composer

Fulkerson, James

James Fulkerson werd op 2 juli 1945 in Illinois (USA) geboren. Opleiding Hij studeerde aan de Wesleyan University (B.A., 1966) en de University of Illinois (M.M., 1969). Hij had tromboneles van Carmine ...

related works

The archaeology of silence : for mezzo-soprano, tape and live-electronics, 1990/1991 / poems by Fernando Pessoa, James Fulkerson

Genre: Vocal music
Subgenre: Voice solo; Electronics and singing voice(s) with or without instrument(s)
Instruments: sopr-m tape electronics

Memories, Dreams, Reflections : for string quartet / Rafael Reina

Genre: Chamber music
Subgenre: String Quartet (2 violins, viola, cello)
Instruments: 2vl vla vc

The Girls Collection : Selection of string quartets / Chiel Meijering

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Subgenre: String Quartet (2 violins, viola, cello)
Instruments: 2vl vla vc

String quartet no. 2 : Postnuclear winterscenario, 1994, version 1996 (Rotterdam version) / Jacob ter Veldhuis

Genre: Chamber music
Subgenre: String Quartet (2 violins, viola, cello)
Instruments: 2vl vla vc

 

composition

String quartet nr. 5 : with electronic tape ad lib., 1992 / James Fulkerson

Publisher: Amsterdam: Donemus, cop. 1992
Publisher's number: 08108
Genre: Chamber music
Subgenre: String Quartet (2 violins, viola, cello); Electronics and singing voice(s) with or without instrument(s); String Quartet (2 violins, viola, cello) with electronics
Instruments: 2vl vla vc (tape ad lib.)
Remarks: Met financiële steun van het Amsterdams Fonds voor de Kunst. - Opgedragen aan het Mondriaan Kwartet. - Tijdsduur: ca. 25'
Duration: 25'00"
Number of players: 4
Status: not yet digitized (expected delivery time 14 days)

Description:
Program note (English): The quartet is an object which is seen as being complete in itself, but which can be performed within a tape environment. There are four different tapes from which the quartet may choose any one for a performance. Because the tapes differ both from the quartet and each other, it is expected that the quartet will be perceived in radically differing ways because of its context - just as the perception of a painting may be vary sigificantly depending upon where or how it is displayed. The instrumental parts are always hovering in or around 'g', sometimes as a repetitive texture, sometimes as a texture generated by fractal geometry in which 'g' is a starting level from which each instrument may plunge or explode multi-dimensionally. The quartet is sectional, composed not so much with a sense of narrative or developmental 'line-through' but rather as a series of energy states of states of being. The sections are not referential, they simply are. While they are related to one another
with respect to some material or aspects, they primarily appeal to a listener's consciousness of their own experiential inner time-space. - JAMES FULKERSON

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