Kreutzer Quartet Skaerved - Three Quartets & a Solo - COMPACT DISCS [CD]
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Edward Cowie is one of the most individual and notable voices in contemporary music - which he sees as both conscious and unconscious sensitivity to sound. Highly inspired by Nature and our world, he works with sound, color, order and disorder, shape, pattern and form which he sees a part of a grand unification of sensual input. As an acclaimed and successful visual artist, he creates drawings to visualize his subject matter before composing. His music is not however 'filmic' or directly impressionistic but draws from the essence of nature, wildlife and the seasons to create his unique soundworld. The Kreutzer Quartet is one of the most accomplished and creative ensembles in the UK and is acclaimed for it's adventurous programming of both the music of our time and the great quartet heritage of the past. It has been the recipient of works from many of today's pre-eminent composers, and has performed around Europe as well as at it's 'home base' of Wilton's Music Hall in London. The quartet has recorded a substantial number of albums for Metier as well as Chandos, Naxos, NMC, Toccata and several other labels.
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- GenreClassicalDescriptionEdward Cowie is one of the most individual and notable voices in contemporary music - which he sees as both conscious and unconscious sensitivity to sound. Highly inspired by Nature and our world, he works with sound, color, order and disorder, shape, pattern and form which he sees a part of a grand unification of sensual input. As an acclaimed and successful visual artist, he creates drawings to visualize his subject matter before composing. His music is not however 'filmic' or directly impressionistic but draws from the essence of nature, wildlife and the seasons to create his unique soundworld. The Kreutzer Quartet is one of the most accomplished and creative ensembles in the UK and is acclaimed for it's adventurous programming of both the music of our time and the great quartet heritage of the past. It has been the recipient of works from many of today's pre-eminent composers, and has performed around Europe as well as at it's 'home base' of Wilton's Music Hall in London. The quartet has recorded a substantial number of albums for Metier as well as Chandos, Naxos, NMC, Toccata and several other labels.ArtistKreutzer Quartet SkaervedTitleThree Quartets & a SoloFormatCDLabelMetier
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Following my studies at the Tirana Conservatoire in 1982, I worked for three years as Music Director in a remote town in Southern Albania near the border with Greece.
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Quartet No. 7 was written in 2000 and first performed within weeks after the World Trade Center attacks. It is subtitled Angels, and includes the organ along with the quartet, the only work I know of for that combination. The Quartet No. 2 (1972), the briefest, least ambitious work here, opens as a canon, each instrument eventually entering with the same material. The theme, though, is so remarkably heterogeneous in it's glissandi, trills, tonal and atonal phrases that the canonic effect is not immediately apparent. The Quartet No. 8 (2001-2002) was written as a memorial to the victims of 11th September, and moves through three movements from complete instability to a kind of hypnotic serenity. The opening movement, On wings of sound, is entirely in glissandi, with no fixed reference point anywhere; it is a palindrome canon, a fact that can hardly influence one's perception of it's eerie writhing. A field of uninterrupted glissandos also marks the opening of the Quartet No.4, from 1976-77. Here, though, an accelerative process is in motion, the lines moving faster and faster up to an unexpectedly serene close. The Quartet No.3 from 1975 is similar to the Fourth in it's use of ostinato, but comes closer than any of Coates' other quartets to the idea of theatrically contrasting the personalities of the different instruments, as in Charles Ives's Second Quartet or those of Elliott Carter. The final movement is a Prayer couched in stately chords of parallel fifths - you might notice it's repeated eight-note tune coming back in retrograde. The entire quartet takes a sense of unease from the viola and cello being tuned a quarter-tone off from the violins.
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