Three Miniatures For Strings

SKU: SU.80111203

Violin & Clarinet Duration: ' Composed: 1971 Published by: Soundspells Productions Includes 2 scores Three for Two (1971) is a set of three miniatures in a neo-classicla style for violin and clarinet duo.

SKU: FG.55011-821-8

ISBN 9790550118218.

X'Three (2003/2021) by Olli Koskelin is the third piece of a solo cello suite consisting of seven compositions. Each of the seven pieces can be performed individually or detached with other X'-compositions. Different works are yet to be performed chronologically. The X'-works are composed by using the same material viewed from many different angles. Their structure can be seen as a film starting several times from the beginning and from the same settings always looked from a new perspective. In some compositions of the X'-suite seemingly random fragments are joined together organically in other works of the suite. The story, tale, or plot of the music and the gestures and figures of it trans-form in a new context but remain identifiable.

Olli Koskelin's (born 16 April 1955) compositional output reflects a wide range of interests. The vast area covered by his style encompasses the neo-impressionism of the piano work Courbures (1989) to the post-expressionist echoes of his Music for String Quartet (1981) as well as the breakneck virtuosity of his clarinet piece Exalte (1985/1991) and the rich romantic textures of his orchestral piece ... like a planet silently breathing... (1993). He often uses the overtone series like the French spectral composers and avoids dramatic culmination. Soft harmonics, tranquil arching melodies, a leisurely rhythmical pulse and a coherence of mood are in evidence in his later works as in Uurre (1997) for chamber ensemble, Miniatures (1997) for string quartet and Circles within for 19 solo strings.

SKU: UT.CH-321

ISBN 9790215326293. 9 x 12 inches.

Dediche is a series of short miniature pieces for solo guitar written in 1991 by Chiara Benati, an authoritative exponent of what can be called the School of Bologna, and who has devoted many pages of her catalogue to the guitar (Chiara won a first prize in 1986 at the Competition for Guitar Composition organized by the historic magazine Il Fronimo).
From the point of view of the guitar idiom, it is striking how the compositional research of Chiara Benati (who does not play the guitar) has penetrated deeply into the nature of the instrument. In my job of adding the fingering to the pieces, I started from the precise indications concerning the strings already provided by the Composer, who meticulously imagined the instrumental result created by the play of resonances and the consequent precise distribution of the parts on different strings (let us think of the tremolos superimposed on different strings in the second Dedica and the counterpoint in three parts each written on its own musical stave), with a skilful use of glissandos and other instrumental effects.
From the musical point of view, a similar meticulousness in writing is evident, shown, for example, by indicating the temporal separation between the figures by means of their spatial distance indicated in the score.
The result is an instrumentally and musically rigorous writing which also helps the performer by appealing to his ability to empathize, following the indications written in the score and in the key, with the expressive atmosphere of the work, and through that specific aspect of controlled performance flexibility and sound sensitivity necessary to render it properly.
These delicate miniatures, suffused with mystery and melancholy, and so masterfully written for the guitar, are in my opinion an important addition to the contemporary repertoire of the instrument.
(Piero Bonaguri).