A Quattro

A Quattro H. Peter, L. Boccherini, J.M. Zenamon
Veronica Kraneis (Konzertflöte), Dieter Fellmann (Violine), Paul Wiederin (Viola), Cornelius Schmaderer (Cello)

Die Noten sind erschienen im Verlag Neue Musik Berlin
Bestellnummer: NM 835


Herbert Peter (1926)
1. Mäßig rasch anhören
2. Sehr ruhig anhören
3. Mäßig schnelle Halbe anhören

Luigi Boccherini (1743-1805)
4. Allegro Vivace anhören
5. Tempo di Minuetto anhören
6. Larghetto anhören
7. Finale anhören

Jaime M. Zenamon (1953)
8. Tranquilo anhören
9. Agil anhören

A Quattro

With the new CD "A Quattro" upala records presents quartet formations twice, one in the form of concert flute, violin, viola, violoncello, as well as a formation with four concert guitars. All the works are first time recordings.

The composer Herbert Peter about his work written in the year 2006:

"The quartet for flute and string instruments was composed by me especially for the ensemble 'A Quattro' with Veronica Kraneis (concert flute), Dieter Fellmann (violin), Paul Wiederin (viola), Cornelius Schmaderer (cello) and was first played and presented by them in May 2006 in Kassel (Germany).
The musical themes of the work, as well as its treatment are influenced by the twelve-tone music, without binding itself slavishly to the strict rules of the dodecaphonic music.
The denomination 'sonata' of the first set indicates that it is composed in the so-called classical sonata main set. In the exposition main and minor theme are established, which are handled and intertwined during the execution and finally end the set with a recapitulation.
The middle set part is composed of two theme complexes, namely one of twelve-tone rows and one chorale melody. The row is presented in its different dodecaphonic forms (theme, cancer, mirror, mirror cancer), at first by the transverse flute and after that by the string instruments for a vivid middle part. To the flute melody the Cantus firmus of the chorale 'Mitten wir im Leben sind' (after the old antiphon 'Media vita in morte sumus', 11./12. century) arises from the deep accompanying voices of the viola and cello.
In the triplet middle part of the set the chorale melody rises from the deep instruments up high to the flute. This part forms the climax of the second set, which in the end flows back to the calm beginning, while the viola takes over the lead of the melody.
With its energetic theme, the last set, a fugue, has a close relationship with the nature of the first set.
With the change between the completion of the theme and interludes it sticks to the traditional fugue form and finally combines the fugue theme with motives from the interludes. The two last theme insertions of the outer sets are let tightly and prepare the completion of the work in a strettoesque manner."

Herbert Peter (11th March 1926)

born in Weimar, Landeskirchenmusikdirektor i. R. (Director of regional church music)
1945-1949 Studied church music at the Staatl. Musikhochschule "Franz Liszt" in Weimar (Academy for Music "Franz Liszt", Weimar).
1949 Cantor and organist in Bad Berka, 1950 -1961 Lecturer for organ playing, Tonsatz and adjacent subjects at the Thüringer Kirchenmusikschule Eisenach (Thuringian school of Church Music, Eisenach), 1961 -1991 Director of regional church music of the Evang.-Luth. Kirche in Thüringen (Evangelic-Lutheran Church of Thuringia); At the same time: 1961 to 1984 cantor at the Georgenkirche Eisenach, Head of the Bach Choir Eisenach; 1961 to 1988 director of the Thüringer Kirchenmusikschule (Thuringian school of Church Music, Eisenach)
Retired since 2002, he lives in Witzenhausen / Werra (Germany) today.

Excerpts of his list of compositions:

Vocal compositions:
Passionsmusik 1949 - "Komm, Heiliger Geist" 1955
"Der verlorene Sohn" 1956 - Lukaspassion 1956
"Die Selipreisungen" 1960 - Markuspassion 1996
Cantatas, motets, choir songs etc.
Compositions for singing voice and instruments
(clerical concerts, solos etc.)

