Called Dusk II : Detlev Müller-Siemens

Titel (DE): ...called dusk II - für Streichquartett
Titel (EN): ...called dusk II - for string quartet
Titel (FR): ...called dusk II - for string quartet
Komponist / Composer: Müller-Siemens, Detlev
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: Streichquartett / string quartet
Besetzungsdetails:
Kompositionsjahr / Date of Composition: 2011
Aufführungsdauer / Duration: 12'
Verlag / Publisher: Schott Music
Erscheindungsdatum / Date of Publishing: 17.04.2014
Ausgabe / Publication: Partitur und Stimmen - Score and parts -
- - -
Seiten / Pages: 96
Verarbeitung: Rückendrahtheftung - Saddle-wire stitching
Schwierigkeitsgrad / Difficulty: schwer - difficult - difficile
Sprache / Language:
Reihe / Series: Edition Schott
ISMN: M-001-18723-7
ISMN-13: 979-0-001-18723-7
ISMN-EAN: 9790001187237
UPC:

...called dusk II for string quartet draws its inspiration from a line in Samuel Beckett's short story Lessness: 'Figment dawn dispeller of figments and the other called dusk'. The work is a kind of double Chaconne, each part of which contains 26 chords based on specific permutations of fundamental notes and their harmonics. Each of the parts pass through alternating, harmonically contrasted planes, becoming entwined in the manner of a chimera through their rhythmic structure and dynamics. This intermittently produces a sort of inner voice' which runs through all four instruments. The fundamental notes and harmonics separate during the progress of the composition, becoming independent and then disintegrating. The consonant harmony resulting from the amalgamation of the two planes ultimately collapses into a rigid motor-like linearity. Detlev Müller-Siemens

[FR]
...called dusk II for string quartet draws its inspiration from a line in Samuel Beckett's short story Lessness: 'Figment dawn dispeller of figments and the other called dusk'. The work is a kind of double Chaconne, each part of which contains 26 chords based on specific permutations of fundamental notes and their harmonics. Each of the parts pass through alternating, harmonically contrasted planes, becoming entwined in the manner of a chimera through their rhythmic structure and dynamics. This intermittently produces a sort of inner voice' which runs through all four instruments. The fundamental notes and harmonics separate during the progress of the composition, becoming independent and then disintegrating. The consonant harmony resulting from the amalgamation of the two planes ultimately collapses into a rigid motor-like linearity. Detlev Müller-Siemens