Format : Sheet music
Par MOZART WOLFGANG AMADEUS. / Répertoire / 2 Violons, 2 Altos et Violoncelle
SKU: BR.PB-5655-07
Felix Mendelssohn Bartholdy devoted to the string-quintet genre only two works sharing quite a few formal and musical similarities, though they were composed almost two decades apart.
ISBN 9790004215524. 6.5 x 9 inches.
In view of Mendelssohn's strong revising obsession, the quintets pose some challenges to the editor: in the A-major quintet, after he replaced an inner movement and switched the order of the movements from the early version, a somewhat recognizable final version was published in 1833; the B flat-major quintet underwent several further rounds of revision after its provisional conclusion in 1845, presumably extending into the year of the composer's death (1847). The set of parts includes beside the second string quintet in B flat major both the complete early version as well as the complete published version of the first quintet in A major, so that both versions can be played as independent works. Appearing alongside the parts edition to facilitate further engagement with the music text is also a study score.Felix Mendelssohn Bartholdy devoted to the string-quintet genre only two works sharing quite a few formal and musical similarities, though they were composed almost two decades apart.
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.
