Kevin Volans: String Quartet No.11: String Quartet: Parts

SKU: HL.14035177

ISBN 9780711979406. 8.25x11.75x0.142 inches.

Irish composer Kevin Volans' work has gained international acclaim over the years. Drawing on a combination of European and African compositional techniques, his music displays a unique charm. Volans' distinctive sound is heavily in demand, and since the mid-1980s his work has been performed regularly at such venues as the Pompidou Centre, the Royal Albert Hall and the Lincoln Center in New York. This work for string quartet was commissioned by the Shobana Jeyasingh Dance Company, and was first performed on the 16th December 1990 at the Almeida Theatre, London, by the Smith Quartet. Score. Parts available: CH61342.

SKU: HL.14035183

ISBN 9780711976689. 9.0x12.0x0.372 inches.

Kevin Volans has been described as one of the more inventive composers since Stravinsky. Songlines was composed in 1988, and revised in 1993. Score available: CH61335.

SKU: HL.14035182

ISBN 9780711967311. 9.0x12.0x0.14 inches.

String Quartet No.2 Hunting: Gathering was commissioned by Doris and Myron Beigler and the Lincoln Center for the Performing Arts for the Kronos Quartet. It was first performed by them in December 1987, San Francisco. Duration 24 minutes. Parts available: CH61330.

SKU: HL.268903

9.25x12.0x0.587 inches.

String Quartet No.12 is a work by Kevin Volans, commissioned by the Signum Quartet, who gave the world premiere in Birmingham on 11th November 2016. The piece lasts around 36 minutes, and this is the Full Score.

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SKU: HL.14017538

8.25x11.75x0.19 inches.

Commissione d jointly by the City Music Society and the Duke Quartet. Parts available: CH65065-01.

SKU: HL.14037707

ISBN 9781849385916. UPC: 884088578626. 8.25x11.75x0.262 inches.

Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.

Kevin Volans (the composer) notes on the piece:
In the past I have been interested in trying to go beyond historicism (1970s), beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy', almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This, of course, has already been done by a numberof composers (many from New York - Phil Niblock and La Monte Young, to name but two), butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work,and fearing this would make the label stick, I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic, an aesthetic which,however, pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure - the ego - underfoot.You get theimpression He dances on the spot, not movingaround at all. I like that.
The piece is dedicated to Pablo Pascual Cilleruelo.