My Seventeenth String Quartet began life somewhat abortively in March 1979 as an overture for string trio, intended as a welcoming present for my sister Ruth, who was returning that day from a school field-trip. The timing of the impulse on the day of her return was possibly not the cleverest; the work ran into the ground half-way through the development section (5:00), remained unperformed and was eventually lost. Over the next eleven years I made a number of attempts to revive it as a quartet (the original trio contained absurd quantities of double-stopping), and work on the final form of the opening movement was solidly underway by the early summer of 1990. The music contains a rare moment of expressionist angst; the somewhat morbid passage from 5:12 to 5:23 was conceived under the influence of a rather savage toothache.

The opening two bars of the slow movement (melody alone)were sketched in June 1987, curiously in 4/4 time. I am glad that I settled ultimately on 3/4; I have come to regard the movement as one of my finest creations. Work on the music, much of it in the mind while travelling on commuter trains or walking the chaotic streets of central London, occupied me mainly during the earlier half of 1991. The movement contains a brief reference (at 10:06) to Auf dem Wasser zu Singen, possibly my favourite Schubert Lied.

The Scherzo and Trio movement was conceived in late 1988 or early 1989 as part of the rush of enthusiasm that I felt for the string quartet form while reading Paul Griffiths' book on the subject. It was composed mainly in the early summer of 1991.

The slow introduction to the final movement is essentially a reworking of the introduction to the opening movement. It preserves at 0:49 a dissonance which appeared in the 1979 trio version of the music, but which I smoothed out in the first movement of the present work. The finale proper, Allegro Scherzando, originated in 1988-89 with the sketch of the passage at 8:04 - 8:08, and grew out of it largely in back-formation. The notion of reiterating the first movement introduction was similarly a back-formation; the five-note scale principal motif of the Allegro Scherzando is closely related to the theme of the introduction, but to the best of my memory the finale began life independently and the relationship was fortuitous.

The Seventeenth Quartet was completed on the Moscow Metro on the evening of August 17th, 1991 (with the usual minor revisions on realisation, in 2014 and 2018), and is dedicated to my sister Ruth, the intended recipient of the abortive String Trio of 1979 out of which it grew.

String Quartet No. 17, in G major (1991)

Wanja Belaga

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i am a russian pianist, based in Munich / Germany
i improvise on piano, i comprovise

recorded in march, 2021, Bayreuth
chamber hall, Steingraeber Klaviermanufaktur
The Concert Grand Piano · D-232 Steingraeber
recorded by etage music

Ballade der wundersamen Gefühlsverwirrung

Written by Rupert Feld
Performed by Suzanne Berry (Violin), Jennifer Appleyard (Cello) and Rupert Feld (Piano)

Studies and Impromptus

Piano Trio In C Minor

...alien motions on fire with coriolis demeanor"

Quatuor Bozzini, Montreal 2014

Score: https://britishmusiccollection.org.uk/score/i-saw-these-gaps-explanation-rolling-wheels-contrary-within-themselves-alien-motions-fire

I Saw These Gaps Of Explanation Rolling Like Wheels Contrary Within Themselves...

My Seventeenth String Quartet began life somewhat abortively in March 1979 as an overture for string trio, intended as a welcoming present for my sister Ruth, who was returning that day from a school field-trip.  The timing of the impulse on the day of her return was not the cleverest; the work ran into the ground half-way through the development section (5:00), remained unperformed and was eventually lost.  Over the next eleven years I made a number of attempts to revive it as a quartet (the original trio contained absurd quantities of double-stopping), and work on the final form of the opening movement was solidly underway by the early summer of 1990.  The music contains a rare moment of expressionist personal suffering; the somewhat morbid passage from 5:12 to 5:23 was conceived under the influence of a rather savage toothache.

