SKU: PR.114406980
UPC: 680160010806.
Shulamit 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, “Vistasâ€, 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 lightâ€, but also a “brief timeâ€. Perhaps, even, a “smileâ€?Finally, the last movement, Vista, is not only “a view or outlookâ€, but also “a comprehensive mental view of a series of remembered or anticipated events.â€Â 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.
SKU: SU.91770880
Instrumentation: Violin & Piano Duration: 6'30 Composed: 2015 Published by: Subito Music Publishing.
SKU: SU.50500580
Brass Quintet Duration: 8' ' Composed: 2011 Published by: Seesaw Music.
SKU: HL.50603783
ISBN 9781705140000. UPC: 840126965919. 9.0x12.0x0.492 inches.
Mario Castelnuovo Tedesco composed 52 Greeting Cards for various instruments between 1953 and 1967, collectively catalogued as opus 170, which he developed in a non-systematic manner up to the year before his death. These pieces were conceived as gifts for his interpreters and students, whom the author meant to gratify with these pleasant little vignettes. Composed between 1953 and 1964, the 18 Greeting Cards for piano (17 for piano solo and 1 for two pianos) represent a point of equilibrium between experimentation and tradition.
SKU: BA.BA04066
ISBN 9790006495832. 33 x 26 cm inches. Text Language: Italian. Nicola Francesco Haym.
This volume of the “Halle Handel Edition†presents the music of the second version of the opera which was premiered on 28 December 1720 at the King's Theatre, Haymarket, London as well as the amendments made for November 1721 revival. The appendix includes the amendments for the January/February 1728 version.The first season of the Royal Academy ended on 25 June 1720. The new vocal soloists arrived in London in September. As the first version of “Radamisto†had been a great success during the first season, Handel revised the opera for the oncoming season to accommodate it to his new more proficient cast.The revision was extensive. It included:1) Changes to the vocal range of Radamisto (soprano to alto for the singer Senesino), Zenobia (alto to soprano for the female singer Durastanti) and Tiridate (tenor to bass for the singer Boschi),2) compositions of new arias and ensembles,3) significant changes to the plot consisting of the reduction of Fraartes’ role from brother to servant Tiridates and the omission of his not so original love affair to Zenobia.For most of Handel's operas it can be said that the first version is the best version. This is due to the fact that when a work was performed again in later seasons, Handel was often forced to make changes due to casting constraints which often affected the equilibrium and the dramatic context of the work. “Radamisto†is an exception to this rule – the December 1720 adaptation is a much more superior composition than the version performed in April of the same year.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49045750
ISBN 9781540019721. UPC: 888680726522. 9.25x12.0x0.366 inches.
Subtilior, Lamento is a piece that draws some inspiration from the music of the so-called 'Ars Subtilior' movement of the fourteenth century. This early music features rhythmic complexities, linear ornamentation, and harmonic intricacy. In my piece, I use canon to create textures that are at constant rhythmic unrest. Harmonies arise out of linear lines: lines I constructed to work in defining my harmonic world. The piece's structural rigor and fluid surface are the two elements I wanted to keep in constant equilibrium. Hannah Lash.
SKU: HL.50486596
ISBN 9790080145418. UPC: 884088200237. 9.0x12.0x0.049 inches. Hungarian, English. Zsolt Serei.
Composed in 1996-1997 to verses by the 7th-century Chinese poet Li Tai-Po. The atmosphere of these songs, linked into a unified cycle by their shared sound system and connecting piano sections, is characterized by a fragile equilibrium of fantasy-like, extreme emotional states.
SKU: FD.FD0321
ISBN 9790560243214.
Work for solo piano. My snapshots are scribblings in pencil or ink, with a little color, and that's all -Kees van Dongen. This collection of short pieces is neither akin to sketches nor to studies, nor to preludes, nor to variations in the classical meaning of the word. They are like the rough drawings that make up a kind of travel notebook, and as such they demand a piano writing that involves widely varied musical gestures. This multiplicity of very different motifs crates sudden ruptures in the sonic atmosphere. This writing doesn't develop but rather hints at things in order to reach equilibrium between light and deep. A play on variants of the core motifs runs right through across the work. Each piece centers on a motif or a group of motifs in particular that builds the shape of a palindrome.