SKU: BT.DHP-1175785-070
ISBN 9789043152877. International.
In the entire history of pop and rock, no band has so dominated the music scene as original brit-poppers the Beatles did in the 1960s. For this medley for string quartet, four songs were selected that show the musical range of the Fab Four: from the powerful Help! through the romantic evergreen Yesterday and the rock classic A Hard Dayâ??s Night to the passionate anthem All You Need Is Love. In de Pop and Rock geschiedenis heeft geen enkele ander band de muziekscene zo gedomineerd als The Beatles tijdens de jaren zestig. In deze medley voor strijkkwartet zijn vier songs geselecteerd die de muzikale verscheidenheid van de Fab Four goed weerspiegelen: van het krachtige Help! via de romantische evergreen Yesterday en de rockklassieker A Hard Dayâ??s Night tot het hartstochtelijke All You Need Is Love. In der gesamten Geschichte der Pop- und Rockmusik gab es keine andere Band, die die Musikszene so beherrscht hat, wie es bei der britischen Popband The Beatlesâ?? in den 1960er Jahren der Fall war. Für dieses Medley für Streichquartett wurden vier Stücke ausgewählt, welche die musikalische Bandbreite der Fab Fourâ?? (berühmten Vierâ??) zeigen: vom mitreiÃ?enden Help! über den klassischen Evergreen Yesterday und den Rock-Klassiker A Hard Dayâ??s Night bis hin zu der leidenschaftlichen Hymne All You Need Is Love.Dans lâ??histoire du pop et du rock, aucun groupe nâ??a autant marqué les esprits que le groupe de Britpop The Beatles dans les années 1960. Ce medley pour quatuor cordes regroupe quatre chansons représentant lâ??individualité de ces quatre musiciens : du puissant Help ! en passant par le romantique Yesterday et le classique du rock A Hard Dayâ??s Night jusquâ?? lâ??hymne All You Need Is Love.
SKU: PR.114405050
UPC: 680160008377. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: PR.11440505S
UPC: 680160008391. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: FG.55011-875-1
Lotta Wennäkoski's Pige (2021-2022) for string quartet was commissioned to be paired with the Death and the Maiden quartet by Franz Schubert (pige is Danish for girl). The composer tells:The first movement Vorüber, ach, vorüber! is based on the first half of Schubert’s lied lying behind his The Death and the Maiden quartet. The maiden’s song in the beginning of the lied has not found its way to his string quartet, so I wanted to use this material in mine. The second move-ment Daktylus borrows its idea from the haunting pulse of Schubert’s chant of Death. Something fierce and something soundless can be heard here - along with other variants on the dactyl rhythm. For example, I’ve written a lyrically flowing melody based on the same rhythmic pattern (long-short-short).Schubert’s quartet is wonderful music and of course a cornerstone of the repertoire, and the death and the maiden is a strong, tempting and gloomy motif in art history. On the other hand, I just couldn’t help seeing the motif also as a - somewhat passé - image of an old male desiring the ulti-mately young female body. The third movement thus turns its gaze to the girl herself. Pigen og scrapbogen, The Girl and the Scrapbook, is joyful textural music - compiled of fragments and freely handled quotations that might spring to mind when thinking of a vital girl’s life.This product includes the full score and the set of parts.Movements:1. Vorüber, ach, vorüber!2. Daktylus3. Pigen og scrapbogen (das Mädchen und das Scrapbuch)The first movement can also be performed separately as a prologue to The Death and the Maiden string quartet by Franz Schubert.
SKU: FG.55011-874-4
Tiina Myllärinen's (b. 1979) (Bad) Dreams come true for strings quartet (2022) was composed when war broke out in Europe. The composer tells: The shock, and the daily news barrage of battles could not help making an impression on my work and its material. I wondered what dreams and plans people had in Ukraine before the war, and how everything became a nightmare in a single night. Terror, fear and tension found their way into the work, along with memories of life in the past and dreams of a different future. The work is dedicated to the people of Ukraine; to the dreams that will hopefully soon come true.This product includes the full score and a set of parts.Tiina Myllärinen’s music has been described as cheerfully inquisitive, vigorous and original. Her works include Squarcio for ensemble, the orchestral what? (2010) and Traces (2013, commissioned by the Pro Musica Foundation and premiered at the Helsinki Music Centre on 5 June 2014) and Three Songs for voice, guitar and cello (2007).
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