Schmeteringstanz for String quartet

Commissioned by  Bochumer Symphoniker for the 10th Anniversaire of Viktoria Quartett
First Performance : 26.03.2023, "BOSY QUARTETT ZUM ZEHNTEN!" in Kleiner Saal of  Bochumer Symphoniker By Viktoria Quartett
Esiona Stefani and  Jiwon Kim (Violins)
Aliaksandr Senazhenski (Viola)
Philipp Willerding-Bach (Violoncello)

Score : Edizioni Suvini Zerboni Milano

Schmetterlingstanz (2023) for String Quartet

there`ll never be another you - solo + string quartett played by Sören Leyers

There`ll never be another you

falling into place

String quintet 
Quatuor Van Kuijk & Florentin GInot (Doublebass)

Stains in the carpet (2014)

Guttorm Kittelsen String Quartet in Four Movements
Originally written in 1976-77 Revised in 1982

«String Quartet in Four Movements» is a piece built on the technique of twelve-tone music. I was in an early stage of studying this musical technique, and therefore an analysis of the construction of the piece should be fairly simply to follow for those interested.

 in the early spring of 1976 I prepared myself to apply for compositional studies for my diploma. One test to be accepted was to write a piece of twelve-tone music in the span of six hours in a classroom at the Academy using no instruments, just pencil and paper. The result became second part of the quartet.

In the spring of 1977, when I was a full time compositional student «Hindarkvartetten», one of the most well-known string quartets in Norway at the time, performed my work in a compositional class at the Norwegian Academy of Music. After having heard the performance of my work I went straight downtown Oslo to my favorite pub and had a beer and a snack. In the pub that night I wrote what became the third movement.

Later that summer I was listening to some jazz music and felt inspired to write something related to a simple groove. After a couple of hours the fourth movement was ready.

The following autumn, in a class, my teacher, Professor Finn Mortensen, talked about the differences between twelve-tone music and serialism. In his definition of serialism all the parameters that is set up in rows or series are dependant of how the manipulation of those rows give different results depending on what choices we take when moving between the extreme points of a given row. This could be ppppp contra fffff in a dynamic scale, C contra B in a chromatic scale etc. You may think of it as «the organisation of - or interaction between extremes». The difference according to his definition then, between twelve-tone music and serialism, would be how many parameters you put in rows. If you only deal with rows of pitches you get twelve-tone music that is thematic and periodic. If you deal with more parameters in rows you get punctual music that is a-thematic and a-periodic, which is then defined as serialism.

With this lecture in the back of my mind I decided I would write a fourth movement to the string quartet, trying out this idea. It felt right to make this the first movement as I needed something like an introduction before the lively second movement, and the two other movements seemed to fit in very well as movement three and four.

To make it difficult for myself I decided to divide the twelve-tone row into three groups of four notes each and only work with four notes at a time and try to make that interesting. I fell down on the idea that the «interaction» had to be glissandi to accomplish that. At the same time, glissandi is an effect that can be easily boring to listen to if used extensively, so I decided to try to avoid a pulse in the movement to make it more like a static field in which the glissandi would just be a part of the overall «moving» soundscape. To accomplish this I first made a graphic score, but decided that a conventional notation would be more accurate and easier to interpret after all.

All four movements are based on twelve-tone technique, as I understood it at the time. It was important for me to be able to document the style, as I knew my mentor, Professor Finn Mortensen, would scrutinize the work later. I have, however, written «String Quartet in Four Movements» with emphasis on melodic lines and harmonic structures, so for a listener, I don't think it is necessary to perceive it as twelve-tone music to enjoy it, which I kind of like.

The score, parts and a recording of the piece can be obtained at:
NB noter (Part of The National Library)
Postboks 2674 Solli, 0203 Oslo, Norway
Telephon: 810 013 00

Visiting addresses:
Henrik Ibsens gate 110, Oslo
Finsetveien 2, Mo i Rana
_______________________
©1982 Guttorm Kittelsen

String Quartet In Four Movements

Corona Rosa
from album "Neapel" by Clemens Wenger
©2016 JazzWerkstatt Records | JWR 02/16
all rights reserved.

