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SKU: PR.11441123S
UPC: 680160016303. 8.5 x 11 inches.
The Quintet for Piano and String Quartet was written for the American String Quartet in the summer of 2000. It is in one movement but has two distinct parts. The first is a slow movement characterized by dotted rhythms. It is a fantasy with some long flowing lines interrupted by short fragments usually in the piano. After a rather agitated section in 6/8 time, this section comes to a quiet close on a G-sharp major chord. The second section of this thirteen-minute work is marked Fast and Energetic. It begins with chords that recur throughout the movement and after two measures a long main theme is introduced which is developed and altered during the rest of the fast portion of the work. One could call this second part a sort of rondo form since this long lyrical theme returns always after contrasts. When it does return, it is treated often by means of imitation, but at the climax returns played in unison by the strings while the piano renders an energetic sixteenth note background. The work ends on an E-flat major chord though the piece is certainly not in any one key, but rather features quick modulations. One might call this non-tonal music which nevertheless always feels like it has a tonal center. --Samuel Adler.
SKU: ST.Y296
ISBN 9790220223525.
Natu re and landscape have been the dominant themes of much of Rhian Samuel's vocal music of the last ten years, projected chiefly through the poetry of Anne Stevenson, and in her most recent song-settings, the writings of the Pakistan-born Texas-based poet Zulfikar Ghose. His poem 'Conspiracy of the Clouds' describes how, the clouds having chosen to become invisible, 'Even the astronauts on the space shuttle / looked down on a cloudless America' as hurricanes ravage Louisiana and storms engulf Nebraska. An intriguing conceit in the tradition of magic realism, the text is presented as a scena lasting around 16 minutes, with interpolations from 'Haze' by the nineteenth-century New England transcendentalist Henry David Thoreau. Thus modern fable and romantic nature-description are juxtaposed, and their interaction becomes the source of musical contrasts too. Thoreau's words are assigned predominantly to the vocalist's highest register, those of Ghose to her lower tessitura; and the suggestive and dramatic accompaniment builds tension steadily to the final ironic response of an incredulous American public: not one of awe and wonder, but the question 'Why weren't we told about it?
SKU: BR.EB-6705
ISBN 9790004169063. 9 x 12 inches. German.
Though a piano can always be included, it is not an essential requirement for the performance of these settings: in some of the carols, two violins or two flutes are quite sufficient, especially if voices are used as well. The following combinations are particularly suitable for domestic music-making, whether or not voices are included as well:one violin and piano,two violins and piano,two or three violins,violins and recorders,two concert (C) flutes (and an alto flute) and - as the ideal combination for shepherds' songs - flutes, violins, cello and piano.Performing groups and music schools have the advantage of a wider choice of forces and the possibility of varying the instrumentation within the individual carols and verses. Thus large and small combinations can alternate, strings and flutes can play in turn, and finally the piano can be used by itself or to reinforce other instrumental combinations, in which case the cello can be added, too.The pieces are graded in increasing order of difficulty; the first carols are chosen so that they can be mastered by violinists after as little as 4 to 6 months of learning their instrument. The choise and sequence of the carols in this book, and also their keys, were determined, amongst other factors, by their suitability for the start of violin tuition, both in first and in third position, so that these carols make an especially good supplement of Christmas music to the violin method of Fritz and Gottfried Scharlach (with its principle of starting with the third position). The progressively increasing difficulty of the carols has resulted, for example, in the three Advent carols (nos. 23-25) being placed later in the collection.The editor hopes that these carols will be much played and sung, and thus help to fill the Christmas season with joy and splendour.Fritz Scharlach, Salzburg, December 1972Our beautiful Christmas carols, old and new, are presented here in settings, ranging from the easy to the more difficult, for various combinations of voices and instruments that may be available in domestic music-making or for a Christmas concert.
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