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Quartet for two violins, viola and violoncello, Op.5

Clássico/Música de Câmara • 2005 • Titulo arternativo: String quartet / Streichquartett
 
     
 

Quartet for two violins, viola and violoncello

Título por Autor: Quartet for two violins, viola & violoncello, Op.5

ler a lisença
19.95 USD

vendedor Bruno Vlahek
PDF, 1.19 Mb ID: SM-000072564 data do carregamento: 06 jul 2011
Instrumentação
Violino, Viola, Violoncelo
Composição para
Quarteto
Tipo de composição
Partitura completa, Partes
movimento(s)
1 para 4 de 4
Editora
Bruno Vlahek
dificuldade
Very difficult
duração
16'0
My String quartet is crafted in a most traditional form, containing four movements: Allegro furioso, Intermezzo, Scherzo and Passacaglia. The form, musical language and a general esthetic dimension of the work rely on the great herritage of this popular chamber music form, inspired by the great achievements that were reached in this field especially during the 20th century. Nevertheless, while respecting the tradition and drawing the inspiration from it, I found this form as a perfect medium to project my most personal thoughts, feelings and ideas. Each movement brings the new musical material, though some characteristic ideas, intervals and sections are being woven throughout the whole Quartet.

The opening movement starts abruptly with basic motive in sixteen-notes built on quartal harmonies. It’s elaboration is followed by fugato part which will be repeated again in the reprise, making thereby the feeling of sonata form. The middle part is given to the characteristic war-like theme of repeated notes accompanied with half-tone glissandi (to be heard again in the closing Passacaglia).

Second movement starts as a desperate violin song above the reflective harmonies played con sordino. The atmosphere is getting more dramatic by syncopations in low strings and dense expressive singing of violins while the movement resolves at the end in the peacefuly etheric harmonies.

The classically built Scherzo brings restlessness with incoherently built motives and fragmental themes above the constant ostinato motif of viola. The anxiety of the movement’s frame parts is somehow dispaired by the middle part’s light-spirited, though partially grotesque dance mood.

The final movement’s tension starts to grow from the zero-point of passacaglia’s theme in violoncello. The contrapunctal variations lead the movement to it’s climax in pure C-minor choral statement after which the piece starts to fade out, instrospectively referring to the quietness and cold distance of the beginning.
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