Short Trio Movements

SKU: SU.27040250

The trio is cast in three short movements, all showcasing a constant bustle of contrapuntal activity and angular rhythms. The harmonic language is atonal, employing cellular collections of pitches. Duration: 10' Composed: 2001 Published by: Hutter Music.

SKU: HL.49045531

ISBN 9781495094767. UPC: 888680685058. 9.0x12.0x0.401 inches.

My Piano Quintet consists of four contrasting movements. The first movement, entitled Mannheim Rocket, is a modern take on the 18th-century musical technique in which a rising figure speeds up and grows louder. Marked 'Furioso', the movement is gradually filled with rising scalar figures which build in volume and finally 'launch' into space with ethereal string harmonics. At this point, the music becomes almost static, though the inner rhythm continues.The second movement, entitled Kyrie, is marked 'Still, chant-like'. The principal idea, stated between first violin and viola, is a chromatically transformed chant-like motive. It also features a long, lyrical cello line, made up exclusively of natural harmonics, emphasizing the non-tempered ('out of tune') 7th and 11th partials.The third movement is a scherzo in which the strings and piano sometimes alternate and imitate each other, reacting to each other's gestures, and at other times, combine and synchronize to produce a more blended sound. A short Trio-like section appears before the return of the scherzo music.The last movement, Pulse, is made up of perpetually moving 8th notes, sometimes harmonically static, but always pushing forward. The work is interrupted twice with short, freer sections, but always returns to its pulse-oriented nature.- Pierre Jalbert.

SKU: PR.114406980

UPC: 680160010806.

Shula mit Ran’s second string quartet, subtitled “Vistas,” occupies a large canvas that is cast in a traditional fourmovement mold, where the outer movements present, explore, and later return to the work’s principal musical materials, surrounding a slow movement and scherzo-type third movement with a trio. In addition to tempo-based titles, the individual movements have subtitles that are evocative of each movement’s character, as follows: I. Concentric: from the inside out II. Stasis III. Flashes IV. Vistas.
My second string quartet, “Vistas”, is a work cast in a traditional four-movement formal mold, with the outer movements, presenting and later returning to the work’s principal musical materials, surrounding a slow movement and a scherzo-type third movement.While the four movements’ “proper” names -- Maestoso con forza, Lento, Scherzo impetuoso, and Introduzione; Maestoso e grande – give some indication of the general character of the individual movements, I have also subtitled, less formally, each movement as follows:  1) Concentric:  from the inside out  2)  Stasis  3) Flashes  4) Vista.  The images evoked by these titles tell one, I think, a bit more about the inner workings of the quartet.In the first movement, a prominently presented opening pitch (E) reveals itself, as the movement unfolds, to be a center of gravity from which ever-growing cycles of activity gradually evolve.  While various important themes come into being as the movement progresses, their impact on the listener has, I believe, a great deal to do with their juxtaposition and relationship to the initial central point of gravity.Stasis is, as the name implies, a movement where activity seems, at times, almost suspended.  Being also, as Webster’s Dictionary reminds us, “a state of static balance and equilibrium among opposing tendencies or forces,” it develops various materials, including ones from the first movement, without bringing them to points of resolution.Flashes is short and very fast, evoking in my mind the quick shimmer of fireflies, a “sudden burst of light”, but also a “brief time”.  Perhaps, even, a “smile”?Final ly, the last movement, Vista, is not only “a view or outlook”, but also “a comprehensive mental view of a series of remembered or anticipated events.”  After a brief recall of the opening of the second movement, this movement brings back all the important themes of the first movement in their original order.  But just as going back can never really mean going back in time, the movement is much more than recapitulatory.  By cutting through previously transitory passages and presenting the main ideas in a fashion more direct yet more evolved, it also sheds new light on earlier events, offering a retrospective, synoptic view of the first movement as it brings to culmination the work as a whole. “Vistasâ € was commissioned by C. Geraldine Freund for the Taneyev String Quartet of what was then Leningrad.  It was the first commission given in this country to a Soviet chamber ensemble since the 1985 cultural exchange accord between the Soviet Union and the United States.