A.M.Bell - String Quartet No. 17 (I - Lento - Allegro con Brio)

The opening two bars of the slow movement (melody alone)were sketched in June 1987, curiously in 4/4 time.  I am glad that I settled ultimately on 3/4; I have come to regard the movement as one of my finest creations.  Work on the music, much of it in the mind while travelling on commuter trains or walking the chaotic streets of central London, occupied me mainly during the earlier half of 1991.  The movement contains a brief reference (at 10:06) to Auf dem Wasser zu Singen, possibly my favourite Schubert Lied.

A.M.Bell - String Quartet No. 17 (II - Adagissimo)

The Scherzo and Trio movement of the Seventeenth Quartet was conceived in late 1988 or early 1989 as part of the rush of enthusiasm that I felt for the string quartet form while reading Paul Griffiths' book on the subject.  It was composed mainly in the early summer of 1991.

A.M.Bell - String Quartet No. 17 (III - Scherzo:  Allegro Amabile)

The slow introduction to the final movement of my Seventeenth Quartet is essentially a reworking of the introduction to the opening movement.  It preserves at 0:49 a dissonance which appeared in the 1979 trio version of the music, but which I smoothed out in the first movement of the present work.  The finale proper, Allegro Scherzando, originated in 1988-89 with the sketch of the passage at 8:04 - 8:08, and grew out of it largely in back-formation.  The notion of reiterating the first movement introduction was similarly a back-formation; the five-note scale principal motif of the Allegro Scherzando is closely related to the theme of the introduction, but to the best of my memory the finale began life independently and the relationship was fortuitous.

The Seventeenth Quartet was completed on the Moscow Metro on the evening of August 17th, 1991 (with minor revisions in 2014 and 2018), and is dedicated to my sister Ruth, the intended recipient of the abortive String Trio of 1979 out of which it grew.

A.M.Bell - String Quartet No. 17 (IV - Finale:  Lento - Allegro Scherzando)

5'' Run - Off

Special thanks to my patrons, Zoltan, Marie, Sophie, and Erin!
Become my patron here: https://www.patreon.com/rldavennor

Lyrics:
Born of ash, cloaked in fire,
broken free of man's desire
branded flesh by searing claw
Straight into the gaping maw

Bones will snap, wills can bend
Storms will pass and journey’s end
Ebb and flow, give and take
The strongest heart will never break

Dragon's blood born anew
A shroud of green and cloak of blue
Shadowed wings rise and fall
Stolen child, free us all.

Featured in my score collection Lyres, Legends, and Lullabies:
http://mybook.to/lyreslegendslullabies
-----------------------
Composed and Produced by Raelynn Davennor.
Vocals by Raelynn Davennor.
Scored for Voice, Harp, and String Orchestra.

Copyright 2020 Raelynn Davennor, All Rights Reserved.

Website - https://rldavennor.com/
Facebook - https://www.facebook.com/RLDavennor/
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Soren's Song

About Intermezzo D'Anniversaire by Danae Vlasse: This piece is a Theme and Variations on the famous Op118 No2 Intermezzo by  Johannes Brahms. It develops my favorite 8 measure theme from the original work and was specifically composed in the style of Brahms. The second section in this piece is built on specific pitches such that it incorporates a message for the recipient of the commission "Joyeux Anniversaire Karen" ("Happy Birthday Karen").

Winner: MTAC Composers Today 2014 First Place in Composition "Advanced Work" Category.

Winner: Radio Music Awards 2016 "Best Classical Recording" Category.

The piano score is available for purchase - contact the composer for information! 

PS: A BIG Thank you to Daniel (Zeitfaktor) for his help with re-mastering this audio file! :-)

Intermezzo D'Anniversaire (remastered by Zeitfaktor) :-)

Special thanks to my patrons, Zoltan, Marie, Sophie, Erin, and Kim!
Become my patron here: www.patreon.com/rldavennor

This piece came to me in a single sitting as I imagined a scene in my upcoming fantasy novel, Bloodlust. Rebecca, Alex, and Tristan are spending the evening in the forest, anxiously awaiting the coming morning where they will need to face the human king—and Alex's father. Alex brought with them a lute, as she knows her father enjoys hearing her play and sing, but as she is attempting to practice, she forgets the lyrics to her song, forcing her to hum the melody instead. As she finishes, Rebecca's voice rises from the silence, singing lyrics she made up on the spot as a way to empower Alex to accept her role as the group's leader.

