El color de la luz de la tarde 2014
Para cuarteto de cuerdas, mezzosoprano y relatora

Último Viaje (Trempulkahue) 2015
Para orquesta de cuerdas

Atención, cuartetos de cuerda: ¡la larga espera ha terminado! Henle lanza su serie de cuartetos tardíos de Beethoven con el op. 131 en do sostenido menor y op. 132 en menor, utilizando el urtexto definitivo del Beethoven Gesamtausgabe. No hace falta agregar que se puso mucho cuidado en encontrar cambios de página sensatos. Los cuartetos también aparecerán simultáneamente en partituras en miniatura con exactamente el mismo texto y comentario. El editor, Emil Platen, ha proporcionado a cada volumen comentarios críticos detallados que consisten en un prefacio, notas explicativas a pie de página y una impresionante sección de comentarios editoriales. Franz Beyer, autoridad en cuartetos de cuerda, sobre este nuevo número: «¡La edición más importante de los últimos veinte años en todo el mundo!»

«Como compositor de música de cámara, Mendelssohn reclama grandeza casi sin reservas… Tenía un dominio completo de su medio… y un intenso interés en la música pura que hace de sus cuartetos, en particular, obras de integridad en pensamiento y declaración.» — Grove’s Estas obras maestras del repertorio de música de cámara son obras perennemente populares entre los músicos y los oyentes. Todos ellos han sido grabados y muchos aparecen con frecuencia en programas de música de cámara. Se han reproducido directamente de la famosa y erudita serie Breitkopf & Härtel, una edición eminentemente legible, y contienen toda la música de cámara para cuerdas de Mendelssohn, excluyendo sólo aquellas piezas con piano. Se incluyen las siguientes obras:

Octet in E-flat Major, Op. 20
Quintet No. 1 in A Major, Op. 18
Quintet No. 2 in B-flat Major, Op. 87
Quartet No. 1 in E-flat Major, Op. 12
Quartet No. 2 in A Major, Op. 13
Quartet No. 3 in D Major, Op. 44, No. 1
Quartet No. 4 in E Minor, Op. 44, No. 2
Quartet No. 5 in E-flat Major, Op. 44, No. 3
Quartet No. 6 in F Minor, Op. 80
Four Pieces for String Quartet, Op. 81

La música se ha reproducido en un tamaño lo suficientemente grande como para que se pueda leer con facilidad, y hay un amplio espacio entre los pentagramas y en los márgenes para cualquier nota, análisis armónico, digitación o anotación que desee grabar en la partitura. La edición es práctica para casi cualquier uso, ya sea como guía de estudio, referencia o simplemente un compañero para su mayor disfrute musical. Reimpresión de las series 5 y 6 de Felix Mendelssohn Bartholdy’s Werke, 1874–1877.

This impressive volume brings together three major 20th-century chamber works: Berg’s String Quartet No. 1, Op. 3; Stravinsky’s Three Pieces for String Quartet; and Webern’s Five Movements for String Quartet.
Heavily influenced by the works of Arnold Schoenberg, Alban Berg’s String Quartet No. 1 brought its composer into the musical vanguard. Schoenberg declared himself astonished by the «fullness and unconstraint of its musical language, the strength and sureness of its presentation, its careful working and significant originality.»
Stravinsky recognized his Three Pieces for String Quartet as marking an important change in his art, and this turning point can be regarded as an experiment in new stylistic possibilities. The first piece features a mechanical repetition of a musical figure; the second is highly atonal; and the final piece introduces the austere style to which the composer later returned.
Like Berg, Webern was a student of Schoenberg, and the Five Movements for String Quartet both reflects the master’s teachings and extends beyond them. Departing from traditional thematic composition and form, these gemlike miniatures anticipate the development of the twelve-tone method.

Contenido:

Alban Berg (1885-1935)

Streichquartett (String Quartet)Op. 3

I. Langsam

II. Mäßige Viertel

Igor Stravinsky (1882-1971)

Trois piéces pour quatuor à cordes (Three Pieces for String Quartet)

Anton Webern (1883-1945)

