Streichquartett Chaya Czernowin

Titel (DE): Streichquartett -
Titel (EN): String Quartet -
Titel (FR): Quatuor à cordes -
Komponist / Composer: Czernowin, Chaya
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: Streichquartett / string quartet
Besetzungsdetails:
Kompositionsjahr / Date of Composition: 1995
Aufführungsdauer / Duration: 14'
Verlag / Publisher: Schott Music
Erscheindungsdatum / Date of Publishing: 22.09.2010
Ausgabe / Publication: Partitur und Stimmen - Score and parts -
- - -
Seiten / Pages: 172
Verarbeitung: Rückendrahtheftung - Saddle-wire stitching
Schwierigkeitsgrad / Difficulty: schwer - difficult - difficile
Sprache / Language:
Reihe / Series: Edition Schott
ISMN: M-001-13792-8
ISMN-13: 979-0-001-13792-8
ISMN-EAN: 9790001137928
UPC:

In this work, the quartet becomes a single composite instrument. This instrument cannot play individual sounds but rather composite gestures, of which the initial impulse linked to the production of a sound is an integral element. In a journey to Thailand, I visited Wat Arun, the Temple of Dawn. First from a distance, it appeared as a majestic looming tower possessing a monolithic form. It was then of extreme surprise to proceed closer only to discover that the tower was actually comprised from thousands of small shards of ceramic plates. From the closer perspectival proximity, these small shards created intricate filigreed patterns. The play between the presence of the temple's totality and its fractured parts helped to provide both the material and formal conceptions for this quartet. The piece is built from three movements with two sonic windows between them. In the first movement, the composite sounds are introduced and form phrases interjections, and a part of a song; the second movement is similar to an improvisation using these composite sounds; the last movement is a speech composed of the fragments from the first two movements. The piece is dedicated to the Arditti String Quartet. Chaya Czernowin & Steven Kazuo Takasugi
Dans l'uvre de Chaya Czernowin, le quatuor se transforme en un seul instrument composite. Ce instrument ne peut pas jouer de sons individuels mais plutôt de gestes composés, dont l'impulsion initiale liée à la production d'un son fait partie intégrante. La pièce est faite de trois mouvements séparés et de deux "fenêtres sonores".

[FR]
In this work, the quartet becomes a single composite instrument. This instrument cannot play individual sounds but rather composite gestures, of which the initial impulse linked to the production of a sound is an integral element. In a journey to Thailand, I visited Wat Arun, the Temple of Dawn. First from a distance, it appeared as a majestic looming tower possessing a monolithic form. It was then of extreme surprise to proceed closer only to discover that the tower was actually comprised from thousands of small shards of ceramic plates. From the closer perspectival proximity, these small shards created intricate filigreed patterns. The play between the presence of the temple's totality and its fractured parts helped to provide both the material and formal conceptions for this quartet. The piece is built from three movements with two sonic windows between them. In the first movement, the composite sounds are introduced and form phrases interjections, and a part of a song; the second movement is similar to an improvisation using these composite sounds; the last movement is a speech composed of the fragments from the first two movements. The piece is dedicated to the Arditti String Quartet. Chaya Czernowin & Steven Kazuo Takasugi
Dans l'uvre de Chaya Czernowin, le quatuor se transforme en un seul instrument composite. Ce instrument ne peut pas jouer de sons individuels mais plutôt de gestes composés, dont l'impulsion initiale liée à la production d'un son fait partie intégrante. La pièce est faite de trois mouvements séparés et de deux "fenêtres sonores".