Chamber Music String Quartet SKU: PR.114419160 Composed by Richard Wernic...(+)
Chamber Music String
Quartet
SKU:
PR.114419160
Composed
by Richard Wernick. Sws.
Set of Score and Parts.
24+8+8+8+8 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41916. Published by
Theodore Presser Company
(PR.114419160).
ISBN
9781491131619. UPC:
680160679607. 9 x 12
inches.
Wernick's
tenth String Quartet was
written for the Emerson
String Quartet, with whom
he had previously
collaborated (his String
Quartet No. 4 is also
dedicated to the
ensemble). The Emerson
premiered the work in
Berlin in March, during a
European tour of three
countries. A performance
was also scheduled for
their appearance at
Tanglewood, July 23.
String Quartet No. 10 is
crafted in three
movements: Prelude, Fuga
Pomposa & Postlude
(Maestoso); Scherzo
Serioso (with a secular
song of thanks); and CODA
(Lamentoso).
Chamber Music String Quartet SKU: PR.11441345S Prelude to Contrapunctu...(+)
Chamber Music String
Quartet
SKU:
PR.11441345S
Prelude to
Contrapunctus X from the
Art of the Fugue.
Composed by Shulamit Ran.
Full score. With Standard
notation. Duration 4
minutes. Theodore Presser
Company #114-41345S.
Published by Theodore
Presser Company
(PR.11441345S).
UPC:
680160608829. 8.5 x 11
inches.
BACH-SHARDS
was commissioned by the
Brentano String Quartet
as part of their Art of
the Fugue companion-piece
project. Ran deliberately
stays within the realm of
Bach-like vocabulary,
altering syntax in ways
that add up to something
slightly different from
the anticipated sum of
the parts. The work
builds up to a climax
that makes the entry
point into Bach’s
Contrapunctus X seem
thoroughly
natural. While
composing Bach-Shards I
found myself gravitating,
intuitively and
gradually, toward a dual
goal. First, though
the tension and
dissonance inherent in
certain moments of
Bach’s own
maze-likeÂ
contrapuntal structures
could quite easily and
naturally lead one into a
pungent contemporary
terrain, I opted not to
stray outside the realm
of Bach-like materials
and harmonic
language. Instead, it
was my hope to alter
their relationships and
context in ways that add
up to a something
that’s slightly
different than the
anticipated sum of the
parts. A mildly
deconstructed Bach, if
you will. The other
important challenge I set
for myself was building
up the latter,
toccata-like portion of
Bach-Shards in a way that
would make the entry
point of the fugue which
it precedes,
Contrapunctus X, seem
thoroughly natural.Â
It was my intent to have
the first fugal entrance
feel like a huge and much
welcome release of the
energy created by my
Prelude’s
penultimate stretch, with
its bravura figurations
elaborating on an
insistent dominant pedal
point.