Robert M. Greenberg - Partitions musicales à imprimer - Mondial de la partition numérique

Composed by Robert M. Greenberg. Score, Set of Parts. 79 pages. Published by Robert M. Gre…(+)

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Robert M. Greenberg

Rarefied Air for B-flat Clarinet, Violin and Piano
Violon et Piano

Composed by Robert M. Greenberg. 20th Century, Post-Modern. Score, Set of Parts. 105 pages…(+)

Composed by Robert M. Greenberg. 20th Century, Post-Modern. Score, Set of Parts. 105 pages. Published by Robert M. Greenberg (S0.74115). - Score,Set of Parts - 20th Century,Post-Modern - Robert M. Greenberg
$32.00 29.87 € #Violon et Piano #Robert M #Rarefied Air for B-flat Clarinet, Violin and Piano #Robert M. Greenberg #SheetMusicPlus

#Robert M. Greenberg

Tempus Fugit for piano
Piano seul

Composed by Robert M. Greenberg. 21st Century, Post-Modern. Score. 21 pages. Published by …(+)

Composed by Robert M. Greenberg. 21st Century, Post-Modern. Score. 21 pages. Published by Robert M. Greenberg (S0.74617). - Score - 21st Century,Post-Modern - Robert M. Greenberg
$16.00 14.93 € #Piano seul #Robert M #Tempus Fugit for piano #Robert M. Greenberg #SheetMusicPlus

Invasive Species for piano quintet

Composed by Robert M. Greenberg. 21st Century, Post-Modern. Score, Set of Parts. 88 pages.…(+)

Composed by Robert M. Greenberg. 21st Century, Post-Modern. Score, Set of Parts. 88 pages. Published by Robert M. Greenberg (S0.73801). - Score,Set of Parts - 21st Century,Post-Modern - Robert M. Greenberg
$40.00 37.33 € #Robert M #Invasive Species for piano quintet #Robert M. Greenberg #SheetMusicPlus

Composed by Robert M. Greenberg. Score, Set of Parts. 79 pages. Published by Robert M. Greenberg (S0.74623). - Score,Set of Parts - - Robert M. Greenberg

Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 54 pages. Robert M. Greenberg #90285. Published by Robert M. Greenberg (A0.987848). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 12 minutes Year of composition: 2006 Program Note: The mind searches for the oddest of couples. Felix Unger and Oscar Madison. Julia Roberts and Lyle Lovett. The violin and the vibraphone. Aside from the letter V, the two instruments have almost nothing in common. We consider: the violin is the most aristocratic instrument in the Western musical tradition, the prima donna of the instrumental world, an instrument that has had, lavished upon it, more extraordinary music than any other since its invention roughly 475 years ago. And then thereâs the vibraphone, a percussion instrument with pitched metal bars and motor-driven resonators that produce a vibrato. Invented around 1925, itâs an instrument created for dance bands and popular music. Anything You Can Do . . . is a confrontation between these two musical opposites. A sense of contest characterizes the entire piece, as the vibraphone seeks to establish its bona fides side by side with the violin, which in turn attempts to keep the vibraphone in its place by beating it at its own game. The first movement is conceived as a race, in which each instrument acts like the other â the violin explosively and percussively, and the vibraphone with lengthy bowed passages â while seeking to shake off the other. The movement concludes with the violin paying a series of huge, chords and a long, sustained triple-stop that, much to its fury, the vibraphone manages to match with a sustained double-stop of its own. The movement ends in a draw. The second movement begins with the violin doing its best to match the vibrato patterns of the vibraphoneâs variable motor. Ultimately, the violin breaks free and plays a broad, arioso-styled melody. The vibraphone tries to match it, but cannot; try as it might, its fixed range cannot reach the stratospheric heights of the violin. Advantage violin. The third movement is constructed in three sections. In the outer sections, rapidly rising and falling lines and counter rhythms pervade as each instrument seeks to gain an advantage over the other. In the middle section, alternating, hocket-like phrases give way to bent notes and glissandi in the vibraphone, which infuriates the violin (how dare this upstart percussion instrument do something ordinarily associated with me?). The movement concludes with the violin once again attempting to lord its greater range over the vibraphone by playing a long sustained F# - the same pitch that conquered the vibraphone at the end of the second movement â only to have the vibraphone top it by playing a harmonic a full seven notes above the F#. Game, set, match: vibraphone. Some respect, please, for the new kid on the block. Anything You Can Do . . . is dedicated, with a thousand-and-one thanks, to Victor Romasevich and Jack van Geem.

