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| Burlesca Iberica String Quartet: 2 violins, viola, cello Editorial de Musica Boileau
By Jordi Cervello. For String quartet or string quintet. Instrumental Sets. Dura...(+)
By Jordi Cervello. For String quartet or string quintet. Instrumental Sets. Duration 6:00. Published by Editorial de Musica Boileau
$42.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Trio in G minor, Op. 15 Piano Trio: piano, violin, cello G. Henle
Composed by Bedrich Smetana (1824-1884). Edited by Milan Pospisil. Sheet Music...(+)
Composed by Bedrich Smetana
(1824-1884). Edited by Milan
Pospisil. Sheet Music.
Paperbound. Henle Music
Folios. Classical. Score and
Parts. 88 pages. G. Henle
#HN1249. Published by G.
Henle
$36.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| H Lfte Des Lebens - Ein Ereignis - Cello, Piano EMB (Editio Musica Budapest)
Violoncello and Piano (VIOLONCELLO) SKU: HL.50511773 Fur Violoncello u...(+)
Violoncello and Piano (VIOLONCELLO) SKU: HL.50511773 Fur Violoncello und Klavier. Composed by Adam Kondor. Contemporary Music. EMB. Contemporary Hungarian Works. Book Only. Editio Musica Budapest #Z14481. Published by Editio Musica Budapest (HL.50511773). ISBN 9790080144817. Bach (23 x 30,2 cm) inches. German. Adam Kondor. This short, metaphorical work captures the moment when a person casts a summative glance over the past, takes final leave of all that has happened and peers with cautious hope into the future, which will perhaps be better than the time now being left behind. This minimalist tribute was composed for the fortieth birthday of the painter Hans Nopper, even though it makes use of extremely restricted resources, it bears within it the possibility of catharsis. (Jessica Collewijn). $14.95 - See more - Buy online | | |
| 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. 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. 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.  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.   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 “ordinary†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.  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.  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.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran . $29.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Cheryl Frances-Hoad: The
Forgiveness Machine:
Piano Trio: Score and
Parts Piano Trio: piano, violin, cello Cadenza Music
Cheryl Frances-Hoad's The Forgiveness Machine for Piano Cello and Violin. 'The ...(+)
Cheryl Frances-Hoad's The Forgiveness Machine for Piano Cello and Violin. 'The Forgiveness Machine was commissioned by the Phoenix Piano Trio as part of their Beyond Beethoven Project. My work is very closely modeled on the second movement of Beethoven’s Archduke Trio and comprises a set of loosely structured variations many of which are motivically very similar to Beethoven's. This work is dedicated to the memory of my grandmother Christina Hoad. I received this commission in the last months of her life and would often sit in the room listening to the Archduke on my headphones while she rested. Beethoven’s music to me atthat time had an almost transcendental quality to it temporarily permitting an escape from the reality and inevitability of my Nan’s illness. It was this quality of serenity beauty and dignity that I tried to emulate in my work. The title is taken from an art work by Karen Green: the Forgiveness Machine was made after the death of her husband David Foster Wallace and encourages members of the public to write down on a piece of paper what they want to forgive/be forgiven for before feeding it to the machine which sucks up the piece of paper and shreds it (the artwork is some seven foot long). Whilst in my case there is nothing to forgive it was the feeling of catharsis that many people reported after interaction with this artwork that struck a chord with me and had tremendous relevance to this work.' - Cheryl Frances-Hoad
13.99 GBP - Sold by Musicroom UK | |
| Bedrich Smetana: Piano
Trio In G Minor Op. 15:
Piano Trio: Score and
Parts Piano Trio: piano, violin, cello G. Henle
When Smetana composed his Piano trio in the autumn of 1855 it was an act of cat...(+)
When Smetana composed his Piano trio in the autumn of 1855 it was an act of catharsis to recover from the death of his four-year-old daughter Friederike. This highly emotional work was also his first large-scale piece of chambermusic. Its first public performance in December 1855 was regrettably not a great success and so Smetana embarked on a protracted process of reworking it. By the late 1850s it had reached its current form. Smetana always liked toperform it but only found a publisher for it in 1880 when one of his pupils invited the Hamburg publisher Hugo Pohle to a performance at short notice. Smetana specialist Milan Posp Å¡il has based this Henle Urtext edition on thefirst edition by Pohle but has also drawn upon the earlier sources. This has enabled him to iron out numerous inconsistencies found in the first edition.
28.25 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
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