Astrid Duo for Violin and Cello (Sydeman, William Jay)

Movements/SectionsMov'ts/Sec's 4 movements
Composition Year 1985 ca.
Genre Categories Duets; For violin, cello; Scores featuring the violin; Scores featuring the cello; For 2 players

Contents

Performances

Recordings

 1. Allegro
#493909 - 1.58MB - 1:09 -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 1631×⇩ - MP3 - Rickshinozaki

MP3 file (audio)
Rickshinozaki (2017/9/22)

 2. Andante
3. Andante, molto rubato
#493910 - 7.81MB - 5:41 -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 821×⇩ - MP3 - Rickshinozaki

MP3 file (audio)
Rickshinozaki (2017/9/22)

 4. Adagio
1. Allegro (da capo)
#493911 - 2.27MB - 1:39 -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 445×⇩ - MP3 - Rickshinozaki

MP3 file (audio)
Rickshinozaki (2017/9/22)

Publisher Info. William Jay Sydeman
Performers Gloria Justen & Hannah Addario-Berry
Copyright
Creative Commons Attribution-NonCommercial-NoDerivs 4.0 [tag/del]
Misc. Notes Recorded 2011, San Francisco, CA
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Sheet Music

Scores

 Complete Score (Preview)
#493905 - 0.82MB, 12 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 1936×⇩ - Rickshinozaki

PDF typeset by composer
Rickshinozaki (2017/9/22)

Publisher. Info. Arts Aeturnum Productions, 2012
Copyright
Performance Restricted Attribution-NonCommercial-NoDerivs 3.0 [tag/del]
Misc. Notes Edited by Gloria Justen and Hannah Addario-Berry
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General Information

Work Title Astrid Duo for Violin and Cello
Alternative. Title
Composer Sydeman, William Jay
I-Catalogue NumberI-Cat. No. IWS 2
Movements/SectionsMov'ts/Sec's 4 movements:
1. Allegro
2. Andante
3. Andante, molto rubato
4. Adagio - 1. Allegro (da capo)
Year/Date of CompositionY/D of Comp. 1985 ca.
Dedication Astrid Thiersch
Average DurationAvg. Duration 6 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation violin, cello

Navigation etc.

The short Astrid duos were written in 1985 after having spent two years in Fair Oaks (Calif.) teaching at the Rudolf Steiner College. Astrid Thiersch is a eurythmist (a sort of “spiritual” dance initiated by Steiner) and they were performed as such.

The style is pantonal and engaging, with the exception of the third movement which has a definite Brahmsian lyrical cast. Of compositional interest is that movement 4 is like a brief development of movement 2, while the stylistic discrepancies between movement 1 and 3 are vast... the “Brahms-like” third movement being diametrically opposed to the acerbic first movement.

– W. Jay Sydeman

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