Piano Quartet,String Ensemble - Level 5 - Digital Download SKU: A0.987845 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 105 pages. Robert M. Greenberg #90267. Published by Robert M. Greenberg (A0.987845). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: movement 1: https://www.youtube.com/watch?v=abie7jcHVA0 movement 2: https://www.youtube.com/watch?v=b__yWnl7LcU movement 3: https://www.youtube.com/watch?v=_8V3g4AC0eM Duration: ca. 17 minutes Year of composition: 2001 Program Note: I. Knock Yourself Out II. Flutterby III. Morph (with apologies to J. B.) Funny Like a Monkey is one of the many phrases coined by my then 16 year-old daughter in order to address the actions and well-intended attempts at humor by both her younger brother and her hopelessly antiquated father. What I love about these phrases â of which Funny Like a Monkey is but one of many â is their use of nonsequitur elevated to high verbal art. They are at once biting and humorous, and are filled with the sort of over-the-top verbal bravado that only a teenager, as the self-acknowledged epitome of hip, can get away with. Though Funny Like a Monkey is scored as a traditional piano quartet, it is in reality composed for string trio PLUS piano. Along with being part of the larger ensemble, the piano has a featured role in the piece: it is narrator, commentator, curmudgeon, critic, and emcee, as it introduces and comments upon the relative merits of the musical materials that comprise the work. The first movement is entitled Knock Yourself Out. The movementâs energy and exuberance, as well as its mercurial-shift-on-a-dime nature is a rather personal reference to the dedicatee. The second movement is entitled Flutterby. A spoonerism created (or at least favored) by my daughter, the reference is to a sort of macro- butterfly, a mega-mariposa, if you will, one of extraordinary beauty and delicacy that floats and drifts and shimmers in some imagined place. The third movement, Morph, With Apologies to J.B. refers to the rather obvious fact that the music keeps morphing in and out of the finale of Johannes Brahmsâ (J.B.âs) Piano Quartet in G Minor, Op. 25. Iâm crazy about Brahmsâ piano quartets, and I have surrendered to the urge to mess with his pitch collections and thematic motives. The movement, with its musical puns, metamorphoses, and attempts at humor, is a perfect example of what might be referred to as funny like a monkey. Funny . . . is dedicated, with love, to Rachel Amy Greenberg on the occasion of her 16th birthday.

Trombone Solo - Level 5 - Digital Download SKU: A0.987850 Composed by Robert M. Greenberg. 20th Century. Individual part. 11 pages. Robert M. Greenberg #90287. Published by Robert M. Greenberg (A0.987850). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 14 minutes Year of composition: 1998 Program Note: Behavioral Science is in five continuous parts: Part 1: Misbehavior/Out of control Part 2: Vulgar Behavior/Gross stuff Part 3: Crisis of Confidence/Whining and whimpering Part 4: Behavior Becoming/Reflection and Introspection Part 5: With Flying Colors/Putting It All Together The initial inspiration for Behavioral Science was as follows: a few years ago, a trombonist friend of mine asked me if I wanted to join him and a few of da boys in attending the premiere of the Beavis and Butthead movie. Whoa. Beavis and Butthead with the low brass; a most stimulating prospect. A previous and, I'm sure, less interesting engagement kept me away, but the formative idea behind Behavioral Science was born: how do you civilize the eternal adolescent that is the trombone/trombonist without taking away its/his/her essential energy and joie de vivre? Behavioral Science, then, is about the trombone and, to a degree, trombone players themselves (which, by the way, I was once one myself and my daughter presently is). The piece begins with the trombone completely out of control - a raucous, screaming, stuttering length of lacquered plumbing. Across the span of the piece the trombone gradually learns lyricism and self-discipline, gaining maturity and, ultimately, self-mastery. Behavioral Science concludes with a series of extremely virtuosic passages that require, as they do, the most exacting control imaginable. Behavioral Science was composed between December, 1997 and February, 1998. It is dedicated with great affection and gratitude to Neil Hatler for his help, advice, and tireless dedication to the piece.

