Tenor & String Quartet SKU: PE.EP72822 Composed by Jonathan Dove. Voice(s...(+)
Tenor & String Quartet
SKU: PE.EP72822
Composed by Jonathan
Dove. Voice(s) & Various
Instruments. Edition
Peters. Living Composer.
Score and Part(s). 164
pages. Duration 00:30:00.
Edition Peters
#98-EP72822. Published by
Edition Peters
(PE.EP72822).
ISBN
9790577011769. 232 x
303mm inches.
English.
I have
only visited Damascus
once, twenty years ago,
on the way to
Palmyra. I had a
purpose (I was writing
music for a play about
Palmyra’s Queen
Zenobia) but essentially
I was a tourist.
Like any visitor, I was
thrilled to step out of
the noisy modern city
into the magical ancient
world of the walled Old
City, its vibrant souk
leading to the
magnificent mosque, and a
labyrinth of winding,
narrow streets filled
with the smell of
unleavened
bread.
In Palmyra,
I was met with
extraordinary kindness
everywhere. On one
occasion, a little
Bedouin boy noticed that
I was risking sunstroke
wandering bare-headed
among the spectacular
ruins: he showed me how
to tie a turban, then
took me to have tea with
his family in their
tent.
Since then, I
have watched helplessly
as these places of wonder
have been devastated and
their inhabitants
scattered and
killed. When the
Sacconi Quartet suggested
that I might choose a
Syrian poet for our
collaboration, I welcomed
the idea.
I
searched for a long time
to find a contemporary
poet whose work might
gain from any music I
could imagine. I
felt it was important to
find first-hand accounts
of the Syrian experience
– but, of course, I
was always reading them
in translation. In
an anthology
called Syria
Speaks, I was
astonished to read
something that looked
like prose, but was full
of poetry. It was
Anne-Marie
McManus’s fine
translation of Ali
Safar’s A
Black Cloud in a Leaden
White Sky
– an
eloquent, thoughtful,
contained yet vivid
account of life in a
war-torn country, all the
more moving for its
restraint.
In
setting these words, I
have not attempted to
imitate Syrian
music. However,
there is what might be
called a linguistic
accommodation in my
choice of scale, or
mode. Several
movements are in a mode
that I first discovered
while writing a cantata
commemorating the First
World War: it has a
tuning that I associate
with war, its violence
and desolation.
This eight-note
mode is similar to scales
found in Syrian
music. I did not
choose it in the
abstract: it emerged from
the harmonies I was
exploring in the earlier
work, and emerged again
as I was looking for the
right musical colours to
set Ali Safar’s
words. In this
work, its Arabic aspect
is more prominent. -
Jonathan
Dove
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String Quartet (2vl,va,vc) SKU: BR.EB-9243 Full Score. Composed by...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9243
Full
Score. Composed by
Christian Mason. Chamber
music; stapled. Edition
Breitkopf. World premiere
of the original version:
London, May 10, 2016World
premiere of the string
orchestra version:
Clermont-Ferrand, October
8, 2020. New music
(post-2000). Full score.
Composed 2016/2020. 40
pages. Duration 19'.
Breitkopf and Haertel #EB
9243. Published by
Breitkopf and Haertel
(BR.EB-9243).
ISBN
9790004185438. 9 x 12
inches.
It was the
practice of Khoomii
(throat singing) -
following several
workshops with Michael
Ormiston - that first
attracted me to Tuvan
music. Composing this
Songbook, the first in a
series commissioned by
the Ligeti Quartet, I
took the chance to
reflect on compositional
questions around
transcription and
arrangement of existing
music, and frequently
found myself asking:
where is the boundary
between the source
material and the new
substance? Of course the
relationship varies from
piece to piece, and
moment to moment:
sometimes we seem to
glimpse the pure source,
but most of the time
there are differing
degrees of distance,
working towards or away
from it. This new version
for string orchestra
corresponds closely to
the original quartet
version, with an
additional part for
double basses.The
traditional Tuvan songs
that I have transcribed
and recomposed are all
known to me from the Ay
Kherel CD The Music of
Tuva: Throat Singing and
Instruments from Central
Asia (2004, Arc Music).
According to the notes
from that CD, this is
what the songs are
about:1. Dyngylday: If
you have come on a horse
in blue, it doesn't mean
that you are the best. My
heart tells me something
else: my sweetheart
doesn't have such a
beautiful horse, but he
is my darling.An
alternative
interpretation from Alash
Ensemble
(alashensemble.com): The
word dyngylday is a
nonsense term with no
translation. The song
makes good-humored fun of
somebody for being a
good-for-nothing.2. Eki
Attar (The Best Steeds):
The horse is the basis of
our life. It is a magic
creature. Even its step
is full of music and
rhythm. You may not be a
horse rider, but when you
hear this song you will
always remember horses.3.
