Golden Gate Quintet
for English Horn and String Quartet
$48.99
Custom Print
Allow 4-5 days
Custom Print
Allow 4-5 days
Rhythmic drive and lyric urgency point the music ever forward in Eric Ewazen’s GOLDEN GATE QUINTET (formerly Quintet for English Horn and Strings), without any angst for what might come next. The solo line is held aloft by churning strings through fluid meter changes in the first movement (Allegro ritmico). The second (Moderato) is a cantilena of remarkable tenderness, reminiscent of a berceuse with its recurring rocking accompaniment, and enriched by dialogue throughout the ensemble. Movement three (Allegro molto) is a shimmering, virtuosic impression, rarely pausing to take a breath. The finale takes the form of a bold, chromatic fugue, which broadens to an unexpected and satisfying conclusion.
Rhythmic drive and lyric urgency point the music ever forward in Eric Ewazen’s GOLDEN GATE QUINTET (formerly Quintet for English Horn and Strings), without any angst for what might come next. The solo line is held aloft by churning strings through fluid meter changes in the first movement (Allegro ritmico). The second (Moderato) is a cantilena of remarkable tenderness, reminiscent of a berceuse with its recurring rocking accompaniment, and enriched by dialogue throughout the ensemble. Movement three (Allegro molto) is a shimmering, virtuosic impression, rarely pausing to take a breath. The finale takes the form of a bold, chromatic fugue, which broadens to an unexpected and satisfying conclusion.
Rhythmic drive and lyric urgency point the music ever forward in Eric Ewazen’s GOLDEN GATE QUINTET (formerly Quintet for English Horn and Strings), without any angst for what might come next. The solo line is held aloft by churning strings through fluid meter changes in the first movement (Allegro ritmico). The second (Moderato) is a cantilena of remarkable tenderness, reminiscent of a berceuse with its recurring rocking accompaniment, and enriched by dialogue throughout the ensemble. Movement three (Allegro molto) is a shimmering, virtuosic impression, rarely pausing to take a breath. The finale takes the form of a bold, chromatic fugue, which broadens to an unexpected and satisfying conclusion.
Rhythmic drive and lyric urgency point the music ever forward in Eric Ewazen’s GOLDEN GATE QUINTET (formerly Quintet for English Horn and Strings), without any angst for what might come next. The solo line is held aloft by churning strings through fluid meter changes in the first movement (Allegro ritmico). The second (Moderato) is a cantilena of remarkable tenderness, reminiscent of a berceuse with its recurring rocking accompaniment, and enriched by dialogue throughout the ensemble. Movement three (Allegro molto) is a shimmering, virtuosic impression, rarely pausing to take a breath. The finale takes the form of a bold, chromatic fugue, which broadens to an unexpected and satisfying conclusion.
Rhythmic drive and lyric urgency point the music ever forward in Eric Ewazen’s GOLDEN GATE QUINTET (formerly Quintet for English Horn and Strings), without any angst for what might come next. The solo line is held aloft by churning strings through fluid meter changes in the first movement (Allegro ritmico). The second (Moderato) is a cantilena of remarkable tenderness, reminiscent of a berceuse with its recurring rocking accompaniment, and enriched by dialogue throughout the ensemble. Movement three (Allegro molto) is a shimmering, virtuosic impression, rarely pausing to take a breath. The finale takes the form of a bold, chromatic fugue, which broadens to an unexpected and satisfying conclusion.
Rhythmic drive and lyric urgency point the music ever forward in Eric Ewazen’s GOLDEN GATE QUINTET (formerly Quintet for English Horn and Strings), without any angst for what might come next. The solo line is held aloft by churning strings through fluid meter changes in the first movement (Allegro ritmico). The second (Moderato) is a cantilena of remarkable tenderness, reminiscent of a berceuse with its recurring rocking accompaniment, and enriched by dialogue throughout the ensemble. Movement three (Allegro molto) is a shimmering, virtuosic impression, rarely pausing to take a breath. The finale takes the form of a bold, chromatic fugue, which broadens to an unexpected and satisfying conclusion.
