SKU: BO.B.3664
Cuarteto San Petersburgo (The Saint Petersburg Quartet) was written between January and March 2011. It owes its name to the fact that Saint Petersburg has been a very significant city for me. I was invited there in 1988 to take part in a big contemporary music festival, but my uninterrupted bond with the city started on 2002, thanks to the negotiations of my friend and pupil Albert Barbeta. Since then, I have constantly travelled there in order to record a considerable part of my repertoire: seventeen pieces. In addition to the concerts we went to, I took the opportunity during my trips to visit the well-known conservatoire where so many great personalities from the world of music composition once taught, and the place that launched the most important violin school in the whole of Russia: the school of Leopoldo Auer. Spending a long time in Auer's classroom writing my concert for violin and orchestra was an unforgettable experience for me. His large portrait motivated me even further.Cuarteto San Petersburgo evokes many of the most cherished and moving moments that I have had in this city. It is structured in four movements. The first one, Allegretto-Allegro, opens with an introduction that sets forth the two main themes, amid a soft and elastic atmosphere. The Allegro starts vigorously and in it we find changes in the tempo and moments of mystery, as well as certain seclusion, returning then to the emphatic theme where the counterpoint finds its place. The movement ends placidly.The Scherzo-marcato that follows is marked by a persistent rhythm of triplets that carries on from beginning to end. The tempo does not change, but brief and decided themes are introduced, as well as passages of counterpoint. Brief and dissonant chords are heard throughout the movement, which ends vigorously.The third movement, Ut, is a very special one. For a while already I had been playing with the idea of writing a movement that was to have the tonality C as a leitmotiv. This one is made up by two slow and static parts. In the first one, the first violin plays pizzicatti-glissandi. In the second, the first violin and particularly the violoncello settle on C while the other two instruments produce descending chromatic harmonies.Finally, the Introduccion-Presto (the Introduction-Presto). It starts with some bucolic passages which remind us of the introduction to the first movement. A fast and energetic Presto suddenly erupts. A kind of moto perpetuo which alternates with two expressive passages and, towards the end, a viola and violoncello tremolo, all of great mystery and expectation, make way for a resounding finale marcato.
SKU: BR.KM-266
The Breitkopf Originals series opens up a fascinating view into the Breitkopf & Hartel publishing-house archives. The focus is on its rarities and treasures, together with milestones in the history of interpretation for works of the. Classical; Romantic. Score. 224 pages. Breitkopf and Haertel #KM 266. Published by Breitkopf and Haertel (BR.KM-266).
ISBN 9790004504901. 10 x 12.5 inches.
The editor, Engelbert Rontgen, writes in his foreword:Following a commission by the gentlemen Breitkopf & Hartel in Leipzig to produce a complete edition of Beethoven's string quartets supplied with bowing marks and fingerings, I undertook this task on the basis of the critical complete edition of these quartets, published in 1862. First of all, it seemed necessary to change the original slurring in some places to suit the bowing technique, with regard to performing and expression.In the quartets from Beethoven's early period, the performing marks often lack the accuracy and completeness that is required for an exact interplay, whereas they are given in the quartets of his later period almost everywhere with the greatest detail and precision, . Furthermore, the before mentioned scores contain a number of mistakes, which in all likelihood may have crept into the manuscripts as writing mistakes.I have therefore endeavored to carefully add the missing performing marks, as well as to correct the incorrect notes, without, however, claiming to have done everything that is questionable.Breitkopf Originals invite you to take a fresh look at 19th-century reception history.The music is printed clearly and in a larger than usual size.(Rebekah Smith, AUSTA Stringendo)The Breitkopf Originals series opens up a fascinating view into the Breitkopf & Hartel publishing-house archives. The focus is on its rarities and treasures, together with milestones in the history of interpretation for works of the Classical and Romantic repertoire, presented by the most prominent artists of their time.
SKU: PR.114414250
UPC: 680160607846.
