SKU: HL.49033269
ISBN 9790001136853. UPC: 884088567088. 9.0x12.0x0.092 inches.
My 2nd string quartet is one single slow movement. The piece does not directly reflect Joseph Haydn's Seven Last Words but I would not have been able to write it without knowing that work. The movements in Haydn's quartets (except the final earthquake) are slow movements of shocking forcefulness. What makes the work even more unsettling for me is the relaxed and cheerful acceptance of death (the 'smile' of the A major pizzicato thirds!). When I made myself familiar with the subject matter of crucifixion I discovered that terms like 'walking' and 'the last walk' were most important to me. My piece starts at the final stage of this experience. It contains a number of lost sounds, phrases of futility which come from nowhere and lead to nowhere. The horrifying rubbing and sanding of skin and wood become the 'theme' of the piece which is combined with tonal, choral-like melodies. I am interested in how to make noises no longer symbolize desolation and tonal phrases no longer represent confidence.- Jorg Widmann.
SKU: HL.48189281
UPC: 888680867256. 8.5x12.0x0.206 inches.
Bach Js Chorals De La Passion Selon Saint Jean String Quartet Sc/Pts.
SKU: HL.49033270
ISBN 9790001136860. 9.25x12.0x0.3 inches.
The Jagdquartett (Hunt Quartet), which Jorg Widmann wrote as his third string quartet in 2003, following the Choralquartett, also begins with a visible gesture. After a short signal cry from the performers, the piece starts by quoting Robert Schumann's Papillons op. 2, and for its full duration retains this gesture, these starting sounds. The degrees of recognizability do change continuously, to be sure, in the furious, racing organism of the score. The contours change into forms on another level, yet now and then the begining material returns clearly to the fore, initiated anew by a cry from the performers, and is then digested or mutated as a rhythmic study into a field of harmonic experimentation. On rare occasions, there are moments of pause - as though the musicians were testing the atmosphere, as though they were sensing the weather, so as ultimately to continue playing the quartet across the fields an forests of notes. A hunt after joyful performance, a chase, the whip cracking, after the thing to be shot, the sound, its performer, perhaps the composer himself? - A last shout, morendo, dal niente... - The victim is not the audience, at any rate.When comparing the output of string quartets from the 18th century to thetime of Schumann, it appears to have dropped considerably. Schumann composed only three complete quartets, all of them in the so-called 'chamber music year' 1842. Jorg Widmann, who counts Robert Schumann among his greatest inspirations, finished a series of five string quartets in 2005, at the same age as Schumann. The quartets in the cycle form in themselves the characters of the movements of the classical quartet. Jagdquartett represents the fast middle movement, the scherzo. Widmann's work appears rough and wild in the style of Schumann's alter ego Florestan. His hunt begins in the tempo of 'allegro vivace assai' with the final theme of Schumann's Papillons which often appears or is cited in many of Schumann's compositions. Widmann eventually dismantles the thematic material of his fierce quartet, thus skeletonising his prey.
SKU: SU.90880090
2 Violins, Viola, Cello Duration: 15' 1. Allegro; 2. Folk Fragments; 3. Chorale and Ostinato; 4. Appalachian Strings Set of Parts: available for sale: (#90880091) Composed: 2005 Published by: Subito Music Publishing.
SKU: BA.BA10576-01
ISBN 9790260108363. 33.3 x 26 cm inches. Language: CS, Text Language: CZ. Preface: Brezina, Aleš.
ThePetite Messe solennelleis the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with theStabat mater, the mass is one of the composer's mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.- Choral score based on the Urtext of the seriesWorks of Gioachino Rossini- Supplements the already existing material available to this work
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