Matériel : Conducteur
SKU: SU.27040230
Inspired by minimalism, the primary composition concern was to create a large-scale work employing a sparse melodic and harmonic content: most of the harmonic and thematic material is derived from a diatonic five-note chord. The four movements of this quartet are played without pause and are partitioned by a recurring chorale.String Quartet Duration: 20' Composed: 2000 Published by: Hutter Music.
SKU: SU.25300220
String Quartet Duration: 18' Composed: 1990 Published by: Anthony Cornicello.
SKU: SU.50020510
Copyright 1969. Published by: Seesaw Music.
SKU: HL.286538
Bent Sorensen's Gondola L'Amore for Violin, Viola and Cello.
SKU: FL.FX072923
Instruments:Cel lo Trio: 3 Cellos; Difficuly Level: Grade 4.
SKU: FG.55011-553-8
Jyrki Linjama's second string quartet (2018) is subtitled Allerheiligentag III. The material for the Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba and violin.The composer tells: The choice of topic and material for the string trio was originally prompted by the venue at which it was to be premiered: the old church on the island of Seili (Sjalo). The bleak history of the island's leper and mental hospital evoked images of suffering and death. I got so attached to the harsh and beautiful melody that it began to generate a whole cycle. The string quartet is in three movements (slow-quick-slow) tensed in different ways by contrasts. The first movement has both swinging softness and cutting sharpness, the Scherzo the wildness of a dance of death and lyricism, and the finale the irrevocability of a funeral march and tender melodiousness.
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”?Finally, 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. “Vistas” 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.