Schubertâ s composition of a new string quartet begun in December 1820 was alas never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubertâ s estate delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubertâ s â Posthumous Workâ â thus paving the way into audiencesâ hearts for this little gem. Schubertâ s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubertâ s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬â thus making Schubertâ s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubertâ s workshop the few measures of the second movement are included as a bonus! Schubertâ s composition of a new string quartet begun in December 1820 was alas never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubertâ s estate delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubertâ s â Posthumous Workâ â thus paving the way into audiencesâ hearts for this little gem. Schubertâ s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubertâ s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬â thus making Schubertâ s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubertâ s workshop the few measures of the second movement are included as a bonus!
SKU: FG.55011-875-1
Lotta Wennäkoski's Pige (2021-2022) for string quartet was commissioned to be paired with the Death and the Maiden quartet by Franz Schubert (pige is Danish for girl). The composer tells:The first movement Vorüber, ach, vorüber! is based on the first half of Schubert’s lied lying behind his The Death and the Maiden quartet. The maiden’s song in the beginning of the lied has not found its way to his string quartet, so I wanted to use this material in mine. The second move-ment Daktylus borrows its idea from the haunting pulse of Schubert’s chant of Death. Something fierce and something soundless can be heard here - along with other variants on the dactyl rhythm. For example, I’ve written a lyrically flowing melody based on the same rhythmic pattern (long-short-short).Schubert’s quartet is wonderful music and of course a cornerstone of the repertoire, and the death and the maiden is a strong, tempting and gloomy motif in art history. On the other hand, I just couldn’t help seeing the motif also as a - somewhat passé - image of an old male desiring the ulti-mately young female body. The third movement thus turns its gaze to the girl herself. Pigen og scrapbogen, The Girl and the Scrapbook, is joyful textural music - compiled of fragments and freely handled quotations that might spring to mind when thinking of a vital girl’s life.This product includes the full score and the set of parts.Movements:1. Vorüber, ach, vorüber!2. Daktylus3. Pigen og scrapbogen (das Mädchen und das Scrapbuch)The first movement can also be performed separately as a prologue to The Death and the Maiden string quartet by Franz Schubert.