Lowell Liebermann's 4th String Quartet was commissioned by the Canandaigua Lake Chamber Music Festival and the Wood Library, Canandaigua, NY, for the Orion Quartet in celebration of their 20th Anniversary. The quartet was premiered by the Orions at the Canandaigua Lake Chamber Music Festival in Rochester, NY on February 9th, 2008. To quote the writer Mark Greenberg: It's a remarkable piece. The mood is elegiacal and meditative, the melodic lines sinuous and searching, the harmonies rich and astonishingly beautiful. Liebermann works within the traditions of Western tonality, but that is a mansion with many rooms. Liebermann inhabits all of them as his expressive purposes require, and he doesn't mind knocking down a wall to create new harmonic spaces. The Fourth Quartet doesn't exactly fit the neoromantic niche into which Liebermann is sometimes placed. Much of the music, especially near the beginning, is a highly advanced and fluid chromatic expressionism with modernist tendencies. Sometimes this roiling cloudscape breaks open to allow a patch of near-classical harmony and almost-resolution. Near the midpoint the clouds lift in leaping modulations. Several chordal passages recall Russian Orthodox chant. Suddenly, when you've begun to think the somber, deliberate pace has gone on a bit too long, Liebermann introduces a kind of hobbled, stilted jazz idiom. The piece dies in pensive quiet.
SKU: BR.EB-6705
ISBN 9790004169063. 9 x 12 inches. German.
Though a piano can always be included, it is not an essential requirement for the performance of these settings: in some of the carols, two violins or two flutes are quite sufficient, especially if voices are used as well. The following combinations are particularly suitable for domestic music-making, whether or not voices are included as well:one violin and piano,two violins and piano,two or three violins,violins and recorders,two concert (C) flutes (and an alto flute) and - as the ideal combination for shepherds' songs - flutes, violins, cello and piano.Performing groups and music schools have the advantage of a wider choice of forces and the possibility of varying the instrumentation within the individual carols and verses. Thus large and small combinations can alternate, strings and flutes can play in turn, and finally the piano can be used by itself or to reinforce other instrumental combinations, in which case the cello can be added, too.The pieces are graded in increasing order of difficulty; the first carols are chosen so that they can be mastered by violinists after as little as 4 to 6 months of learning their instrument. The choise and sequence of the carols in this book, and also their keys, were determined, amongst other factors, by their suitability for the start of violin tuition, both in first and in third position, so that these carols make an especially good supplement of Christmas music to the violin method of Fritz and Gottfried Scharlach (with its principle of starting with the third position). The progressively increasing difficulty of the carols has resulted, for example, in the three Advent carols (nos. 23-25) being placed later in the collection.The editor hopes that these carols will be much played and sung, and thus help to fill the Christmas season with joy and splendour.Fritz Scharlach, Salzburg, December 1972Our beautiful Christmas carols, old and new, are presented here in settings, ranging from the easy to the more difficult, for various combinations of voices and instruments that may be available in domestic music-making or for a Christmas concert.
SKU: FG.55011-881-2
The first composer to warrant a place in the musical history of Finland, Erik Tulindberg (1761-1814) was an excellent violinist, and he also played the cello. His musical reputation spread all the way to Stockholm (Finland was at that time part of the Kingdom of Sweden), and in 1797 was there admitted as a member of the Royal Academy of Music.The I violin, viola and cello parts of Tulindberg’s String Quartets were discovered in 1923 in the collections of Helsinki University Library. They were copies of the instrumental parts presumably made by Tulindberg himself, though they were possibly never used during his lifetime. Not only is the whole of the II violin part missing; the first movement of the viola part of the fifth Quartet stops in the middle of a phrase, and the last 60 bars or so of the movement’s manuscript page are just empty staves.In the early 2000s, the Rantatie Quartet asked Anssi Mattila whether he would like to reconstruct the missing II violin part. The job was finished in 2004 and the Rantatie Quartet released a Classical Emma-winning disc of the Quartets in 2006.This product includes the full score and the set of parts.
SKU: FG.55011-880-5
SKU: FG.55011-884-3
SKU: FG.55011-882-9
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