• String Quartet No. 1 by Isang Yun String Quartet - Sheet Music

String Quartet No. 1 by Isang Yun String Quartet - Sheet Music

By Isang Yun

For Isang Yun, String Quartet No. 3 from 1959 marked the beginning of his European creative phase and of his official canon of works. Now it is possible to encounter Yun's early works from his Korean period in the form of his String Quartet No. 1 (1955). Three important 10-minute movements containing references not only to Asia but also to Ravel, Bartók and Eastern European folk musicand having an idiosyncratic structure: “Yun lines up forms and figures, makes them emerge from each other in a contrasting manner and assembles them into a mosaic-like whole, seeking for integration, laying down his material in layer upon layer and ending the movements with a rhythmic unison. [] Even then, he probably regarded a work of art as an energetic stream of sounds and as a reflection of a world whose diverging parts weave into a harmonic whole.” (Walter-Wolfgang Sparrer)

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Details

Summary
Instrument:
Cello Viola Violin
Ensembles:
String Quartet
Genres:
20th Century Korean
Composers:
Isang Yun
Publishers:
Bote & Bock
Series:
Composers and Arrangers of Color Boosey & Hawkes Chamber Music Music of Asian Composers and Artists
UPC:
888680949266
ISBN:
9781540057310
Format:
Set of Parts Collection / Songbook Score and Parts
Item types:
Physical
Artist:
Isang Yun
Usages:
School and Community
Number of Pages:
110
Size:
9x12 inches
Shipping Weight:
1.11 pounds
Detailed Description
String Quartet (Score & Parts)

SKU: HL.48024228

Composed by Isang Yun. Boosey & Hawkes Chamber Music. Classical. Softcover. 110 pages. Bote & Bock #M202534748. Published by Bote & Bock (HL.48024228).

ISBN 9781540057310. UPC: 888680949266. 9x12 inches.

For Isang Yun, String Quartet No. 3 from 1959 marked the beginning of his European creative phase and of his official canon of works. Now it is possible to encounter Yun's early works from his Korean period in the form of his String Quartet No. 1 (1955). Three important 10-minute movements containing references not only to Asia but also to Ravel, Bartók and Eastern European folk musicand having an idiosyncratic structure: “Yun lines up forms and figures, makes them emerge from each other in a contrasting manner and assembles them into a mosaic-like whole, seeking for integration, laying down his material in layer upon layer and ending the movements with a rhythmic unison. [] Even then, he probably regarded a work of art as an energetic stream of sounds and as a reflection of a world whose diverging parts weave into a harmonic whole.” (Walter-Wolfgang Sparrer).

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