El segundo movimiento, Preludiando, conserva el mismo espiritu vivo del original, pero recorriendo diferentes estados de animo. Momentos de calma, de vigor e incluso dramaticos dan nueva dimension gracias a la escritura cuartetistica y al original tratamiento armonico y contrapuntistico de Cervello. A Bach se estreno en La Pedrera de Barcelona dentro del ciclo Celebracions de la Fundacio Caixa de Catalunya en el ano 2006 con el Quarteto Prometeo.
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