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In the autumn of 1828, while he contemplated how life was slipping away from him, Franz Schubert composed three monumental piano sonatas. The “Andantino” from the Sonata D 959 begins with a languid melody of weeping gestures. Against this, an impetuous section of extreme and violent sonorities develops before once again leading back to the varied repetition of the opening section. In this way, the ineffable destiny ultimately imposes its will.
The Japanese composer Toru Takemitsu was inspired by a passage from Joyce’s Finnegans Wake to compose A Way A Lone (1981). The sounds of the piece revolve around the notes E flat, E natural and A, which form the word SEA in German notation. On the other hand, the deep impact the drawings done by the children who were prisoners at the Terezín concentration camp led Osvaldo Golijov to compose Yiddishbuk. The titles of the work’s movements bear the names of the people to whom they pay tribute: Doris Weiserova, Frantisek Bass and Tomas Kauders (children who died at Terezín), the poet Isaac Bashevis Singer and the composer Leonard Bernstein.
Today the string quartet is defined by plurality. Timbral and polyphonic inquiry, hybridisation using non-Western traditions and dialogue with the past are some of the features that have characterised the genre since 1970. In this presentation, Germán Gan analyses some of these features, focusing on four works with a common approach that reflect on the present possibilities of tonality.
Fernando Ferandiere was one of the most multifaceted musicians of the late-eighteenth century. After publishing his treatise Arte de tocar la guitarra por música (1799) he gained great notoriety as a guitarist. The recent discovery of an unpublished collections of scores has led to the recovery of some of his works, such as this duo of a galant style, composed in 1801, the only part of which was known previously was that for the violin.