Clemens Wenger - synths, electronics
Studio Dan Strings: Sophia Goidinger-Koch, Marianna Oczkowska (violins), Emily Stewart (viola), Maiken Beer (cello)

https://clemenswenger.wordpress.com/neapelpage/


Corona Rosa

this is a demo-recording of a composition by SICKER MAN.

the string quartet playing this sketch is the 
Florestan Quartett / Herford

www.facebook.com/sickermanberlin/
www.sicker-man.com

Revolving (demo version)

muz. przypisywana Giulio Cacciniemu, prawdopodobnie skomponowana przez Władimira Wawiłowa
opr. D

Ave, Maria. Amen.

Ave, Maria - G. Caccini (?)

sł. IV w., przyp. ś. Ambroży
tł. Kyriale Benedyktyńskie
muz. Jacek Gałuszka
rew. inst. D

R/. Oto są Baranki młode! Oto ci, co zawołali Alleluja!
Dopiero przyszli do zdrojów, światłością się napełnili,
Alleluja, alleluja!

1. Na Baranka Pańskich godach, w szat świątecznych czystej bieli,
Po krwawego morza wodach, nieśmy Panu pieśń weseli.

2. W swej miłości wiekuistej, On nas swoją Krwią częstuje,
Nam też Ciało swe przeczyste, Chrystus Kapłan ofiaruje.

3. Na drzwi świętą Krwią skropione, Anioł mściciel z lękiem wziera,
Pędzi morze rozdzielone, wrogów w nurtach swych pożera.

4. Już nam Paschą Tyś jest Chryste, Wielkanocną też Ofiarą,
Tyś przaśniki nasze czyste, dla dusz prostych z szczerą wiarą.

5. O, Ofiaro Niebios święta, Ty moc piekła pokonywasz,
Zrywasz ciężkie śmierci pęta, wieniec życia nam zdobywasz.

6. Chrystus piekło pogromiwszy, swój zwycięski znak roztacza,
Niebo ludziom otworzywszy, króla mroków w więzy wtłacza.

7. Byś nam wiecznie Jezu drogi, Wielkanocną był radością,
Strzeż od grzechu śmierci srogiej, odrodzonych Twą miłością.

8. Chwała Ojcu i Synowi, który z martwych żywy wstaje,
I Świętemu też Duchowi niech na wieki nie ustaje.

Baranki - J. Gałuszka

Neo classical piece used in the official trailer for 'The OA: Part II' recorded at the legendary Abbey Road Studios with the London Philharmonia. You can watch the recording session here:

https://www.youtube.com/watch?v=jFcRl5peQpw

Composed by Thomas-Adam Habuda
Published by Eternal Eclipse

Forgotten Odes

Dawn of Faith

Available on Spotify

Dawn Of Faith - 'The OA Part II' Trailer Music

artist | composer
electroacoustic music
based in Vienna, Austria

Guttorm Kittelsen (1951 -) Norwegian composer and musician
(Flute, piccolo flute, guitars, el-bass, double-bass and vocal)

Background

- 1971-1972, 1974-1976: Flute- and compositional studies at the Norwegian State Academy of Music (NSAM).
- 1976-78: Studies in composition at NSAM. Graduated with a diploma.
- 1982: Attended summer programs at Massachusetts Institute of Technology on Techniques of Computer Sound   Synthesis and Stanford University of California on Arranging and Composing for the Jazz Combo.
- 1986/87: Studies of Pedagogical Subjects at NSAM.

Activities

Guttorm Kittelsen is known for his diversity and stylistic breadth. In addition to composing he plays flutes, guitars, electric bass and double-bass. From 1976-1982 he worked as a musician and composer at the National Theater in Oslo, in Norwegian TV and radio and in recording companies. Kittelsen was the founder and a regular member of the contemporary group Octoband. The Window and Movements II-version are written for the group. From 1983-1998 he taught at the Asker Communal Music School in Norway.

His multimedia-theatre work The Window won 1. Prize for Outstanding Original Achievement in 1989/90 in The International New Music Composers Competition in New York USA.

