SKU: PR.11441345S
UPC: 680160608829. 8.5 x 11 inches.
BACH-SHARDS was commissioned by the Brentano String Quartet as part of their Art of the Fugue companion-piece project. Ran deliberately stays within the realm of Bach-like vocabulary, altering syntax in ways that add up to something slightly different from the anticipated sum of the parts. The work builds up to a climax that makes the entry point into Bach’s Contrapunctus X seem thoroughly natural.While composing Bach-Shards I found myself gravitating, intuitively and gradually, toward a dual goal. First, though the tension and dissonance inherent in certain moments of Bach’s own maze-like contrapuntal structures could quite easily and naturally lead one into a pungent contemporary terrain, I opted not to stray outside the realm of Bach-like materials and harmonic language. Instead, it was my hope to alter their relationships and context in ways that add up to a something that’s slightly different than the anticipated sum of the parts. A mildly deconstructed Bach, if you will. The other important challenge I set for myself was building up the latter, toccata-like portion of Bach-Shards in a way that would make the entry point of the fugue which it precedes, Contrapunctus X, seem thoroughly natural. It was my intent to have the first fugal entrance feel like a huge and much welcome release of the energy created by my Prelude’s penultimate stretch, with its bravura figurations elaborating on an insistent dominant pedal point.
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.
SKU: HL.48189281
UPC: 888680867256. 8.5x12.0x0.206 inches.
Bach Js Chorals De La Passion Selon Saint Jean String Quartet Sc/Pts.
SKU: FL.FX074125
1 - Gavotte from Suite No. 3 in D Major - J. S. Bach ; 2 - Rinaldo - Aria, Lascia ch'io pianga - Alminera - G. F. Haendel ; 3 - Aria from Suite No. 3 in D Major - J. S. Bach ; 4 - Serenade D. 957 No. 4 - Leise flehen meine Lieder - F. Schubert ; 5 - Minuet No. 1 WoO 10 - L. v. Beethoven ; 6 - Minuet No. 2 WoO 10 - L. v. Beethoven ; 7 - Minuet No. 3 WoO 10 - L. v. Beethoven ; Instruments:String Quartet: 2 Violins 1 Alto 1 Cello; Difficuly Level: Grade 3.
SKU: BR.KM-2261
ISBN 9790004501658. 16.5 x 11.5 inches.
Gran Torso, for string quartet, was composed in 1971 and revised in 1978. It belongs to a series of works, including Air, Kontrakadenz, Pression and Klangschatten, whose concept of material attempts to free itself from convention. That is, instead of using the sound itself as a point of departure, structural and formal hierarchies are derived from the mechanical and physical conditions present during the process of sound production. It is clear that such a radical break with tradition is not easily achieved: the instrument, the given means, the resonating body itself (as the embodiment of convention) all work against such attempts (with the extended performance techniques representing only the tip of the iceberg of deep-seated contradictions where the bourgeois artist is concerned). Implicit in such a challenge, however, is a claim to aesthetic pregnance: an offer, if one would have it, of uncomprosing beauty.(Helmut Lachenmann, 1978)CDs/LPs:Berner StreichquartettCD col legno 0647 277Berner StreichquartettLP col legno 5504Societa Cameristica ItalianaLP ABT ERZ 1003Arditti String QuartetCD KAIROS, 0012662KAIstadler quartettCD NEOS 10806The JACK QuartetCD mode 267Stadler Quartett, Rg. Caroline SiegersDVD NEOS 51001Bibliography:Alberman, David: Abnormal Playing Techniques in the String Quartets of Helmut Lachenmann, in: Helmut Lachenmann Music with matches, hrsg. von Dan Albertson, Contemporary Music Review 24 (2005), Vol. 1, pp. 39-51.Dulaney, Maxwell: Continuing the Tradition Untraditionally: Helmut Lachenmann's Restructuring of Musical Dialectic through an Analysis of his Three String Quartets, and an Original Composition, Harmonic Concerto, Diss. Brandeis University, MI 2013.Egger, Elisabeth: Kontinuitat, Verdichtung, Synchronizitat. Zu den grossformalen Funktionen des gepressten Bogenstrichs in Helmut Lachenmanns Streichquartetten, in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Horasthetik bei Helmut Lachenmann, hrsg. von Christian Utz und Clemens Gadenstatter (= musik.theorien der gegenwart 2), Saarbrucken: Pfau 2008, pp. 155-171.Hermann, Matthias: Helmut Lachenmann - Gran Torso, in: Analyse Musik XX. Jahrhundert (2). Postserielle Konzepte Klangflachen Aleatorik (= Materialien zur Musiktheorie 4), Saarbrucken: Pfau 2002, pp. 134-152.Hiekel, Jorn Peter: Die Streichquartett Gran Torso und Grido von Helmut Lachenmann, in: Lucerne Festival, Sommer 2005 Neuland, Konzertprogramm 6, pp. 65-69.Houben, Eva-Maria: Helmut Lachenmann: Gran Torso ..., in: dies., Musikalische Praxis als Lebensform (= Musik und Klangkultur 27), Bielefeld: Transcript 2018, S. 208-212Lehmann, Harry: Erhabenheit - Ereignis - Ambivalenz. Zur Asthetik der Neuen Musik, in: Neue Zeitschrift fur Musik 176 (2015), Heft 5, pp. 22-27.Mosch, Ulrich: Kunst als Medium der Ungeborgenheit. Streichquartette und soziale Funktion des Komponierens bei Helmut Lachenmann, in: Positionen 81 (November 2009), pp. 37-39.ders.: Was heisst Interpretation bei Helmut Lachenmanns Streichquartett ,,Gran Torso?, in: Wessen Klange? Uber Autorschaft in neue Musik, hrsg. Von Hermann Danuser und Matthias Kassel (= Veroffentlichungen der Paul Sacher Stiftung 12), Mainz u.a.: Schott 2017, S. 163-186Nonnenmann, Rainer: Werke als Schlussel zu Werken? Zur umstrittenen Kategorie ,,Schlusselwerke der neuen Musik, in: MusikTexte, Heft 147 (November 2015), pp. 35-46.Stork, Astrid: Materialbegriff und Strukturdenken. Untersuchungen zu den Streichquartetten von Helmut Lachenmann, Magisterarbeit Ruhr-Universitat Bochum 1992Tsao, Ming: Helmut Lachenmann's Sound Types, in: Perspectives of New Music 52 (2014), Heft 1, pp. 217-238.Velazquez, Rossana Lara: Composicion y escucha burguesa: Principios de continuidad y ruptura en el cuarteto Gran Torso de Helmut Lachenmann, Diss. Universidad Nacional Autonoma de Mexico 2011.Zenck, Martin: Die mehrfache Codierung der Figur: Ihr defigurativer und torsohafter Modus bei Johann Sebastian Bach, Helmut Lachenmann und Auguste Rodin, in: de figura. Rhetorik Bewegung Gestalt, Text und Bild, hrsg. von Gabriele Brandstetter und Sibylle Peters, Munchen 2003, pp. 265-288.World premiere: Bremen (pro musica nova), May 6, 1972.
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