Works for the organ:
2 concerts for organ and orchestra 1952 and 1998,
"Triptychon" for organ and bass drum in 1997 (upala records 99021)
Numerous other works for organ and choral preludes

Works for orchestra:
"Musik für Streichorchester" 1958
"Festliche Musik" 1965 - "Bläsersuite 1988" -
"Motif royal" 1990 - "Concerto corale" 1994

Chamber music:
3 sonatas for violin and piano,
Sonatina for trumpet and organ
trio for violin, piano and Violoncello
quartet for flute, violin, viola, cello (2006)
and other works

Luigi Boccherini (1743-1805)
born in Lucca in Tuscany, was a cellist and composer of distinctive originality. Already at the age of 25, publishers of Paris sought to publish his works. After being allured to Madrid by the Spanish ambassador, Boccerini also became conductor for the duchess of Benavente. Frederick II. became his patron, with the limitation that Boccherini composed for him only.
Frederick died in 1786 and his successor Frederick William II. of Prussia appointed Boccherini as official composer of the court. He occupied this office till 1797, after that he returned to Madrid, where the composer died in great poverty on the 28th May 1805, despite his success during his lifetime.
The body of work Boccherini's as a composer is exceptionally huge: among others he wrote 155 quintets for different formations, 102 string quartets, 60 trios, 33 sonatas, 20 symphonies, 4 cello concerts and a lot more.

Jaime Mirtenbaum Zenamon (1953)
was born in 1953 in Bolivia as the son of European parents. He studied guitar and composition in Israel, Spain, Portugal and different countries in South America, where he was the pupil of Abel Carlevaro among others. Expanded travels led him through South America, Europe, Middle East, and the USA.
He mainly composed a variety of chamber musical works for solo guitar, guitar duos, -trios, quartets, as well as other different formations with flute, violin etc. (The flautist Veronica Kraneis debuted several works by Zenamon in the duo formation flute and guitar, see upala records 99010, 99014, 990). Very often the compositions of Zenamon mirror the rhythm, harmonics and tradition of South American folk music.

VERONICA KRANEIS, internationally acclaimed soloist, not only gets involved in classical concert programs for her preferred instrument, but also in a genre overlapping repertoire. She became well-known for her virtuosic playing of the concert-, alto and bass transverse flute in one concert - numerous broadcasting and CD-recordings confirm the enormously huge repertoire of the artist.

DIETER FELLMANN has been concert master of the orchestra of the Staatstheater Kassel since 1986. He earned his concert diploma at the conservatory of Cologne under Sascha Gawriloff and attended master classes under Max Rostal and the Amadeus-quartet among others. The violinist is supporter of the Dr.-Drexel award of the city of Nuremberg and gives concerts with various chamber music formations (e.g. Trio Bonaventura).

PAUL WIEDERIN studied in Feldkirch and at the conservatoire in Vienna. The violist was scholarship holder of the provincial government Vorarlberg and solo violist in the Freiburg Philharmonic Orchestra, as well as in the Bruckner Orchestra Linz and the Mozarteum Orchestra in Salzburg. He has been solo violist in the orchestra of the Staatstheater Kassel since 1990 and the artist plays chamber music in the Trio Assiano and the Mozarteum Quartet among others.

CORNELIUS SCHMADERER has been engaged with the orchestra of the Staatstheater Kassel since 1984. After his studies at the conversatories in Munich and Salzburg he attended numerous master classes under Misha Maisky, Heinrich Schiff, and the Beaux-Arts-Trio among others. The cellist plays in different chamber music formations and gives concerts as soloist and chamber musician in Europe, Africa, and Asia.

The Cassalla Guitar quartet from Kassel (Germany) with Hermann Beuchert, Anja Gerschwesky, Jochen Lorbach, and Markus Bartke has been playing and has given concerts for several years. The debut CD of the quartet "Landscapes" was published at upala records 99018 and was positively received by both press and audience.

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