Performances
Sheet Music
Scores
PDF typeset by composer
SaTo (2017/6/17)
| Publisher. Info.
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Salvador Torré
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| Copyright
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| Misc. Notes
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All four instrumentalists should read on the full score. Please print the score in separate pages to slide sheets on the stand. The movements can be played individually as separate pieces. For the second movement "Grain-Carré" the cello (and maybe the Viola) can adapt a piece of hardwood between the end of the fingerboard and the belly.
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Salvador Torré
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PDF typeset by composer
SaTo (2017/8/6)
| Publisher. Info.
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Salvador Torré
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| Copyright
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PDF typeset by arranger
SaTo (2017/8/6)
| Arranger
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Salvador Torre
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| Publisher. Info.
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Salvador Torre
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| Copyright
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| Misc. Notes
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This is the realization in traditional writing of the 3rd. movement "Direct-Dimensional", first 3 minutes, first 3 pages of the original (graphic) score.
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Other
PDF typeset by composer
SaTo (2017/8/11)
PDF typeset by composer
SaTo (2017/8/11)
PDF typeset by composer
SaTo (2017/8/11)
| Publisher. Info.
|
Salvador Torré
|
| Copyright
|
|
| Purchase
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General Information
| Work Title
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Cuarteto de Cuerdas No. 3
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| Alternative. Title
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Quatuor à cordes No.3
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| Composer
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Torre, Salvador
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| I-Catalogue NumberI-Cat. No.
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None [force assignment]
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| Movements/SectionsMov'ts/Sec's
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3 movements:
- I. Dis-continuum
- II. Grain-Carré
- III. Direct-Dimensional
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| Year/Date of CompositionY/D of Comp.
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2015
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| Average DurationAvg. Duration
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30 minutes
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| Composer Time PeriodComp. Period
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Modern
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| Piece Style
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Modern
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| Instrumentation
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2 violins, viola, cello
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Navigation etc.
String Quartet Nr. 3 in 3 movements (10 min. each) by Salvador Torré (Mexico)
In the String Quartet it has been practiced throughout the history of music the aspect of Laboratory of Forms, laboratory of Writings, of Methods, of Styles, of Compositional Substrates etc. using old methods arises from the canonical imitative forms counterpoint or harmony, all combined with the today languages, the infinity of music we hear today from which, for me the Rock music is very important, as well as electroacoustic practices are evident in this quartet, mixtures and super-positions of elements in a space time either compacted or expanded, micro-imitations are now a days called “delays” or “echoes”. Different distortions caused by the ways of attacking, rub, pull hitting different parts of the instrument etc. All this adding an important element today: Improvisation, the interpreter then is enrolled in a state of freedom, but because we are speaking on classical music, this classical style provides the concept of structure, it brings a certain rigorous form. This generates an open-closed form, hence the title of this quartet "Dis-continuum" in a certain way the “continuous” is due to the improvisation and the “discontinuous” is associated to the form or structure proposed in the score.
