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Bent Sørensen: String Quartet No.3 'Angel's Music': String Quartet

Set of Parts | Sheet Music and Books

ARTIST: Bent Sørensen
PUBLISHER: Edition Wilhelm Hansen
PRODUCT FORMAT: Set of Parts
Parts for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Score available: KP00250 The composer writes: 'Even when I was writing 'Adieu', I knew that I wished to write 'Angel’s Music'. The
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Specifications
Artist Bent Sørensen
Publisher Edition Wilhelm Hansen
Instrumentation String Quartet
Product Format Set of Parts
Description Product Type Set of Parts
Genre Classical
Style Period Post 1901
ISBN 9788759871973
No. WHKP00249
Description
Parts for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988.
Score available: KP00250

The composer writes:
'Even when I was writing 'Adieu', I knew that I wished to write 'Angel’s Music'. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on 'Angel’s Music' was started in Rome, where I spent the autumn of 1987 staying at 'The Danish Academy'. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, inthe Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that 'little songs' (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the 'little songs' be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer,
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