Kuda Yry: This wedding
song glorifies the
strength of the groom and
the beauty of his
Horse.4. Ezir-Kara
('Black Eagle'): This was
the name of a horse, who
became a legend through
his remarkable strength
and speed.It is not just
overtones that abound
here: there are galloping
rhythms aplenty, and
though I am no horse
rider I tried to keep the
horses galloping in my
imagination while
composing these
pieces.Christian Mason
(with quotes from Ay
Kherel and Alash
Ensemble)
World
premiere of the original
version: London/UK, May
10, 2016, World premiere
of the string orchestra
version:
Clermont-Ferrand/France,
October 8, 2020.
String Quartet (2vl,va,vc) SKU: BR.EB-9244 Set of Parts. Composed ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9244
Set of
Parts. Composed by
Christian Mason. Chamber
music; stapled. Edition
Breitkopf. World premiere
of the original version:
London, May 10, 2016World
premiere of the string
orchestra version:
Clermont-Ferrand, October
8, 2020. New music
(post-2000). Set of
parts. Composed
2016/2020. 92 pages.
Duration 19'. Breitkopf
and Haertel #EB 9244.
Published by Breitkopf
and Haertel (BR.EB-9244).
ISBN 9790004185445. 9
x 12 inches.
It was
the practice of Khoomii
(throat singing) -
following several
workshops with Michael
Ormiston - that first
attracted me to Tuvan
music. Composing this
Songbook, the first in a
series commissioned by
the Ligeti Quartet, I
took the chance to
reflect on compositional
questions around
transcription and
arrangement of existing
music, and frequently
found myself asking:
where is the boundary
between the source
material and the new
substance? Of course the
relationship varies from
piece to piece, and
moment to moment:
sometimes we seem to
glimpse the pure source,
but most of the time
there are differing
degrees of distance,
working towards or away
from it. This new version
for string orchestra
corresponds closely to
the original quartet
version, with an
additional part for
double basses.The
traditional Tuvan songs
that I have transcribed
and recomposed are all
known to me from the Ay
Kherel CD The Music of
Tuva: Throat Singing and
Instruments from Central
Asia (2004, Arc Music).
According to the notes
from that CD, this is
what the songs are
about:1. Dyngylday: If
you have come on a horse
in blue, it doesn't mean
that you are the best. My
heart tells me something
else: my sweetheart
doesn't have such a
beautiful horse, but he
is my darling.An
alternative
interpretation from Alash
Ensemble
(alashensemble.com): The
word dyngylday is a
nonsense term with no
translation. The song
makes good-humored fun of
somebody for being a
good-for-nothing.2. Eki
Attar (The Best Steeds):
The horse is the basis of
our life. It is a magic
creature. Even its step
is full of music and
rhythm. You may not be a
horse rider, but when you
hear this song you will
always remember horses.3.
Kuda Yry: This wedding
song glorifies the
strength of the groom and
the beauty of his
Horse.4. Ezir-Kara
('Black Eagle'): This was
the name of a horse, who
became a legend through
his remarkable strength
and speed.It is not just
overtones that abound
here: there are galloping
rhythms aplenty, and
though I am no horse
rider I tried to keep the
horses galloping in my
imagination while
composing these
pieces.Christian Mason
(with quotes from Ay
Kherel and Alash
Ensemble)
World
premiere of the original
version: London/UK, May
10, 2016, World premiere
of the string orchestra
version:
Clermont-Ferrand/France,
October 8, 2020.
Trombone, String Quartet SKU: HL.14033404 Composed by Bent Sorensen. Musi...(+)
Trombone, String Quartet
SKU: HL.14033404
Composed by Bent
Sorensen. Music Sales
America. Classical.
Score. Music Sales
#KP00662. Published by
Music Sales
(HL.14033404).
ISBN
9788759874769.
Danish.
The Wings
Of Night for Trombone and
String Quartet was
composed by Bent Sorensen
in 1998, as a commission
from the Warsaw Autumn
for Christian Lindberg
and the Silesian String
Quartet. Programme note:
I do not yet know what to
write about this short
piece which I have just
finished. But like my
Piano Concerto LA NOTTE,
it seems to take place at
night-time - or perhaps
it is only because I
wrote the piece by night.
