| Glitter, Doom, Shards, Memory Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello SKU: PR.11441...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello SKU:
PR.11441690S
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S). UPC:
680160626021. 9 x 12
inches. Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran . $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Les Filles Du Forgeron Piano seul Bote and Bock
Piano SKU: HL.48025368 7 Pieces for Piano. Composed by Simon Laks....(+)
Piano SKU:
HL.48025368 7
Pieces for Piano.
Composed by Simon Laks.
BH Piano. Classical.
Softcover. Bote & Bock
#M202538654. Published by
Bote & Bock
(HL.48025368). UPC:
196288194293. Simon
Laks (1901-1983), who
moved from Warsaw to
Paris in 1926 at the age
of 25, belonged to the
large group of composers
from Central and Eastern
European countries who
went down in 20th-century
music history as the
“École de
Parisâ€. Slavic
temperament amalgamated
in their music with
French esprit, the
folklore of their native
countries combined with
the stylistic elements of
neoclassicism and jazz
typical of the time. As a
member of the
“Association of
Young Polish
Musiciansâ€, Laks
quickly made his way into
French musical life.
However, his career was
ended with the beginning
of World War 2 due to the
collaboration of the
Vichy government with
Nazi Germany. Internment
in 1941 was followed by
deportation to Auschwitz
in 1942. Laks survived
the Shoah as a member and
later leader of a camp
band in Birkenau, which
he testified to in his
moving book Music in
Auschwitz. After the
traumatic experiences,
Laks did not return to
regular compositional
activity until the 1960s,
producing an opera,
songs, and chamber music
works, some of which were
awarded important
composition prizes. At
the peak of this
optimistic creative
phase, he composed
incidental music for
Peretz Hirschbein's
famous Yiddish comedy Dem
Schmids Techter (The
Blacksmith's Daughters),
which premiered in New
York in 1918, for a new
production of the play at
the Théâtre de
l’Entrepôt in
Paris. Along with
Prokofiev's Overture on
Hebrew Themes and
Shostakovich's cycle From
Yiddish (Jewish) Folk
Poetry, it is one of the
most significant
20th-century explorations
of art music with Jewish
folklore – homage to
a culture irreparably
destroyed. From the
original score, Holger
Groschopp compiled two
suites, for violoncello
and piano and piano solo,
that capture the essence
of Lak's enchanting drama
music. The premiere
recording of the suites
with Holger Groschopp and
Adele Bitter was awarded
the Opus Klassik 2023 in
the category Editorial
Achievement of the
Year. $19.99 - Voir plus => Acheter | | |
| Les Filles Du Forgeron Violoncelle, Piano Bote and Bock
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.48025367 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score) SKU:
HL.48025367 Cello
and Piano. Composed
by Simon Laks. Boosey &
Hawkes Chamber Music.
Classical. Softcover.
Bote & Bock #M202538630.
Published by Bote & Bock
(HL.48025367). UPC:
196288194286. Simon
Laks (1901-1983), who
moved from Warsaw to
Paris in 1926 at the age
of 25, belonged to the
large group of composers
from Central and Eastern
European countries who
went down in 20th-century
music history as the
“École de
Parisâ€. Slavic
temperament amalgamated
in their music with
French esprit, the
folklore of their native
countries combined with
the stylistic elements of
neoclassicism and jazz
typical of the time. As a
member of the
“Association of
Young Polish
Musiciansâ€, Laks
quickly made his way into
French musical life.
However, his career was
ended with the beginning
of World War 2 due to the
collaboration of the
Vichy government with
Nazi Germany. Internment
in 1941 was followed by
deportation to Auschwitz
in 1942. Laks survived
the Shoah as a member and
later leader of a camp
band in Birkenau, which
he testified to in his
moving book Music in
Auschwitz. After the
traumatic experiences,
Laks did not return to
regular compositional
activity until the 1960s,
producing an opera,
songs, and chamber music
works, some of which were
awarded important
composition prizes. At
the peak of this
optimistic creative
phase, he composed
incidental music for
Peretz Hirschbein's
famous Yiddish comedy Dem
Schmids Techter (The
Blacksmith's Daughters),
which premiered in New
York in 1918, for a new
production of the play at
the Théâtre
de'l’Entrepôt in
Paris. Along with
Prokofiev's Overture on
Hebrew Themes and
Shostakovich's cycle From
Yiddish (Jewish) Folk
Poetry, it is one of the
most significant
20th-century explorations
of art music with Jewish
folklore – homage
to a culture irreparably
destroyed. From the
original score, Holger
Groschopp compiled two
suites, for violoncello
and piano and piano solo,
that capture the essence
of Lak's enchanting drama
music. The premiere
recording of the suites
with Holger Groschopp and
Adele Bitter was awarded
the Opus Klassik 2023 in
the category Editorial
Achievement of the
Year. $45.00 - Voir plus => Acheter | | |
| Ashrey Hagafrur Chorale SSATTB Transcontinental Music
By Elliot Z. Levine and Hannah Senesh. SSATTB. Transcontinental Music Choral. 12...(+)
By Elliot Z. Levine and
Hannah Senesh. SSATTB.
Transcontinental Music
Choral. 12 pages.
Transcontinental Music
#993423. Published by
Transcontinental Music
$2.75 $2.6125 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
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