PARTITIONS GRATUITES :
- Perfect - for Cello Trio

String Trio (V1, V2, Cello) and continuo

SKU: HH.HH587-FSP

Composed by Frederich Ernest Fisher. Edited by Michael Talbot. Full score and parts. Edition HH Music Publishers #HH587-FSP. Published by Edition HH Music Publishers (HH.HH587-FSP).

ISBN 9790708213024.

Fish er’s Op. 2 set is externally very similar to its Op. 1 predecessor in its combinations of movement types and musical language, but now has an added spaciousness and audacity born of greater maturity. Everything is wonderfully blended: the fugal movements are melodious; the ‘singing allegros’ are harmonically rich and contrapuntally charged; the dance-like movements, full of happy surprises, fizz and purr. Op. 2 appeared in print only in the year following Fisher’s death. Surprisingly in the circumstances, the level of accuracy in the engraved parts matched the high standard set by Op. 1. This would have gratified the composer, who was so evidently a perfectionist in all he undertook.

String Quartet (Score & Parts)

SKU: HL.48025043

Score and Parts. Composed by Ignace Strasfogal. Boosey & Hawkes Chamber Music. Classical, Modern, Neo Classical. Softcover. 76 pages. Bote & Bock #M202535806. Published by Bote & Bock (HL.48025043).

UPC: 196288021728.

Ignac e Strasfogel (1909 - 1994), a master student of Franz Schreker and Leonid Kreutzer, the youngest student at the Berlin Hochschule and the youngest recipient of the prestigious Mendelssohn Prize of the Weimar Republic, made a career as a conductor at the Metropolitan Opera after his emigration in 1934. His String Quartet No. 1, probably written in 1927 as the final work of his studies with Schreker, is an early work of the highest perfection. In the first of the two movements, grotesque-capricious scenariosare revitalized by contrapuntal artistry. The second, non less polypohnic, is a widely branched scherzo with an elegiac trio section. Just as striking is the harmony: With individually shaping of all four parts, all facets up to polytonality and complete detachment from functional tonality are explored - in a certain affinity with the musical language of Alban Berg, not without tongue-in-cheek references to the neoclassicism of the 1920s. A just as original as important contribution to the quartet repertoireof the early twentieth century.