Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the…

Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the…

With a piano introduction that is both virtuosic and emotional, this Hebrew text, chosen by series editor Judith Clurman in memory of her parents, was the perfect vehicle for Michigan composer Paul Schoenfield to honor those who have lived a life of faith. With frequently changing and uneven meter, shifting tonal centers and an extended range for all voice parts, this is a concert work worthy of t…

Par COHEN MARY. Mary Cohen's 'Quick Change!' is a brilliant new collection of traditional, well known pieces and scales in both alto and treble clefs, it is perfect both for violinists taking up the viola who need to build confidence playing in the alto clef and viola players who need to build confidence in both alto and treble clefs. 'Quick Change!' is the great new way to come to terms with thos…

Par HOWELLS HERBERT. Before me, careless lying is a fine example of the contrapuntal art of Herbert Howells (1892–1983), inspired by the work of the great English composers of the Renaissance period, those of the madrigal school in particular, but in its passionate sensibility essentially twentieth century. The composer wrote this partsong on Christmas Day 1918, and dedicated it to his friend the …

In his seventh string quartet, the well-known Swiss composer Rudolf Kelterborn has achieved something special in terms of form: the title and subtitle already suggest that this quartet plays with a distinctively fragmented inner structure. It is highly appealing how the succession of short individual fragments becomes a cohesive one-movement whole.Both performers and audience encounter a skilful d…

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