String Quartet

SKU: BR.EB-9271

Composed by Christian Mason. Chamber music. Edition Breitkopf. New music (post-2000); Music post-1945. Sheet Music. Composed 2018. Duration 21'. Breitkopf and Haertel #EB 9271. Published by Breitkopf and Haertel (BR.EB-9271).

ISBN 9790004185711. 0 x 0 inches.

I fell in love with the remarkable singing of the Tenores di Bitti on hearing their recordings as a student. Their uniquely intense vocal timbre, their harmony, which seemed pure and rough at once, and the sense that this music was, at root, not so much about performance as simply being together in the world, in a community of spirit. At the time, I had no intention of using this music to my own creative ends, but now, here we are: Sardinian Songbook is the second in a cycle of works for the Ligeti Quartet, all based on transcriptions of music from different throat-singing traditions. Like string quartets, the tenores usually sing in groups of four voices, but being free from instruments they stand very close together enabling the resonances of their voices to blend and interact in a special way. The quartet, of course, can only sit so close before their bows clash, so I have chosen instead to reflect this physical closeness inversely, by getting the players to stand increasingly far from one another as the piece progresses. In so doing, the initial state of sonic blend gives way to hocketing lines, opening up the sense of space.Christian Mason, 2018 The four movements may be played separately or as a collection. If played together the following order should be observed (see table of contents).

World premiere: Sheffield/UK, Firth Hall, April 14, 2018, Commissioned by Ligeti Quartet.

String Quartet

SKU: BR.EB-9270

Composed by Christian Mason. Chamber music. Edition Breitkopf. New music (post-2000); Music post-1945. Sheet Music. Composed 2018. 28 pages. Duration 21'. Breitkopf and Haertel #EB 9270. Published by Breitkopf and Haertel (BR.EB-9270).

ISBN 9790004185704. 9 x 12 inches.

I fell in love with the remarkable singing of the Tenores di Bitti on hearing their recordings as a student. Their uniquely intense vocal timbre, their harmony, which seemed pure and rough at once, and the sense that this music was, at root, not so much about performance as simply being together in the world, in a community of spirit. At the time, I had no intention of using this music to my own creative ends, but now, here we are: Sardinian Songbook is the second in a cycle of works for the Ligeti Quartet, all based on transcriptions of music from different throat-singing traditions. Like string quartets, the tenores usually sing in groups of four voices, but being free from instruments they stand very close together enabling the resonances of their voices to blend and interact in a special way. The quartet, of course, can only sit so close before their bows clash, so I have chosen instead to reflect this physical closeness inversely, by getting the players to stand increasingly far from one another as the piece progresses. In so doing, the initial state of sonic blend gives way to hocketing lines, opening up the sense of space.Christian Mason, 2018 The four movements may be played separately or as a collection. If played together the following order should be observed (see table of contents).

World premiere: Sheffield/UK, Firth Hall, April 14, 2018, Commissioned by Ligeti Quartet.

By Bedrich Smetana. Edited by Frantisek Bartos; Josef Plavec; Karel Solc. For Violin (2), Viola, Violoncello. Published by Baerenreiter-Ausgaben (German import).