Composed by
Kareem Roustom. E.C.
Schirmer Publishing
#LMP046. Published by
E.C. Schirmer Publishing
(EC.LMP046).
These
Four Dances from
CLORINDA AGONISTES
(Clorinda the warrior)
are taken from a recently
completed dramatic work;
a hybrid opera & dance
theatre work currently of
the same title. The name
Clorinda comes from
Monteverdi’s opera
Il Combattimento di
Tancredi e Clorinda
, whose libretto is from
the epic poem by Tasso
titled, Gerusalemme
Liberata (Jerusalem
Liberated). The dramatic
work, which was
commissioned by the
London based Shobana
Jeyasingh Dance company,
the Sadler’s Wells
Theatre and the Royal
Philharmonic Society, was
composed as a companion
piece to
Monteverdi’s
Il
Combattimento.
Contents: I.
Transitions II.
Pursuit III. Shawq
شوق
(Yearning) IV. Unity
(We dance together)
String quartet SKU: FG.55011-689-4 Composed by Seppo Pohjola. Score and p...(+)
String quartet
SKU:
FG.55011-689-4
Composed by Seppo
Pohjola. Score and parts.
Fennica Gehrman
#55011-689-4. Published
by Fennica Gehrman
(FG.55011-689-4).
ISBN
9790550116894.
Sepp
o Pohjola (b. 1965)
composed his fifth string
quartet, lasting about 20
minutes, in
February-March 2018. He
was inspired to write it
by a visit to the Vincent
van Gogh Museum in
Amsterdam the previous
year, where he was
greatly impressed by the
vast, comprehensive
retrospective and
especially the
horrifyingly honest
self-portraits. The soft
opening tones bear an
instruction alluding to
Schonberg's Verklarte
Nacht string sextet: the
quiet music must be
richly shaded. The notes
in the canon-like part
writing almost always
change at different
moments in each
instrument, with a longer
or shorter delay. The
independent lines weave
tightly together. The
only dynamic is forte for
minutes on end in the
powerful closing section.
Duration c. 20 minutes.
Score (A4) and parts
(B4).
Composed by Antonin
Dvorak. Edited by Peter
Jost. Study Score.
Paperbound. Henle Study
Scores. Classical.
Softcover. 80 pages. G.
Henle #HN7045. Published
by G. Henle
(HL.51487045).
ISBN
9790201870458. UPC:
888680745318.
6.75x9.5x0.244
inches.
In autumn
1895, after returning
from New York once and
for all, Dvorák took
up his former position as
teacher at the Prague
Conservatory. This
clearly had an inspiring
impact on him because in
the space of just four
weeks he composed a new
string quartet in G
major. Together with the
Quartet in A-flat major
op. 105, it forms a
glorious close to his
chamber music oeuvre.
Echoes of Bohemian folk
music are here mixed with
cantabile themes, while
his motivic working shows
him to be a master at the
height of his powers.
Even today, it seems
almost as if we can feel
the composer's
satisfaction with this
work: “I am working
so easily and it is going
so smoothly that I could
not wish it
better.â€.
String quartet SKU: FG.55011-510-1 Composed by Matthew Whittall. Score an...(+)
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.
Parts for String Quartet No.3 'Angel's Music' by Bent Sorensen (1988) Premiered ...(+)
Parts for String Quartet
No.3 'Angel's Music' by
Bent Sorensen (1988)
Premiered by the Arditti
String Quartet at the
Danish Radio Concert Hall
16 November 1988. Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angels Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on Angels
Music was started in
Rome, where I spent the
autumn of 1987 staying at
The Danish Academy.
Whether this stay has
influenced the quartet or
not is impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part ofthe
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of Angels
Music is divided into
three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the small
cells into the general
pattern.'
String Quartet SKU: HL.14030980 Parts. Composed by Bent Sorensen. ...(+)
String Quartet
SKU:
HL.14030980
Parts. Composed by
Bent Sorensen. Music
Sales America. Classical.
Set of Parts. Edition
Wilhelm Hansen #KP00249.
Published by Edition
Wilhelm Hansen
(HL.14030980).
ISBN
9788759871973.
12.0x16.0x0.285
inches.
Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angel's Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on
Angel's Music was started
in Rome, where I spent
the autumn of 1987
staying at The Danish
Academy. Whether this
stay has influenced the
quartet or not is
impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part of the
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of
Angel's Music is divided
into three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the general
pattern almost
fractionally into the
smallest cells of the
music, or more correctly;
crawl from the small
cells into the general
pattern.'.