So Let Us Live - Really Live! for baritone and piano

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.987855 Compo…(+)

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.987855 Composed by Robert M. Greenberg. 20th Century,Contemporary. 26 pages. Robert M. Greenberg #115411. Published by Robert M. Greenberg (A0.987855). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 11 minutes Year of composition: 2009 Program Note: I. When I Was One-and-Twenty (A. E. Housman) II. For An Amorous Lady (Theodore Roethke) III. Love Me Not for Comely Grace (John Wilbye) IV. So Let Us Live - Really Live! (Gaius Valerius Catullus) The four love songs that that constitute So Let Us Live â Really Live! were commissioned by John Goodman in honor of his wife Kerry Kingâs fiftieth birthday. The set â with its (relatively) light poetry and (excessively) tonal settings - was originally intended as Hausmusik (house music), music to be performed privately among (semi-inebriated) friends. However, certain personal events that occurred during their composition have compelled me to go public with them, and thus, with John and Kerryâs indulgence, they are receiving their premiere here, rather than in a living room. A thousand-and-one thanks to Allen Shearerâs wonderful voice and Lino Riveraâs exquisite hands, which were constantly in my mindâs ear during the composition of the songs. With love to Kerry, from John and Bob. All poems used by permission.
$28.00 26.13 € #Robert M #So Let Us Live - Really Live! for baritone and piano #Robert M. Greenberg #SheetMusicPlus

Prayer for the Great Family for mixed chorus
Chorale SATB

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.987856 Composed by Robert …(+)

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.987856 Composed by Robert M. Greenberg. 20th Century. Octavo. 34 pages. Robert M. Greenberg #115421. Published by Robert M. Greenberg (A0.987856). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 11 minutes Year of composition: 1985 Texts used by permission.
$16.00 14.93 € #Chorale SATB #Robert M #Prayer for the Great Family for mixed chorus #Robert M. Greenberg #SheetMusicPlus

Quasi Un Madrigale for soprano and piano
Voix Soprano, Piano

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.987854 Composed by Ro…(+)

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.987854 Composed by Robert M. Greenberg. 20th Century. 44 pages. Robert M. Greenberg #115419. Published by Robert M. Greenberg (A0.987854). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 23 minutes Year of composition: 1999 Program Note: Quasi Un Madrigale sets the poetry of three 20th century Italian poets: Salvatore Quasimodo, Aldo Palazzeschi and Corrado Govoni. These expressive, evocative poems deal variously with states of memory, nostalgia, and longing. The four songs are conceived as a cycle. The first three songs are true duets, with the piano a full partner of the soprano. The fourth and final song, from which the cycle draws its name, constitutes the emotional core of the set. It is at once a resigned lament of personal loss and an affirmation of new life. Quasi Un Madrigale was composed between February and September 1985. All poems used with permission.
$28.00 26.13 € #Voix Soprano, Piano #Robert M #Quasi Un Madrigale for soprano and piano #Robert M. Greenberg #SheetMusicPlus

Iron Balconies and Lilies for soprano, piano and chamber ensemble

Large Ensemble Cello,Clarinet,Flute,High Voice,Oboe,Piano,Viola,Violin - Level 5 - Digital…(+)

Large Ensemble Cello,Clarinet,Flute,High Voice,Oboe,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.987859 Composed by Robert M. Greenberg. 20th Century. Score and parts. 264 pages. Robert M. Greenberg #115607. Published by Robert M. Greenberg (A0.987859). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 35 minutes Year of composition: 1992 Program Note: I. A City By The Sea II. Hay Mowing III. When Grandma, May She Rest In Peace, Died IV. Longing V. Ancient Murderess Night VI. Lullaby VII. Toys VIII. Old Age IX. Rest IRON BALCONIES AND LILIES was written between December 1991 and November 1992. The nine poems of the cycle, originally in Yiddish and by various poets, speak of a woman's life at various stages, from extreme old age to youth, and back to old age. The poetry is magnificent and direct: at turns quiet, passionate, gentle, ferocious, erotic, agonized and violent. In setting these poems, I have particularly sought to capture the many images and metaphors that unite them. For example, the music representing the violent, life-giving blades (scythes) of No. 2 evoke agonized, ritualized grief in No. 3, a ghastly (and comic) celebration of death in No. 5, and ultimately, a wondrous and benign angel of death in No. 9. Over the course of the cycle, the power and singular clarity of childhood memory gives way to the quiet complexity and blurred edge of adult memory. All poems used by permission.
$44.00 41.07 € #The Sea II #Robert M #Iron Balconies and Lilies for soprano, piano and chamber ensemble #Robert M. Greenberg #SheetMusicPlus

