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.
SKU: SU.90840080
2 Violins, Viola, Cello Duration: 17' Set of Parts: available for sale (#90840081) Composed: 1996 Published by: Subito Music Publishing ... an exciting three-movement work... Motoric rhythms, jazzy motives, and plenty of rustic quintal harmony supply the action for the outer movements; the Night Music-like slow movement finds a romantic cello solo accompanied by suspiciously Glass-y arpeggiations. Call it Ginastera Lite, but the work makes a joyful noise and deserves to be heard. —American Record Guide.
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: SU.90840081
2 Violins, Viola, Cello Duration: 17' Composed: 1996 Published by: Subito Music Publishing ... an exciting three-movement work... Motoric rhythms, jazzy motives, and plenty of rustic quintal harmony supply the action for the outer movements; the Night Music-like slow movement finds a romantic cello solo accompanied by suspiciously Glass-y arpeggiations. Call it Ginastera Lite, but the work makes a joyful noise and deserves to be heard. —American Record GuideFull Score: available for sale (#90840080)
SKU: BO.B.2678
English comments: Death and the Maiden.This is a Catalan folk song that captivated me the very first time I heard it. In 1974 I decided to indulge myself by using this song for a composition for violin and string orchestra (and solo violin with a quartet). The popular theme takes the form of a long violin solo based on triplets with a background of soft harmonies played by the rest of the musicians. --Jordi CervelloComentarios del Espanol:La muerte y la doncella. Se trata de una melodia popular catalana que desde su primer momento me cautivo. Fue en 1974 cuando me decidi a recrearme con ella a traves de una composicion para violin y orquesta de cuerda (tambien violin solista con cuarteto). El tema popular encuadra un largo solo del solista a base de tresillos inspirados en el Coral-Preludio de una cantata de J. S. Bach. --Jordi Cervello.
SKU: PD.PIL0744
ISBN 9790350501319.
SKU: AP.36-52703614
ISBN 9781581069761. UPC: 654690687517. English.
This collection of folk songs from Latin America (Mexico, Costa Rica and Guatemala) are meant to expand young player's knowledge of music from other cultures or give them pride in the music of their own heritage. The music is mostly in 1st position with only Violin 1 and Violoncello wandering briefly into other positions. Players will use pizzicato and a variety of bowing styles.
Program Notes:
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: BO.B.2980
ISBN 9788480201285.
Comentarios del Espanol:Obra para voz y cuarteto de cuerda galardonada por la Generalitat de Catalunya el ano 1983 con el premio Eduard Toldra. Consta de tres movimientos y los textos son tres poemas de Rosa Leveroni.
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