Shanghai (score & parts)

SKU: BT.PL1921

SKU: CL.016-0124-00

SKU: CL.013-0469-00

SKU: PR.164002840

UPC: 680160610792. 9 x 12 inches.

September, 2012 saw the premiere of Welcher's new Museon Polemos at the University of Texas. For the occasion, the performing ensemble included two world-class string quartets, the Shanghai Quartet and the Miro Quartet. Labeled as a '25 minute ballet without dancers,' Museon Polemos pits the two string quartets against one another in an Apollonian/Dionysian contrast of music and mood with the Shanghai quartet as the thoughtful, cool former and the Miro quartet as the visceral, earthy latter. ...Welcher took inspiration primarily from Stravinsky's later ballets of the '30s and '40s when composing his work. (Andrew Sigler on New Music Box).

SKU: HL.14028557

ISBN 9788759854273. 9.5x14.25x0.187 inches. English.

Gates is the second section from the ballet MAA, scored for Chamber group, tape and live electronics. Written in 1991, commissioned by the Finnish National Opera, this work beautifully demonstrates the poeticism of Saariaho's music with a sensuous calm that permeates throughout. MAA translates from Finnish into world, earth or country. It is a complimentary title as the ballet does not have a plot as such, rather it is built around thematic archetypes such as doors, gates, stepping into new worlds, journeys and the crossing of waters. Gates can be played either as an acoustic or, often preferably, an amplified version. The acoustic version is suitable for small and resonant halls, or in a context of e.g. an early music program, in which case the piece can also be played on original instruments. This is the Full set of parts for one of Kaija Saariaho's most major works to date. Score is avilable: KP00326.

SKU: PR.114410380

UPC: 680160015160. 9.5 x 13 inches.

My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
My second String Quartet was written twenty years after the first, Opus 4 from 1978.  The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond.  I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements:  Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work.  While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact.  The quartet is pervaded by a sense of seriousness, even mournfulness.  The second movement’s scherzo is an aggressively animated piece of musical machinery.  The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts.  The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.