Solo Guitar - Level 5 - Digital Download SKU: A0.987853 Composed by Robert M. Greenberg. 20th Century. Individual part. 21 pages. Robert M. Greenberg #115407. Published by Robert M. Greenberg (A0.987853). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 21 minutes Year of composition: 1996 Program Note: I. Toccata/Hands of Steel II. Strum/Serenade III. O Tanenbaum (Toccata reprise) IV. Two-Part Contention V. John Doe VI. True Pluck A number of years ago, the great English guitarist Julian Bream told David Tanenbaum - the dedicatee of tonight's premiere - not to premiere a guitar work unless he knew for a fact it was the composer's second guitar work. Sage advice. The guitar is an instrument that gives up its secrets to a non-guitar playing composer only reluctantly. Indeed, the timbral, digital and chordal subtleties of this most subtle and intimate instrument are truly understood by the guitarist only. Pity the outlander who composes for the guitar for the first time! With this last thought in mind I had, until last fall, managed to avoid writing a guitar piece. However, even the most abject compositional coward will relent when a musician like David Tanenbaum asks for a piece and offers his assistance and critical judgement in its composition. So it was with PLUCK, composed between November of 1995 and January of 1996. Bream's advice notwithstanding, PLUCK is my first guitar piece. Tanenbaum is brave. The title, PLUCK, thus refers to both the action of plucking strings as well as pluck - bravery, grit, true grit. PLUCK is written in six interrelated movements. The first movement, Toccata/Hands of Steel introduces much of the essential pitch and harmonic material of the piece, as well as Flamenco-style rasgueado strumming which, try as I might, I could not resist using. Movement two, Strum/Serenade, explains itself in its title. Movement three, O Tanenbaum (a designation for which David has forgiven me) reprises the Toccata and describes, well, a sort of musical tree (David has forgiven me for this, too). Two-Part Contention is a combatative, argumentative movement that pits the treble strings of the guitar against the bass. Movement 5, John Doe is a lyric and mysterious moment of rest before the manic finale. Movement 6, True Pluck, is a fast, furious and virtuosic finale. PLUCK is dedicated, with greatest respect and affection, to my friend David Tanenbaum. May he only want to play my second guitar piece.

Cello,Instrumental Solo,Piano - Level 4 - Digital Download SKU: A0.987858 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages. Robert M. Greenberg #115605. Published by Robert M. Greenberg (A0.987858). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://mail.google.com/mail/?tab=wm#inbox/14f3cea616cb0a88?projector=1 Duration: ca. 12 minutes Year of composition: 2014 Program Note: I. Overture II. Nigun no. 9 III. Moladâti IV. Gilu Hagalilim V. Yâmey Hanoar VI. The Gigue Is Up My apologies upfront for all the first person pronouns in this program note! A few years back, Nina Flyer asked me to write for her a piece of music that would contain or make reference to Jewish/Yiddish/Hebrew dance music and/or folk songs. The more I thought about it, the more difficult I realized the challenge would be. As best as I could tell, I had three options. Option one: I could set said dance music/songs for cello and piano, with the result being a series of arrangements: nice, but artlessly unoriginal (meaning dull). Option two: I could weave the tunes into a single narrative and in doing so write another version of Schlomo (a self-proclaimed Hebraic work for cello and orchestra by Ernst Bloch). Option three: I could make up my own ethnic-sounding melodies and either arrange them for cello and piano or weave them into some sort of Hebraic narrative: options one and two all over again. So I came up with option four. I selected four folk tunes (movements II, III, IV, and V) and composed a counter-melody to each. The first half of movements II, III, IV, and V set that counter-melody without any reference to the original folk tune. The second half of those movements then combines the counter-melody with the original tune (and thus the revelation, as the original tune is revealed). The generally two-part shape described above (excepting movement IV, which is A-B-A in structure) suggested Baroque binary dance form, and so I turned the piece into a sort of Baroque dance suite. It begins with a French Overture based on the counter-melodies of movement III and V, and concludes with a gigue based on the counter melodies of movements II and IV. The historical references are supposed to be tongue-in-cheek and I can only hope they will be taken that way. A thousand-and-one thanks to Nina Flyer and Lori Lack for their patience, hard work, and musical brilliance. Suite Revelation is dedicated â with the greatest respect and affection â to Nina Flyer.

180 Shift for piano trio
Piano Trio: piano, violon, violoncelle

Piano Trio,String Ensemble Cello,Piano,Violin - Level 5 - Digital Download SKU: A0.9878…(+)

