SKU: LM.29580
ISBN 9790230995801. 9 x 12 inches. Francais.
SKU: LM.JJ15710
ISBN 9790230815710.
SKU: RM.RUBIN1091
ISBN 9790560141091.
SKU: HL.50600303
Landschaftsbilder for mezzo soprano and string quartet: On a poem by Jutta Schutting. Set of Parts.
SKU: PR.14440265S
UPC: 680160027910.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’ It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
SKU: SU.27060280
Six Bagatelles is a set of whimsical character pieces which, in my own composer’s perception, provided balance to some of the heavier works I had written over the previous several years. The first movement, Humming, not only hums along like a well-tuned engine, but it also evokes a melody that someone might actually hum. Let Evening Come is an arrangement of a song, for baritone or mezzo-soprano, flute, and piano, on Jane Kenyon’s poem of the same name—part of a cycle from 1994 called Night Will Blossom. The title Melancholy speaks for itself, as does that of the fifth movement, Solace. Skirmish started out as a march, but when changes of meter emerged in the composing of the piece, I realized it was no longer marchable, though still martial in character. The final movement is a Mosaic in two senses: the accompaniment in the strings in the outer sections of the piece is made up of small bits of material, combining to create an overall texture; and its middle section is made up of fragments of material heard in earlier movements. —Mark Carlson Flute & String Quartet Composed: 1995 Published by: Pacific Serenades.
SKU: RM.RUBIN4351
ISBN 9790560144351.
SKU: KU.GM-1894B
ISBN 9790206206283. 9 x 12 inches. German. Aebli, Kurt.
An durchsichtigen Faden (On transparent threads) for mezzo-soprano and string quartet was composed in 2018 for Maria Riccarda Wesseling and the Amaryllis Quartet. The original version of this work (for mezzo-soprano and cello) was composed in 2013 for Andrea Del Favero and Thomas Grossenbacher, to a commission from the Tonhalle Society and the Literaturhaus in Zurich. This work lasts about 30 minutes and is based on the poem „Endloser Anfang von allem“ („Endless beginning of everything“) by Kurt Aebli.
SKU: HL.49017965
ISBN 9790001154536. 9.0x12.0x0.45 inches. Latin - German.
Many pieces with a classical cycle of movements lead to an examination of baroque counterpoint in the form of a fugue. Widmann's fifth string quartet, which closes his first cycle in this genre like a finale, wants to remain a deliberately tentative 'Versuch uber die Fuge', through it's dialogue with the singing voice's quotation from the Bible: 'That which is, is far off and exceedingly deep. Who can find it out? - Vanitas vanitatum omnia vanitas!'.
SKU: HL.49046066
ISBN 9790001178334. UPC: 888680925666. 9x12 inches. German. Text: Heinrich Heine.
Score and Parts.