Fünf Sätze für Streichquartett (Five Pieces for String Quartet)Op. 5

I. Heftig bewegt, Tempo I

II. Sehr langsam

III. Sehr bewegt

IV. Sehr langsam

V. In zarter Bewegung

«It was from Haydn that I first learned the true way to compose quartets.» — Mozart.
Twelve String Quartets marks the second volume in a projected monumental undertaking — the complete Haydn string quartets. Players and students, music historians, and Haydn lovers will have inexpensive access to a uniform, strongly bound, and clearly printed modern edition of Haydn’s finest pieces in complete score.
Musicians, music students, and music publishers have a difficult time keeping up with Haydn, whose ceaseless production of original, first-rate work was legendary. He essayed most of the recognized genres, conferring upon several a legacy of expanded possibilities and clearly defined, characteristic form. Among these may be mentioned the symphony, the sonata, and perhaps most notably, the quartet.
In a period of 50 years, Haydn (1732–1809) composed over 80 string quartets. Scholars are still debating questions of attribution and even completeness (unknown works by Haydn still turn up), and music lovers have had to make do with scattered, out-of-date, out-of- print editions of a few of the more familiar quartets.
Otto Jahn wrote: «It is not often that a composer hits so exactly upon the form suited to his compositions; the quartet was Haydn’s natural mode of expressing his feelings.» Haydn’s affinity to the quartet began with his earliest works, when he perhaps more than anyone established the four-movement structure of chamber music. In common with truly great and complete artists, who surpass early innovation to achieve their greatest work at the end, Haydn’s later quartets are his best.
This volume contains the full scores of:
Op. 55, Nos. 1–3 (including «Razor») — dedicated to Joh. Tost, ca. 1788
Op. 65, Nos. 1–6 (including «The Lark» or «Hornpipe») — dedicated to Joh. Tost, 1790 or 1792
Op. 71, Nos. 1–3 — dedicated to Count Appony, 1793
Large readable noteheads, ample margins for fingerings, etc., opaque paper, and permanent binding make this a fundamental addition to music libraries and musicians’ repertories: a book for all who pay tribute to Haydn and who agree with Grove’s Dictionary: «The quartet he … brought to perfection.»

Contenido:Op. 55, Nos. 1-3 (including Razor). Op. 64, Nos. 1-6 (including ‘The Lark or Hornpipe’). Op. 71, Nos. 1-3.

El Cuarteto de cuerdas de Alban Berg puede considerarse una de las obras fundacionales de la Segunda Escuela Vienesa. Ya compuesta en 1910 y publicada por primera vez en 1920, fue la última composición que el joven de 25 años escribió bajo la tutela de Arnold Schoenberg, quien admiraba “la plenitud y la libertad de su lenguaje musical, la fuerza y seguridad de su presentación, su cuidadoso trabajo y notable originalidad”. Incluso hoy en día, el trabajo extremadamente complejo impone las más altas exigencias técnicas a los intérpretes.

«Of the symphony he may be said with truth to have enlarged the sphere . . . enriched and developed the capacities with the versatility of true genius . . . the quartet he also brought to perfection.» — Grove’s Dictionary of Music and Musicians
Mozart’s best friend and Beethoven’s teacher, Joseph Haydn (1732–1809) was not only the first of the three great masters of the Viennese classical school — but its principal founder. From the close of the baroque period to the advent of romanticism, his creative activity bridged a half-century of profound revolution in music, and there is scarcely an area in which his influence is not to be felt.
But it is in the string quartet that Haydn’s originality, inventiveness, and craftsmanship found their most natural mode of expression. During 50 prolific years, he composed over 80 string quartets (the exact number is still in question), practically inventing the four-movement structure and elevating the form to a new pinnacle. «It was from Haydn,» said Mozart, «that I first learned the true way to compose quartets.»
In this fourth volume of Haydn’s string quartets, Dover completes republication of the composer’s major achievements in the form. Full scores of the 12 masterful quartets (six each) of Opp. 20 and 33 exemplify the range and variety of structural invention he brought to the genre. Composed in 1781 and dedicated to the Russian Grand Duke Paul, Op. 33 contains such favorites as the «Joke» and the «Bird» quartets, while the quartets of Op. 20 (1771) are among the most performed and recorded pieces in the repertoire.
Music students, musicians, and Haydn fans will find this inexpensive volume an important addition to their libraries. Large, readable noteheads and ample space for notations and analysis make this a splendid study edition — a treasury of 12 works that clearly demonstrate Haydn’s supreme mastery of the form.

Contenido:

Op. 20, Nos. 1-6, and Op. 33 (the ‘Russian’ quartets) Nos. 1-6, ‘Joke’ and the ‘Bird’ from Op. 33.

Complete reproductions of Op. 42 in D minor; Op. 50, Nos. 1-6 (the ‘Prussian Quartets’) and Op. 54, Nos. 1-3 (1st set of ‘Tost Quartets’). Eulenburg edition.

Durante un período de 50 años, Haydn compuso más de 80 cuartetos de cuerda que presentaban una gama y variedad de invención estructural superada sólo por las obras de Beethoven. En este volumen, el dominio de la forma por parte del compositor es sorprendentemente evidente, particularmente en los seis populares y muy grabados «Cuartetos Prusianos».

Este volumen contiene las partituras completas de:

Op. 42, in D minor (composed in 1785)
Op. 50, Nos. 1–6 («Prussian Quartets,» composed in 1787 and dedicated to the Prussian King Friederich Wilhelm II)
Op. 54, Nos. 1–3 (First set of «Tost Quartets» composed c.1788 and dedicated to the merchant Johann Tost)

Las cabezas de notas grandes y legibles, los amplios márgenes para anotaciones, el papel opaco y la encuadernación permanente hacen de este un complemento fundamental para las bibliotecas musicales y los repertorios de los músicos.

Reprint of the Ernst Eulenburg Ltd., London, n.d. edition.