SKU: BA.BA11525
ISBN 9790260108868. 31 x 24.3 cm inches.
Pavel Haas was one of Leoš Janácek’s most gifted students. His String Quartet No. 2 “From the Monkey Mountains†is considered to be one of the first high points of his oeuvre.In this work, Haas combined elements of Janácek’s compositional technique with jazz, particularly in the fourth movement’s instrumentation for string quartet and percussion ad libitum. This version was premiered in Brno in 1926; later, the work was revised for string quartet only. For this edition Ondrej Pivoda has reconstructed the original version, bringing to light passages that were never published until now.This is the first critical edition of the work. It is based on all relevant sources, taking sketches of the final version of the score and contemporary performance material into account. It includes an extensive Foreword (Cz/Eng/Ger) as well as a Critical Commentary (Eng).
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: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: BA.TP00525
ISBN 9790260108851. 22.5 x 16.5 cm inches. Preface: Pivoda, Ondrej.
SKU: PR.164002720
UPC: 680160573042. 8.5 x 11 inches.
SKU: ST.Y279
ISBN 9790220223068.
Such is the character of the accordion that any work featuring its distinctive voice within an ensemble is likely to be a piece d'occasion. Written for the prizewinning young soloist Milos Milivojevic and performed with the Juritz String Quartet at the 2011 Machynlleth Festival in Wales, Rhian Samuel's Mist on the Hills is no exception. The composer has used the rare opportunity of writing for the instrument in combination with solo strings to exploit its illustrative powers and create a fourteen-minute score inspired by the changing weather over the hills around her Welsh home on the Dyfi Estuary. In particular, its three movements are suggestive of the appearance of mist in the landscape, 'settling', 'lingering' and 'swirling'. In the first movement, which is a gentle prelude, brief accordion motifs break through the timbre of strings like glints of sunshine through mist. The second movement, more song-like, presents three verses of a lament; in the first half of each verse the accordion sings as if from afar, while in the second half (led by the viola) the music intensifies greatly. In the dance-like and virtuosic last movement a short, constantly changing refrain alternates with two types of material: 'swirling' music and lighter, more rhythmical ideas. Finally, scale passages invade the texture, ceasing only as the accordion ascends to the top of its range in the closing bars.
SKU: ST.Y248
ISBN 9790220222351.
Commissioned by Bromsgrove Concerts with financial assistance from Arts Council England 1st perf: Smith Quartet, Artrix, Bromsgrove, 27 February 2009 Favoured by English composers from Purcell to Vaughan Williams and Britten, the ground-bass form receives a contemporary makeover in Morgan Hayes's Dances on a Ground. Artfully four-square, a cello ostinato stays stubbornly true to its original thoughts. Meanwhile, above it a capricious ensemble of two violins and viola swaggers its way through flights of melody and jumpy pizzicati to an ecstatic conclusion. Commissioned by Bromsgrove Concerts with funding provided by Arts Council England, Dances on a Ground was first performed by the innovative Smith Quartet at the Artrix, Bromsgrove, on 27 February 2009.
SKU: BR.EB-9255
World premiere: Paris (Festival ,,Presences), February 13, 2017 (Quatuor Diotima)Commissioned by Radio France
ISBN 9790004185551. 9 x 12 inches.
C'est apres un entretien avec le Professeur Yuji Ikegaya concernant ses recherches en neurologie que j'ai voulu travailler sur quelques particularites fonctionnelles du cerveau humain. Quatre de ces specificites ont retenu mon attention. La premiere est ce qui est de l'ordre de l'autonomie ou de l'independance. En effet, alors qu'aucune stimulation exterieure n'ait lieu, le cerveau humain montre des activites spontanees qui s'expriment sous forme de patterns fixes. La seconde est le principe d'<> des gestes ou des phrases avec le fonctionnement des neurones miroirs : l'homme apprend en imitant les gestes des autres, c'est la source d'emotions comme la compassion ou la sympathie. La troisieme est liee a l'apprentissage spontane et l'auto-renouvellement du cerveau, faculte qui le differencie singulierement de l'ordinateur. Enfin la conscience du <>, qui est ce qui le differencie du cerveau de l'animal. J'ai trouve dans la forme classique et austere du quatuor un terrain d'exploration ideal pour elaborer ce projet musical. Le quatuor est en effet compose des quatre cerveaux des musiciens, mais il est egalement une entite a part entiere, un centre nevralgique unitaire. L'ecriture musicale procede ainsi par imitation, sur une base de patterns qui varie constamment dans une quete identitaire et dans son rapport a l'autre et aux autres (musiciens). L'autre, c'est egalement l'autiste, celui qui n'arrive pas bien a imiter et a comprendre les expressions, emotions et gestes exterieurs. La question des rapports devient alors celle de la dependance, de l'independance et/ou de l'interdependance. Elle est au centre de mon processus compositionnel qui, par l'organisation et la sonification des comportements aux differentes voix du quatuor, est egalement un moyen de me questionner en tant que compositrice, sur mon identite et sur mon propre rapport au monde. (Misato Mochizuki)World premiere: Paris (Festival ,,Presences), February 13, 2017 (Quatuor Diotima) Commissioned by Radio France.
SKU: HL.49043938
ISBN 9790220133923. 9.25x12.0x0.494 inches.
The 3rd String Quartet was originally composed in 1982-3 to a commission from The Adelaide Festival, and premiered by The Petra Quartet in 1983. Subsequent to this quartet, I have composed two more; No. 4 in 1986 and No. 5 in 2002.The offer to re-publish this work, led me to begin by a process of amendment, but ended in the composition of a virtually new quartet! Only parts of the original quartet have been retained. I also chose to 'frame' (in my case this means an inspirational focus and filter), the quartet in a new way too.In Flight Music keeps the 4-movement format of the original quartet, but is now directly linked to a life-long interest in flight. The first two movements are concerned with aspects of humans in flight, whilst the last two deal with insects and birds respectively.Since all my music is these days preceded by visualisations in the form of drawings, wherever possible, this quartet might be performed with the four drawings, one for each movement, back-projected behind the players.Digital copies of these drawings may be obtained from Schott Music.Edward Cowie.Maurens. France. August, 2010.
SKU: HL.48188489
UPC: 888680870027. 9.0x12.0x0.135 inches.
Composed between 1973 and 1976, Ainsi la nuit for string quartet is one of the most important works of its genre, by Henri Dutilleux (1916-2013), a French composer. Commissioned by the Koussevitzky Foundation for the Juilliard Quartet, Ainsi la nuit is based on a series of studies, lasts 18 minutes and is divided into 7 sections: 1. Nocturne 2. Miroir d'espace 3. Litanies 4. Litanies II 5. Constellations 6. Nocturne II 7. Temps suspendu Built on single hexachords, it also use the octatonic mode and focus on harmonies, contrasts and oppositions of register. This is the study score of the piece. Parts can be purchased separately.
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