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DA 5092
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DA 5092
Music by John Rose

Quartet and piano music by Scottish composer John Rose

The Classical Shop
release date: December 2010


Artists:


Robert Melling

piano

The Edinburgh Quartet



Venue:

St Michaels Church, Inveresk



Engineer:

Paul Baxter



Record Label
Divine Art

Genre:

Piano


Classical

Total Time - 74:09
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Music by John Rose

 

JOHN ROSE

Select Complete Single Disc for
     
1 

String Quartet No. 1, Op. 14

21:09
 
     
2 

Prelude and Fugue, Op.20a

4:51
 Robert Melling piano
     
3 

Prelude and Two Fugues, Op. 20b

10:50
 Robert Melling piano
     
4 

Essay on DSCH, Op. 7

11:13
 Robert Melling piano
     
5 

String Quartet No. 2, Op. 17

26:06
 

John Rose: String Quartets and Piano Works – The Edinburgh Quartet, Robert Melling (piano)

John Rose writes music that embraces a post-modern freedom, allowing him to build tonal and memorable music often with a strong neo-baroque sound, strongly inspired by Bach, although Shostakovich is another source of inspiration. Saying as much is not to limit his work, which is varied and rich, but emphasises his distinctive linear style.



"For those of you who are avid collectors of chamber music, or more specifically intrigued by the logical inner workings of the string quartet and are always searching for new works in the genre, this new recording on the Divine Art label of music by composer John Rose may well be your cup of tea. A composer and choir conductor born in London in 1928 who at one time studied under Edmund Rubbra. His style is very much rooted in the past and I would imagine largely influenced by his upbringing spent surrounded by
organs and church choirs. There is a hint of Shostakovich in the background, not so much a direct musical influence but rather using the composer as a subject matter. Something very much in evidence in the Essay on DSCH for piano, Op. 7 and the String Quartet No. 1, Op. 14, which both use the DSCH (D/E-flat/C/B) motif as a thematic point of departure. DSCH is an acronym for Dmitri Shostakovich based on the German nomenclature of musical notation.

This music does not carry the weight of the world on its shoulders like Dmitri’s, but it shares the same logical unfolding of material as in the former’s 48 Preludes and Fugues for piano, with each and every motif and idea bounced around many times until everything comes to an unambiguous conclusion. Pianist Robert Melling and the Edinburgh Quartet mirror the music’s clear intent and deliver a focused account."

Jean-Yves Duperron - December 2010 Classical Music Sentinel




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