SKU: HL.49046188
ISBN 9781540051684. UPC: 888680938703. 9.0x12.0 inches.
When Cuarteto Casals approached me with the idea of illuminating Beethovens quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays hidden in the St. Johns hymn that gave musical notes their original name: Re, Sol, Ut, Io (D, G, C, B in English music notation) Perfect! “Resolutio†in Latin means both the resolution of aproblem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally themelodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethovens Harp Quartet. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti).
SKU: BA.BA09031
ISBN 9790006568536. 31 x 24.3 cm inches. Key: C-sharp minor.
This separately published Critical Commentary offers extensive information on the genesis, reception, sources, and readings of the works included in the music volume.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49019413
ISBN 9790001176477. UPC: 841886016729.
The composer Johanna Senfter (1879 1961) from Oppenheim concerned herself with chamber music for strings all her life, even studied violin in Frankfurt herself. Max Reger then gave her lessons in Leipzig, first privately, then in his composition class at the conservatoire and valued her 'extraordinary compositional talent'. The strict teacher more and more became a committed promoter of the works by Johanna Senfter. For a period of 50 years, the composer concerned herself with the string quartet genre, from Quartet No. 1 in D minor Op. 4, composed shortly after the turn of the century, to the sixth and last Quartet in C minor Op. 115 which was performed for the first time in 1960, one year before her death. The Quartet in F sharp minor Op. 28 is her second quartet which was premiered in Darmstadt on 5 November 1922. In this work, as in later works, Senfter combined traditional form models - here Baroque movements like gavotte, saraband, gigue - with expressive, late Romantic musical language. The work, consisting of six short movements, may without doubt be regarded as a valuable addition to the quartet repertoire.
SKU: BA.BA09031-40
ISBN 9790006568529. 24 x 17 cm inches. Key: C-sharp minor.
SKU: HL.14023298
ISBN 9788759871591. English.
Per Norgard 's Gennem Torne / Through Thorns (2003) Harp Concerto No. 2 - Passage for Harp Solo with Flute, Clarinet and String Quartet. Premiered by Tine Rehling (Harp) and the Esbjerg Ensemble, conducted by Kaisa Roose at the Concert Hall of the Western Jutland Academy of Music, Esbjerg, 28th January 2004. Programme Note THROUGH THORNS has a duration of about 20 minutes, in one continuous movement, thus the subtitle passage. The work is scored for harp solo, flute, clarinet and string quartet. The title is borrowed from the lines from an old Virgin Mary Hymn: Mary wanders through thorns, a hymn which ends with the following line: then roses grew forth amongst thethorns. I only came across the poem after finishing the composition, the passage of which is a journey of sometimes dramatic events, concluding with a rose-blooming, as does the hymn. For THROUGH THORNS to borrow its title from a Virgin Mary Hymn has to do with the musical material and current of the piece, which brings motives from an earlier choral piece of mine, FLOS UT ROSA (Latin for a flower like a rose), and the rose in question is of course the one which grew forth when the Virgin Mary gave birth to the Infant Jesus in a hitherto unheard-of fashion, a NOVA GENITURA (new birth), which is the title of another work of mine that also derives its material from my original rose-melody from 1975. THROUGH THORNS is dedicated to Tine Rehling, and together with her I have tried to expand the sonorities of the harp, by exploring existing techniques and their more remote regions, in order to gain access to new territory and new soundscaoes, as realised by the constantly experimentally-minded and virtuoso player. Per Norgard, 2004.  .
SKU: FG.55011-553-8
Jyrki Linjama's second string quartet (2018) is subtitled Allerheiligentag III. The material for the Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba and violin.The composer tells: The choice of topic and material for the string trio was originally prompted by the venue at which it was to be premiered: the old church on the island of Seili (Sjalo). The bleak history of the island's leper and mental hospital evoked images of suffering and death. I got so attached to the harsh and beautiful melody that it began to generate a whole cycle. The string quartet is in three movements (slow-quick-slow) tensed in different ways by contrasts. The first movement has both swinging softness and cutting sharpness, the Scherzo the wildness of a dance of death and lyricism, and the finale the irrevocability of a funeral march and tender melodiousness.
SKU: PR.16400222S
UPC: 680160037841.
This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.
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