Movements/SectionsMov'ts/Sec's | 4 sections
|
---|---|
Genre Categories | Quartets; For 2 violins, viola, cello; Scores featuring the violin; |
Related Works | Adaptation of Homm-Ages |
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
|
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
|
Violins 1 and 2
*#365803 - 0.06MB, 1 pp. - -) (- !N/!N/!N - 69×⇩ - SalvaTorré
PDF typeset by composer
SalvaTorré (2015/2/17)
Viola and Cello
*#365804 - 0.06MB, 1 pp. - -) (- !N/!N/!N - 61×⇩ - SalvaTorré
PDF typeset by composer
SalvaTorré (2015/2/17)
|
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
PDF typeset by composer
SalvaTorré (2015/2/17)
|
Work Title | Cuarteto de cuerdas No.2 |
---|---|
Alternative. Title | String Quartet No.2 ; Quatuor à cordes No.2 |
Composer | Torre, Salvador |
I-Catalogue NumberI-Cat. No. | IST 73 |
Movements/SectionsMov'ts/Sec's | 4 sections
|
Dedication | To Cage, Schoenberg, Varèse, Boulez, Messiaen, Berio, Beethoven, Webern, Berg, Bartók, Bach, Reich, Africa |
Average DurationAvg. Duration | Variable duration |
Composer Time PeriodComp. Period | Modern |
Piece Style | Modern |
Instrumentation | 2 violins, viola, cello |
Related Works | Adaptation of Homm-Ages |
String Quartet No.2 'Homm-ages' - Musicians have to be spatialized in the concert hall. Homm-ages are several tributes to the twentieth century composers who were pioneers of various musical revolutions, they are little musical pieces each one devoted to one or more composers applying the technique that each composer utilized, for example: Cage utilized star maps to compose, hence a constellation is formed, Messiaen was inspired by the birds singing and their intricate rhythms, Berio used a novel space-time writing but that space-time was already inherent in musical notation invented by Guido D'Arezzo in the year one thousand. Reich uses a melodic cell repeated ad infinitum but it changes imperceptibly. With all this we find that these procedures existed in other eras of history of music but under a different light. Each musician plays each of these pieces of (almost) -independent, so that each piece or movement is a kind of "collage" in which the piece overlaps itself, this overlap must be set to the sound space thanks to which musicians are placed in different parts of the concert-hall spreading sounds among the public, providing distance and location of sound sources in a three dimensional space.