Pulse-Echo by Jason Eckardt Cello - Sheet Music

By Jason Eckardt

pulse-echo was commissioned by the Serge Koussevitzky Foundation in the Library of Congress for NOVA Chamber Music Series (Salt Lake City, Utah) and artistic director Jason Hardink. It was premiered in February, 2014. Hardink was interviewed by Edward Reichel for the web newsletter Reichel Recommends: Eckardt is a proponent of New Complexity, a term coined in the 1980s to describe music that verges on the extreme edge of playability. While acknowledging the music's difficulty, Hardink also sees more than just a jumble of notes on a page. 'Jason's music is intense, complex and dissonant,' he said, 'but there is an underlying energy and joy of life in it.' [As] Hardink pointed out, 'it's not a piano-centric work. The strings play around the resonances from the piano. They play off of what the piano plays.' In that regard it's a true chamber work in concept.

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Details

Instrument:
Cello Piano Viola Violin
Composers:
Jason Eckardt
Publishers:
Carl Fischer Music
Series:
Carl Fischer Chamber Music Edition
UPC:
798408097738
ISBN:
9780825897733
Format:
Score Set of Parts Score and Parts
Item types:
Physical
Artist:
Jason Eckardt
Usages:
School and Community
Number of Pages:
162
Size:
8.5 x 11 inches
Shipping Weight:
2.03 pounds

Chamber Music Violin 1, Violin 2, Viola, Cello, Piano

SKU: CF.MXE50

Composed by Jason Eckardt. Spiral. Score and parts. With Standard notation. 162 pages. Carl Fischer Music #MXE50. Published by Carl Fischer Music (CF.MXE50).

ISBN 9780825897733. UPC: 798408097738. 8.5 x 11 inches.

Pulse-echo was commissioned by the Serge Koussevitzky Foundation in the Library of Congress for NOVA Chamber Music Series (Salt Lake City, Utah) and artistic director Jason Hardink. It was premiered in February, 2014. Hardink was interviewed by Edward Reichel for the web newsletter Reichel Recommends: Eckardt is a proponent of New Complexity, a term coined in the 1980s to describe music that verges on the extreme edge of playability. While acknowledging the music's difficulty, Hardink also sees more than just a jumble of notes on a page. 'Jason's music is intense, complex and dissonant,' he said, 'but there is an underlying energy and joy of life in it.' [As] Hardink pointed out, 'it's not a piano-centric work. The strings play around the resonances from the piano. They play off of what the piano plays.' In that regard it's a true chamber work in concept.