String Quartet No.6, O.90 (Verotta, Davide)

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Performances

Recordings

MP3 file (audio)
Davide Verotta (2021/9/24)

Publisher Info. Davide Verotta, 2021.
Performers Kevin Rogers (Violin)
Otis Harriel (Violin)
Rachyl Martinez (Viola)
Doug Machiz (Cello)
Copyright
Misc. Notes The Friction Quartet
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Sheet Music

Scores and Parts

PDF typeset by composer
Davide Verotta (2020/7/1)

4 more: Violin 1 • Violin 2 • Viola • Cello

PDF typeset by composer
Davide Verotta (2020/7/1)

PDF typeset by composer
Davide Verotta (2020/7/1)

PDF typeset by composer
Davide Verotta (2020/7/1)

PDF typeset by composer
Davide Verotta (2020/7/1)

Publisher. Info. Davide Verotta, 2020.
Copyright
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General Information

Work Title String Quartet No.6
Alternative. Title Straight Arrow
Composer Verotta, Davide
Opus/Catalogue NumberOp./Cat. No. O.90
I-Catalogue NumberI-Cat. No. IDV 31
Movements/SectionsMov'ts/Sec's 1 movement
Year/Date of CompositionY/D of Comp. 2020
First Performance. 2020/11
First Publication. 2020
Average DurationAvg. Duration 10 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation 2 violins, viola, cello

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The image that I associate with this piece is of an arrow that flies in and disrupts; what we listen to is the aftermath. This involves two main musical subjects. The first is a melodic line that is heard at the beginning of the piece, divided among the two violins. The second follows immediately after. The piece basically consists of a continuous development and contrast between the first melody and the second subject that always appears within fugal writing (a formally rather strict type of imitation among instruments). The fugue will eventually develop into a more complex double fugue followed by a dramatic stretto, a rhythmic shortening of the fugal subject, that climaxes just before the first subject reasserts itself. After the climax the final section revolves around the contrast between a short melodic line (played by viola and then violin and marked pleading with hurried urgency), and a drone like, relentless ostinato played in the background. An invocation of the first melodic line closes the piece.