composer
Vanessa Lann was born on April 6, 1968 in New York.
Education: Vanessa Lann has been a composer and pianist since the age of five. She studied composition with Ruth Schonthal ...
related works
24 capriccio's voor viool solo
Genre:
Chamber music
Subgenre:
Violin
Scoring:
vl
Le Grand Quatuor : for string quartet / Leo Samama
Genre:
Chamber music
Subgenre:
String Quartet (2 violins, viola, cello)
Scoring:
2vn vla vc
String Quartet Nº 3 / Michael Fine
Genre:
Chamber music
Subgenre:
String Quartet (2 violins, viola, cello)
Scoring:
2vn vla vc
The seasons : string quartets nr. 3, 4, 5 & 6, opus 23 - 24, 1981 / Daniel Brozak
Genre:
Chamber music
Subgenre:
String Quartet (2 violins, viola, cello)
Scoring:
2vl vla vc
composition
Landscape of a Soul's Remembering : for string quartet, 2006 / Vanessa Lann
Description:
Program note (English): This is Vanessa Lann's second string quartet, and it is meant as somewhat of a companion piece to her meditative, microtonal work from 1990/1991, Lullaby for a young girl dreaming. As in the aforementioned work, the players are positioned unconventionally, with six music stands and three chairs in different corners of the performance space. The players either stand or sit at each of the six locations, with affects both the nature of their sounds, as well as the theatrical way in which they are perceived by the audience. They change their locations between the movements of the piece, and the material previously presented by each location is restated by a different performer on a different instrument before new material is added. As the listener re-experiences the same musical patterns and physical gestures (the bowing is precisely choreographed) interpreted by different players in changing contexts, his expectations in the individual members' roles are challenged, and the subtle
differences between the sound worlds and performance practices of each instrument become apparent. Throughout the piece can also be heard the contrast fragments of similar motivic material played on different strings of the same instrument, as well as on the different strings of the other instruments. The specific string choices (including a scordatura G flat in place of G in the 2 violins and viola) are also deliberately designed to feature the increasing use of open strings (also in natural harmonics) as the piece progresses. The emphasis on open strings allows the players to focus upon the repetitive movements of the right hand, in addition to the recognizable patterns of the left. - VANESSA LANN