Concert Piece for Symphonic Band & Percussion won 1. Prize in Italy in 1990 in The 11th International Competition for Original Composition for Band. The piece was also performed at the World Music Days 2000 in Luxembourg with Musique Royale des Guides and conductor Norbert Nozy.

Each One's Chasing Happiness - But Happiness Is Just Behind, a ballett commission from the Norwegian Opera & Ballet, was premiered in concert version as the opening concert at the Big Band Festival in Sandvika (Oslo) 30th August 2000.

His production includes two large-scale sacred compositions, Credo and Kyrie. Other orchestral music includes the ballet Each One’s Chasing Happiness - But Happiness Is Just Behind, .two midi-based ballets, multimedia and compositions employing electronics, such as Movements II-version, as well as music for ensembles (some with vocals/choir) and bands, several short pieces for various instruments and electronic music.

Kittelsen has written a comprehensive book on compositional techniques (1978) based on 12-tone technique and serialism.

Sebastian Rivas. French-Argentine composer born in 1975.
www.sebastian-rivas.com

SICKER MAN
is the solo-projekt of TOBIAS VETHAKE
classical instruments like guitars, zither, glockenspiel and cello are mixed with electronic toys and synthesizer and then enstranged with heaps of analog effect-pedals.
you could call it FOLKTRONIKA, but it's more than just a guitar and a laptop. folk songs wrapped in orchestral soundscapes.
„creating music is at first about absolute intuition, a room full of instruments, toys to play with. afterwards i look at what i have recorded and pick everything that is relevant.
i think, any music that is released should add something new to the large pool of music that is already existing."





“Some of it reminds me of minimal music, the repetitions, the different layers that build up little by little, but she doesn’t hide behind them, she uses these techniques to express her own ideas. I find it wonderful how carefully she goes about it. When she’s onto an idea, she doesn’t just grab it, but approaches it carefully and gives the idea time to blossom.” – Tuula Simon, WDR 3, “3 von jetzt” (“3 of now”)

Sophia Jani is a German composer of contemporary classical music who takes a poetically minimalist approach to composition. She is the current Composer in Residence of the Dallas Symphony for the 2023/24 and 2024/25 seasons, as well as the 2023 Musical Artist in Residence of the Arvo Pärt Center and recipient of the APC Fellowship.

Her music has recently been performed by the New Jersey Symphony, the Munich Symphony, Bang on a Can, musicians of the Dallas Symphony, the Goldmund Quartet, vocal sextet Sjaella, and pianist Eunbi Kim, among others. She has also contributed music to successful film, theater, dance and album projects.

In 2021, Jani was awarded the prestigious Scholarship for Music by the City of Munich for her solo violin piece III. Her debut album of chamber works, 2022’s Music as a mirror, received a nomination for the German Classical Music Prize “Opus Klassik.” In June 2022, she co-composed and produced “Tulips” with violinist Darian Donovan Thomas, which was featured on !K7’s String Layers Vol. II. And in July 2022, she participated in the Edward T. Cone Composition Institute at Princeton University, where her composition “What Do Flowers Do at Night?” was performed by the New Jersey Symphony under conductor David Robertson.

In addition to her work as a composer, Jani is passionate about building a diverse and international community of artists that open-mindedly addresses the challenges notated music faces in the 21st century. To that end, she is one of the founders and artistic directors of “Feet Become Ears”, which is a platform that commissions, presents, and celebrates contemporary chamber music.

Jani holds degrees from the University of Augsburg, the University of Music and Performing Arts Munich and the Yale University School of Music where she studied with Martin Bresnick and David Lang, made possible through the generous support of the Fulbright foundation.

Oktet wokalno-instrumentalny. Zajmujemy się oprawą muzyczną uroczystości kościelnych na terenie województwa wielkopolskiego.
Skład:
Julka - skrzypce I
Ania - skrzypce II
Tosia - altówka
Agata - wiolonczela
Kasia - sopran
Agnieszka - alt
Sebastian- tenor
Dominik - bas

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