In short, the title is
from Shakespeare's 'Romeo
and Juliet'.Juliet sings
to the night - the night
of love: 'Come, night,
come Romeo, come, thou
day in night, For thou
wilt lie upon the wings
of night, Whither than
new snow upon a raven's
back.THE WINGS OFNIGHT
was composed as a
commission from the
Warsaw Autumn for
Christian Lindberg and
the Silesian String
Quartet. (Bent
Sorensen).
Vistas. Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation. 42 +
112 pages. Duration 25
minutes. Theodore Presser
Company #114-40698.
Published by Theodore
Presser Company
(PR.114406980).
UPC:
680160010806.
Shula
mit Ran’s second
string quartet, subtitled
“Vistas,â€
occupies a large canvas
that is cast in a
traditional fourmovement
mold, where the outer
movements present,
explore, and later return
to the work’s
principal musical
materials, surrounding a
slow movement and
scherzo-type third
movement with a trio. In
addition to tempo-based
titles, the individual
movements have subtitles
that are evocative of
each movement’s
character, as follows: I.
Concentric: from the
inside out II. Stasis
III. Flashes IV.
Vistas. My second
string quartet,
“Vistasâ€, is
a work cast in a
traditional four-movement
formal mold, with the
outer movements,
presenting and later
returning to the
work’s principal
musical materials,
surrounding a slow
movement and a
scherzo-type third
movement.While the four
movements’
“properâ€
names -- Maestoso con
forza, Lento, Scherzo
impetuoso, and
Introduzione; Maestoso e
grande – give some
indication of the general
character of the
individual movements, I
have also subtitled, less
formally, each movement
as follows:Â 1)
Concentric:Â from the
inside out 2)Â
Stasis 3) FlashesÂ
4) Vista. The images
evoked by these titles
tell one, I think, a bit
more about the inner
workings of the
quartet.In the first
movement, a prominently
presented opening pitch
(E) reveals itself, as
the movement unfolds, to
be a center of gravity
from which ever-growing
cycles of activity
gradually evolve.Â
While various important
themes come into being as
the movement progresses,
their impact on the
listener has, I believe,
a great deal to do with
their juxtaposition and
relationship to the
initial central point of
gravity.Stasis is, as the
name implies, a movement
where activity seems, at
times, almost
suspended. Being
also, as Webster’s
Dictionary reminds us,
“a state of static
balance and equilibrium
among opposing tendencies
or forces,†it
develops various
materials, including ones
from the first movement,
without bringing them to
points of
resolution.Flashes is
short and very fast,
evoking in my mind the
quick shimmer of
fireflies, a
“sudden burst of
lightâ€, but also a
“brief
timeâ€. Perhaps,
even, a
“smile�Final
ly, the last movement,
Vista, is not only
“a view or
outlookâ€, but also
“a comprehensive
mental view of a series
of remembered or
anticipated
events.â€Â After
a brief recall of the
opening of the second
movement, this movement
brings back all the
important themes of the
first movement in their
original order. But
just as going back can
never really mean going
back in time, the
movement is much more
than recapitulatory.Â
By cutting through
previously transitory
passages and presenting
the main ideas in a
fashion more direct yet
more evolved, it also
sheds new light on
earlier events, offering
a retrospective, synoptic
view of the first
movement as it brings to
culmination the work as a
whole. “Vistasâ
€ was commissioned by
C. Geraldine Freund for
the Taneyev String
Quartet of what was then
Leningrad. It was the
first commission given in
this country to a Soviet
chamber ensemble since
the 1985 cultural
exchange accord between
the Soviet Union and the
United States.
String Quartet (2vl,va,vc) SKU: BR.EB-9259 Composed by Manuela Kerer. Cha...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9259
Composed
by Manuela Kerer. Chamber
music; stapled. Edition
Breitkopf.
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017
Music
post-1945; New music
(post-2000). Full score.
Composed 2016/17. 32
pages. Duration 15' -
18'. Breitkopf and
Haertel #EB 9259.
Published by Breitkopf
and Haertel (BR.EB-9259).
ISBN 9790004185599. 9
x 12 inches.
