Programme Note This short one-movement quartet is a kind of modernization of the 14th century French motets a cadeau to this weird and fantastic music whose abstract and almost deprecatory introvert expression appears unaccountably modern and incredibly ancient at the same time. MOTET is a sober cool treatise on rhythm and statics depicted in a Gothic crypt-like atmosphere. The almost completely non-vibrato movement is suggestive of boys’ choir monks’ processions and the piercing sound of musical glasses. An ancient world is reborn and becomes the world of today. Poul Ruders 1979
SKU: HL.14028013
Work dating from 1979. Parts available: WH49704.
SKU: HL.14028046
ISBN 9788759859377. 9.5x14.25x0.12 inches. International (more than one language).
Score available: KP00247 Ruders writes: Quartet No. 3 Motet was written in 1979, commissioned by the Lerchenborg music-week of 1979 during which it was first performed by Quatuor Bernede. This short one-movement quartet is a kind of modernization of the 14th century French motets, a cadeau to this weird and fantastic music whose abstract and almost deprecatory, introvert expression appears unaccountably modern and incredibly ancient at the same time. Motet is a sober, cool treatise on rhythm and statics, depicted in a Gothic, crypt-like atmosphere. The almost completely non-vibrato movement is suggestive of boys' choir, monks' processions, and the piercing sound of musical glasses. An ancient world is reborn and becomes the world of today.
SKU: HL.14076091
SKU: HL.14028047
ISBN 9788759815113. 8.25x11.75x0.089 inches. International (more than one language).
Parts also available (item 14028046).
SKU: HL.14076090
SKU: HL.14027994
ISBN 9788759864593.
New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders' Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer's own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it's open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian'e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders' use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.
SKU: HL.14042814
ISBN 9788759824177. English.
Poul Ruders' Prologue To Dido And Aenas by Henry Purcell (2011). Text by Nahum Tate.
Commissioned by The Danish National Vocal Ensemble / DR
Scored for Mixed Choir (SATB), String Quartet, Percussion, Theorbe and Harpsichord.Voc al score available: WH31460CParts available: WH31460A
SKU: HL.254378
ISBN 9788759840047. 10.25x14.25x0.44 inches. English.
For Piccolo, Oboe, Clarinet, Glockenspiel, Bassoon, String Quartet, French Horn. The movable part of the subtitle indicates that the simplicity of the instrumentation - only one percussion instrument, the highlight transportable Glockenspiel, string quartet and wind quintet not involving any change of instruemnts, the so-called doublings - makes it relatively easy bringing the pieces on tour - besides the physical positions of the instruments on-stage is equally movable. A seating plan is included showing the standard set-up and one of many alternative solutions, having the audience surrounded by the individual players. And not surprisingly, the notes E- Es - Bb - G - C - H (B natural) - A appear throughout the piece. The final bars are built on the acronym: ESBErG intErnAtionAl CHAmBEr muSiC FEStivAl.
