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ProduitsPartitions pour guitareGuitare et un autre instrumentQuintessence

Quintessence

Quintessence

Compositeur: KINDLE Jürg

DZ 432

Intermédiaire

ISBN: 2-89500-318-1

Guitare et violon

28 p. + parties séparées

Description

«Here is a new work form the composer of Guaguanco, which I was so impressed with a few months ago. This new piece written and dedicated to Duo 46 is no less an achivement. Subtitled a Sonata, it consists of three movements, an allegro, a Tempo di Milonga and an Allegro Energlco.
The opening 5/4 movement begins with both instruments playing the opening melody, the guitar embeIlishing with some block chords and every moment is filled with a jumping, rollicking 3/2 rhythm that carries on for some considerable time. Soon the stress of the five beats changes and one is constantly aware of the moving rhythms. The style of the music here is almost a rock crossover, very friendIy in its harmonies and with lots of interesting passages in both parts. The middle Milonga-styled movement has an engaging lilt to it. It is enhanced by the sudden metre change to 6/8 before returning to 4/4. A key change then ensues to G minor from the original E minor which is extensively developed before the return to the home key and the opening theme to close. Again there is much interesting work for both instruments and both players need to be quite advanced to play it sufficiently weIl. The final movement revels in a clash of Es and Fs wherein both instruments take it in turn to imitate a figure resulting in the aforementioned clash of E and F. This then moves away into different keys, but still retaining the clashing element throughout. Triplet semiquavers abound in both parts and the music jumps around freneticaIly with a lot of unusuaI but friendly harmonies to keep you occupied and interested. Again it is a lengthy movement of 121 bars which retains its forward moving momentum to the end. All in aIl, this is a very clever and entertaining work, substantial and yet retaining a friendliness guaranteed to capture any audience.«
(Chris Dumigan, Classical Guitar Magazine, July 2002)

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