SKU: PR.11441123S
UPC: 680160016303. 8.5 x 11 inches.
The Quintet for Piano and String Quartet was written for the American String Quartet in the summer of 2000. It is in one movement but has two distinct parts. The first is a slow movement characterized by dotted rhythms. It is a fantasy with some long flowing lines interrupted by short fragments usually in the piano. After a rather agitated section in 6/8 time, this section comes to a quiet close on a G-sharp major chord. The second section of this thirteen-minute work is marked Fast and Energetic. It begins with chords that recur throughout the movement and after two measures a long main theme is introduced which is developed and altered during the rest of the fast portion of the work. One could call this second part a sort of rondo form since this long lyrical theme returns always after contrasts. When it does return, it is treated often by means of imitation, but at the climax returns played in unison by the strings while the piano renders an energetic sixteenth note background. The work ends on an E-flat major chord though the piece is certainly not in any one key, but rather features quick modulations. One might call this non-tonal music which nevertheless always feels like it has a tonal center. --Samuel Adler.
SKU: ST.Y228
ISBN 9790220221712.
Shards of Light is dedicated to Gyorgy Pauk, and is of Grade 8 to diploma standard. The contrast between its atmospheric main idea of fleet, ethereal figurations high on the E-string and more spiky and aggressive material suggests the image of its title, in music contemporary in sound yet accessible in feeling. Like other instrumental works by Rhian Samuel, Shards of Light combines exciting instrumental virtuosity with a strongly poetic impulse, and is a most effective addition to the repertoire of new violin music, whether as an examination test-piece or as recital material.
SKU: ST.Y274
ISBN 9790220223358.
1st perf: Keisuke Okazaki, Tokyo Opera City Recital Hall, Tokyo, Japan, 22 April 2008 1st UK perf: Darragh Morgan, Schott Recital Room, Bauer & Hieber, London, 5 February 2009 Though the jagged figures and phrases of Lucky's Dream by Morgan Hayes are unmistakably those of a contemporary musical expressionist, the shadow of Bach also falls on this work, inspired by the virtuosity of the young Japanese soloist Keisuke Okazaki and his playing of the E major Partita. In fact, though 'standard' contemporary techniques are widely used in the piece - left-hand pizzicato, harmonics and microtones, all deployed in edgy, unpredictable rhythms - there is also a classical shape to the structure. In this two-part form, lasting around four minutes, the first section is reflective, dwelling on single notes, phantoms as it were of pitches that are subtly deflected through slow glissandi. Then a spectral dance ensues, delivered largely on plucked strings, ethereal, disembodied, strange. The 'Lucky' in question is a character from Samuel Beckett's play Waiting for Godot, and Lucky's Dream is a complementary work to the earlier, impassioned Lucky's Speech (2006). The two items can stand alone or may be performed consecutively. Both are to be found on the recent all-Hayes CD released on the NMC label (NMC D163), which also features the composer's 17-minute Violin Concerto as further evidence for his original approach to writing for the instrument.
