String quartet

SKU: FG.55011-510-1

Composed by Matthew Whittall. Score and parts. Fennica Gehrman #55011-510-1. Published by Fennica Gehrman (FG.55011-510-1).

ISBN 9790550115101.

Matt hew Whittall's preface to Bright Ferment (2019): I have a complicated history with the string quartet. Actually, it's not that complicated. I spent months writing a huge one in my early twenties and hastily withdrew it after a long delayed premiere, vowing never to write another. In a typical case of karmic retribution, my fear of the form would eventually be overcome by the unrefusable offer to write the compulsory piece for the Banff International String Quartet Competition in my native Canada. The short duration requested, about nine minutes, also felt like a good way to wade gingerly back into the medium. The title was originally just a nice-sounding pair of words that surfaced in a brainstorming session with fellow composer Alex Freeman over an injudicious amount of fermented barley. When I looked it up later, I found that it was a phrase of older coinage, seemingly used more for poetic resonance than any fixed meaning. Ferment by itself denotes a state of confusion, change or lack of order. With bright, it takes on a more positive connotation with regard to society and creativity: a wild profusion of ideas barely checked by reason. (It may not actually mean that, but it describes this piece nicely, so let's go with it.) Fermentation in its trendy culinary usage is also hinted at via a recurrent percolating device of scattered pizzicati. As one may guess from the tone of this introduction, there is little attempt at gravity in Bright Ferment, the only means by which I felt I could sidestep the historical and expressive weight of the string quartet genre. Styles, gestures and moods are tossed around, cross-cut and abandoned in stream-of-consciousness fashion, connected by little except an intuitive sense of rightness in their juxtaposition. If the piece acquires depth in spite of me, it will only be because its disparate parts amplify and strengthen each other simply by being together - much like the ensemble itself. Bright Ferment was commissioned by the Banff Centre for the Arts and Creativity and the Canadian Broadcasting Corporation, with additional funding from the Americas Society (New York), for the 2019 Banff International String Quartet Competition. Duration: ca. 9 minutes.

2 violins, viola, violoncello

SKU: FG.55011-874-4

Composed by Tiina Myllärinen. Classical, contemporary. Score & parts. Fennica Gehrman #55011-874-4. Published by Fennica Gehrman (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).

String Quartet (Parts)

SKU: HL.14037707

Parts. Composed by Kevin Volans. Music Sales America. Contemporary. Softcover. Composed 2010. 80 pages. Chester Music #CH7452501. Published by Chester Music (HL.14037707).

ISBN 9781849385916. UPC: 884088578626. 8.25x11.75x0.262 inches.

Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.

Kevin Volans (the composer) notes on the piece:
In the past I have been interested in trying to go beyond historicism (1970s), beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy', almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This, of course, has already been done by a numberof composers (many from New York - Phil Niblock and La Monte Young, to name but two), butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work,and fearing this would make the label stick, I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic, an aesthetic which,however, pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure - the ego - underfoot.You get theimpression He dances on the spot, not movingaround at all. I like that.
The piece is dedicated to Pablo Pascual Cilleruelo.