SKU: HL.14042989
ISBN 9788759829240. English.
All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2013 (String Quartet No.12,13 and 14 played simultaneously). Gudmundsen-Holmgreen has written a collection of three new string quartets: String Quartet no. 12, ‘Each in Each’; String Quartet no. 13, ‘Mutual Ordering’, and String Quartet no. 14, ‘Well-Tuned Sounds’. Each quartet can be played on its own; they can also played simultaneously in any combination. When all three quartets are played together, as they are tonight, the combined work is titled All in One. About this collection, Gudmundsen-Holmgreenwrites: 'Some years ago Kronos and the vocal group Theatre of Voices performed three new pieces, which I had written for the two groups: one for Theatre of Voices (Green), and two for Kronos (New Ground and No Ground). They were played and sung by each group independently – but also both groups together concurrently, on top of each other, as a final gesture. The combined pieces were called New Ground Green and No Ground Green. 'David liked the idea (and the result) of pairs of quartets that could be played both independently and simultaneously, and asked me if the vocal quartet could be transformed into a string quartet. It could not. He then asked me to repeat the whole set-up with a new pair of quartets, adding also some percussion instruments, as was the case with Green for Theatre of Voices. Of course this was tempting. Furthermore David asked me to make one of the two new quartets a little easier to play. 'I began to work. The Kronos part of the pair of quartets turned out to be tough to play, as David puts it. Unfortunately the ‘easier’ one was tough to play also! So I had to write one more, which was then a little easier still (but still not easy). 'The three new works can be played separately and on top of each other in many different combinations, resulting in different kinds of.
SKU: HL.49045639
ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches.
Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl.
SKU: HL.51481120
UPC: 196288034773. 9.0x12.0x0.625 inches.
This volume brings together Mozart's youthful attempts at this later so central genre of the string quartet: the astonishing “Lodi Quartet” K. 80 by the only fourteen-year-old composer, the three “Quartet-Divertimenti” K. 136-138 which are also readily played by chamber orchestras, and Mozart's first true string-quartet cycle K. 155-160 which was composed during his third (north-)Italian journey in 1772/73. Mozart's cleanly written scores of all the compositions have been preserved so that the edition stands on a secure foundation. In his informative commentary, Wolf-Dieter Seiffert, the experienced Mozart editor at G. Henle Publishers, devotes a separate, comprehensive explanatory section to the well-known articulation problem “dot or wedge.” The Armida Quartet provided artistic input for this edition.
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SKU: HL.51487120
UPC: 196288034353. 6.75x9.5x0.395 inches.