Lyrics:
Fallen princess, lead us, guide us, 
as we face the throne.
Fallen princess, dragons' Eldest,
you are not alone.

Featured in my score collection Lyres, Legends, and Lullabies:
http://mybook.to/lyreslegendslullabies
-----------------------
Composed and Produced by Raelynn Davennor.
Vocals by Raelynn Davennor.
Scored for Voice and Lute.

Copyright 2020 Raelynn Davennor, All Rights Reserved.

Website - https://rldavennor.com/
Facebook - https://www.facebook.com/RLDavennor/
Twitter - https://twitter.com/RLDavennor
Instagram - https://www.instagram.com/rldavennor/
YouTube - https://www.youtube.com/channel/UC_ViU2S2HrTc0XXaOHaWRFw

Fallen Princess

Special thanks to my patrons, Zoltan, Marie, Sophie, and Erin!
Become my patron here: www.patreon.com/rldavennor

Composing in one sitting is becoming more and more common for me, as this piece is another produced in a single afternoon of inspiration. Inspired by a chapter of the same name in my upcoming fantasy novel, Bloodlust.

Featured in my score collection Lyres, Legends, and Lullabies:
http://mybook.to/lyreslegendslullabies
-----------------------
Composed and Produced by Raelynn Davennor.
Scored for Solo Piano.

Copyright 2020 Raelynn Davennor, All Rights Reserved.

Website - https://rldavennor.com/
Facebook - https://www.facebook.com/RLDavennor/
Twitter - https://twitter.com/RLDavennor
Instagram - https://www.instagram.com/rldavennor/
YouTube - https://www.youtube.com/channel/UC_ViU2S2HrTc0XXaOHaWRFw

Enchantress

Uploaded with AudioShare app - http://kymatica.com/audioshare

Rhapsody in A Flat Minor for Piano

Fantasie #2 "Schwanengesang" (Swan Song)
by Danaë Xanthe Vlasse

See the music video here! https://vimeo.com/238251818



This composition won an Award of Excellence as well as being awarded an honor for the category of "Listener Impact" from the Global Music Awards!  This was also the 2016 1st place winner of the MTAC advanced division Composer's Today competition! This work was also nominated for the 2016 Hollywood Music In Media Awards.

The piano score is available for purchase - contact the composer for information! 



The Swan's Poem:
"Ivory quills aquiver with a tail destined to pen:
Dust aflutter, down afloat...
An ailing grace lies mourning, despairing, 
Delirious from the  fragrance of the waterlily's fresh palette of nascent pastels.
Fearful of this night's timeless mistress; 
a muse sinister yet seductive with repose in calling cadence to life's thrashing.
Sails heave, whimpering under the weight of their effort,
Resigned toward inevitably succumbing to dusk's siren.
Drops of loneliness glisten along the arc of a sinuous spine, until
Echoes of breath convey feathered spirits into the beams of a sharply setting sphere."

Remastered and available for purchase on this album:
https://www.cdbaby.com/cd/danaexanthevlasse1

Fantasie #2 Schwanengesang (youtube: https://youtu.be/aDiFkb-Zd3A)

Born 1965, lifelong lover of music.  Have been picking out little tunes from 5, and attempting seriously to compose since 12.  Generally (although not exclusively) happiest writing in the manner of late-18thC/early 19thC, but very happy to listen to pretty nearly any music.  String quartets a speciality, although not entirely sure why.  No plans to give up the day job (secondary school Support for Learning Assistant) or the weekend job (Choirmaster at St. Magnus's Cathedral, Kirkwall).

A.M.Bell - String Quartet No. 17 (II - Adagissimo)

Michael Bell

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