When
Hugo Ticciati asked me to
write a new piece for his
quartet, I was
immediately enthusiastic
about this project. I
love how Hugo and his
O/MODERNT String Quartet
unite old and new music
in a completely natural
way. So, I was absolutely
excited about Hugo`s idea
of having my piece based
on two of my idols, Bach
and Beethoven,
deconstructing the one
and constructing the
other. With all my
respect for these great
composers I gave to the
piece a very personal
inner part consisting of
my own music that
influenced and inspired
the other parts. For the
whole piece I felt very
close to Beethoven, who
said: To make a fugue is
not art, which [is
something] I have made
dozens of times in my
study. But the
imagination will assert
its rights and must come
today, in light of the
old traditional form, to
another truly poetic
element. De/Con is a
travel into different
centuries with different
sound-languages. For me,
it was like having a
wonderful constructive
discussion with Johann
Sebastian Bach and Ludwig
van Beethoven, each of us
trying to speak our own
language, approaching the
others step by step. The
piece could be defined as
a Love Letter to two of
the greatest composers
ever. De/Con could be
preceded by (parts of)
Johann Sebastian Bach's
Die Kunst der Fuge (The
Art of the Fugue) and
succeeded by Ludwig van
Beethoven's Grosse Fuge
(Great Fugue). Ideally,
then, all parts should be
played attacca. It could,
but it hasn't to be
played with these two
pieces. (Manuela
Kerer)
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017.
String Quartet (2vl,va,vc) SKU: BR.EB-9260 Composed by Manuela Kerer. Cha...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9260
Composed
by Manuela Kerer. Chamber
music; Folder. Edition
Breitkopf.
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017
Music
post-1945; New music
(post-2000). Set of
parts. Composed 2016/17.
32 pages. Duration 15' -
18'. Breitkopf and
Haertel #EB 9260.
Published by Breitkopf
and Haertel (BR.EB-9260).
ISBN 9790004185605. 9
x 12 inches.
When
Hugo Ticciati asked me to
write a new piece for his
quartet, I was
immediately enthusiastic
about this project. I
love how Hugo and his
O/MODERNT String Quartet
unite old and new music
in a completely natural
way. So, I was absolutely
excited about Hugo`s idea
of having my piece based
on two of my idols, Bach
and Beethoven,
deconstructing the one
and constructing the
other. With all my
respect for these great
composers I gave to the
piece a very personal
inner part consisting of
my own music that
influenced and inspired
the other parts. For the
whole piece I felt very
close to Beethoven, who
said: To make a fugue is
not art, which [is
something] I have made
dozens of times in my
study. But the
imagination will assert
its rights and must come
today, in light of the
old traditional form, to
another truly poetic
element. De/Con is a
travel into different
centuries with different
sound-languages. For me,
it was like having a
wonderful constructive
discussion with Johann
Sebastian Bach and Ludwig
van Beethoven, each of us
trying to speak our own
language, approaching the
others step by step. The
piece could be defined as
a Love Letter to two of
the greatest composers
ever. De/Con could be
preceded by (parts of)
Johann Sebastian Bach's
Die Kunst der Fuge (The
Art of the Fugue) and
succeeded by Ludwig van
Beethoven's Grosse Fuge
(Great Fugue). Ideally,
then, all parts should be
played attacca. It could,
but it hasn't to be
played with these two
pieces. (Manuela
Kerer)
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017.
String Quartet SKU: HL.14031816 Composed by Jean Joubert. Music Sales Ame...(+)
String Quartet
SKU:
HL.14031816
Composed
by Jean Joubert. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV12053901.
Published by Music Sales
(HL.14031816).
8.5x11.75x0.3
inches.
Though
conceived as four
separate movements, my
second string quartet has
a single motif which is
common to them all. This
is the three-note Muss es
sein? from Beethoven's
last quartet, Op. 135.
But whereas Beethoven's
theme is notated G E A
flat, thus giving it an F
minor connotation, I have
sued an alternative
spelling - G E G sharp -
which suggests an
ambiguous E minor-major.
This ambiguity, in fact,
becomes the tonal basis
of the whole work, only
to be resolved at the end
of the final movement.
Each movement begins with
a variant of the basic
motif on the cello. The
first has the original
form of the theme, while
the second has a
majorised version which
is also expressed as a
chord. The third
movement, with its
scherzoid middle section,
reverts to the
major-minor ambiguity of
the first, and the finale
begins with the majorised
version as an ostinato
accompaniment on
pizzicato cello. The slow
movement is sub-titled In
memoriam DSCH and
concludes with a
quotation of
Shostakovich's motto - D
E flat C B - which is
basically the same as
Beethoven's with the
addition of one note.
This is not to imply that
the work contains no
other thematic material.
One important theme, a
rising fifth and a
second, is also common to
three of the movements,
and is ultimately derived
from my first quartet,
Op. 1 of 27 years
earlier, to which this
second contribution to
the form is in many ways
like a sequel. Like the
earlier work, too, this
quartet is dedicated to
my wife.