Set
(Score & Parts). 106
pages. Bote & Bock
#BB3474. Published by
Bote & Bock (BT.BB3474).
ISBN
9783793141716.
F
or Isang
Yun, String
Quartet No. 3 from 1959
marked the beginning of
his European creative
phase and of his official
canon of works. Now it is
possible to encounter
Yun's early works from
his Korean period inthe
form of his String
Quartet No. 1
(1955). Three important
10-minute movements
containing references not
only to Asia but also to
Ravel, Bartók and
Eastern European folk
music and having an
idiosyncraticstructure:
Yun lines up forms and
figures, makes them
emerge from each other in
a contrasting manner and
assembles them into a
mosaic-like whole,
seeking for integration,
laying down his material
in layer upon layer and
endingthemovements with a
rhythmic unison.
[…] Even then, he
probably regarded a work
of art as an energetic
stream of sounds and as a
reflection of a world
whose diverging parts
weave into a harmonic
whole.
(Walter-WolfgangSparrer)<
/p>
String Quartet No. 1 Quatuor à cordes: 2 violons, alto, violoncelle Bote and Bock
String Quartet (Score & Parts) SKU: HL.48024228 Composed by Isang Yun. Bo...(+)
String Quartet (Score &
Parts)
SKU:
HL.48024228
Composed
by Isang Yun. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 110
pages. Bote & Bock
#M202534748. Published by
Bote & Bock
(HL.48024228).
ISBN
9781540057310. UPC:
888680949266. 9x12
inches.
For Isang
Yun, String Quartet No. 3
from 1959 marked the
beginning of his European
creative phase and of his
official canon of works.
Now it is possible to
encounter Yun's early
works from his Korean
period in the form of his
String Quartet No. 1
(1955). Three important
10-minute movements
containing references not
only to Asia but also to
Ravel, Bartók and
Eastern European folk
musicand having an
idiosyncratic structure:
“Yun lines up forms
and figures, makes them
emerge from each other in
a contrasting manner and
assembles them into a
mosaic-like whole,
seeking for integration,
laying down his material
in layer upon layer and
ending the movements with
a rhythmic unison. []
Even then, he probably
regarded a work of art as
an energetic stream of
sounds and as a
reflection of a world
whose diverging parts
weave into a harmonic
whole.”
(Walter-Wolfgang
Sparrer).
