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naxos.com

classical music from the largest classical music label. listen to cds/recordings/compositions online and stay up to date with classical music news and reviews.

boosey.com

Explore the music publishing world of Boosey & Hawkes.

classicalondemand.com

The A-minor string quartet is Florence Price's second contribution to the genre. It was preceded by her G-major quartet (1929) and followed by her Five Folksongs in Counterpoint for string quartet (1951). Stylistically, the melodic and harmonic language of A-minor quartet more obviously invokes mid-twentieth-century idioms than does either of the other quartets. The first movement begins with a quiet, brooding ostinato whose combination of a pedal point with a narrow, chromatically descending and ascending motive strongly contrasts with both the extensive chromaticism of the transition and the warm lyricism of the second subject — a theme whose evocative blue thirds directly bespeak Price's African American heritage. This movement seems to be driven by the tension between the narrow constraints of its opening ostinato and the melodic breadth of its main subjects — a tension that finally breaks free into a tempestuous coda that is a testament to Price's surefire dramatic pacing. That emotional drama gives way to a gentle, rocking lyricism of the second movement — likewise infused with melodic and harmonic turns that bring the melancholy beauty of Black idioms into the tradition-bound stylistic vocabulary of the mid-twentieth-century string quartet. The second movement, too, employs extensive dissonances that are more a part of the modernist idioms of the early twentieth century than they are of traditional African American culture. The main theme of the third movement is in the style of a Juba dance or hambone, a patently African lively dance that involved body slapping, foot stomping, and hand clapping; this section frames a more relaxed allegretto that is likewise based on African American dance idioms. The last movement puts Price's advanced harmonic technique on display in a rondo form of remarkable emotional breadth — a variety further emphasized by the searching, quasi-improvisatory Andantino featuring the solo viola, violin, and cello in mm. 120-35 and recast,

laphil.com

Discover the Los Angeles Philharmonic. Find upcoming concerts, tickets, music information, learning programs, and more at LAPhil.com.

saariaho.org

The official website of Kaija Saariaho and her works

aso.org

Join us as we celebrate our 4th Annual Day of Giving to commemorate the ASO’s first performance and the great community that has made our home for 78 years.

ecmrecords.com

„[The Gazzanas] have played together as siblings since early childhood. But that alone is not enough to explain the special intimacy of their music-making. There is more than familial rapport here; there is something enormously unvarnished in both of their playing, as if their task were to leave out everything that is nonessential.“ – Christine […]