Piano Trio,String Ensemble Cello,Piano,Violin - Level 5 - Digital Download SKU: A0.987846 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 69 pages. Robert M. Greenberg #90269. Published by Robert M. Greenberg (A0.987846). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://www.youtube.com/watch?v=dZvxnzZ1oA8 Duration: ca. 18 minutes Year of composition: 2013 Program Note: I. Elegy and Variations II. Song and Dance (Shake, Rattle and Roll) III. Re-Invention (Toccatissima) Aside from being an obvious (if hackneyed) reference to the commissioning ensemble, Trio 180, the title 180 Shift well describes the large-scale dramatic action of the piece: from beginning to end, it traverses an expressive distance of 180 degrees, from elegiac sorrow to hot-footed sizzle. 180 Shift is cast in three movements. Each movement is based on the same thematic material, although that material is transformed continuously across the span of the piece. Movement one, Elegy and Variations consists of a series of a theme, six free variations of the theme and a quiet intermezzo before the sixth and final variation. The movement is melancholy, reflective, and generally subdued in tone. Movement two, entitled Song and Dance (Shake, Rattle, and Roll) sees materials introduced in the Elegy transformed first into a introspective song and finally into a vigorous, gigue-like dance. The three parts of the movement are characterized, respectively, by shakes (tremolos), rattles (in the piano; weâll know them when we hear them) and rolls (arpeggios). Movement three â Re-Invention (Toccatissima) is fast and virtuosic, a (mostly) two-part invention that sees the basic thematic material re-invented once again. 180 Shift is dedicated, with great affection and respect, to Trio 180: Ann Miller, Nina Flyer, and Sonia Leong.
$32.00 29.87 € #Piano Trio: piano, violon, violoncelle #Robert M #180 Shift for piano trio #Robert M. Greenberg #SheetMusicPlus

Instrumental Solo,Piano,Violin - Level 5 - Digital Download SKU: A0.987851 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 29 pages. Robert M. Greenberg #100609. Published by Robert M. Greenberg (A0.987851). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 6 1/2 minutes Year of composition: 2011 Program Note: Titles, like mold-scum atop month-old cottage cheese, can take on a life of their own. South Bay Angle was originally composed in 1991 during an Astor Piazzolla-inspired fit of tango-madness. While a more appropriate title for the piece would have been something on the lines of I Can Write One of Those! or This Gringoâs Token Tango, circumstances conspired in another titular direction. The piece was originally intended for performance on a program produced by Composers, Inc., a new-music collective in which I was (and remain) an artistic director. Composers Inc. was then in its seventh season. In those days when newspapers still mattered, Composers, Inc. sought to receive as many print reviews as possible. To that end, the organization invited Paul Hertelendy - who was then the music critic for the San Jose Mercury News - to cover its concerts. He said he would do so provided that there was some sort of south-bay angle which addressed the specific needs of his south-bay readership. Thinking myself clever, I thus entitled the piece South Bay Angle. Hertelandy would get his angle and Composers, Inc. would get its coverage. It didnât work out that way. The piece was never performed; Hertelendy never got his angle; and Composers, Inc. never received a review from the San Jose Mercury News. Instead, twenty years later, I returned to South Bay Angle and rewrote it from the ground up. The piece is cast as a large-scale A-B-A form. The violin is a willing participant in the tango during the A sections, but a rather reluctant tangoista in the B section, during which it tries mightily to turn the music into a waltz. It does not succeed, and the piece ends as it began, in a blaze of rhythmic fury.

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987847 Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robert M. Greenberg #90283. Published by Robert M. Greenberg (A0.987847). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 33 minutes Year of composition: 1995 Program Note: I. With Friends Like These II. Inner Voices III. Little Hands and Little Feet IV. Freund Barry V. Friendly Persuasion VI. All For One and One For All I've known the Alexander String Quartet since 1987. More than just colleagues, they have become my friends: I've traveled with them, performed with them, watched them rehearse, dined with them in their homes and they in mine; I know their children and they know my children. Throughout the time I've known the members of the quartet I have observed the relationship between them, that special bond shared by the members of any touring band, described by one pundit as being like a bad marriage with no sex. Such issues notwithstanding, this particular marriage works. A string quartet represents, perhaps, the ultimate musical compromise between individual incentive and the common good. In a string quartet, by definition, four distinct instrumental voices and four different instrumental roles unite to create a whole greater than its parts. And, lest we forget, behind each instrument is a person, with his own particular attitudes, feelings, needs, and, yes, issues, all of which must be tempered and blended for the common good of a good performance. Among Friends is, its liberties aside, about the four people behind the instruments of the Alexander String Quartet and their relationships with one another; the way they play, rehearse, get along and, on occasion, not get along. The first movement, With Friends Like These is gritty and contentious in tone. The players argue, debate, annoy, tease, irk, cajole, abuse, harass, form brief alliances, heap merde upon, gang up on, and otherwise find endless ways to irritate each other. It is in this movement that the individual characters of the four instrumental parts stand in highest relief: the first violin as coloratura prima donna, forever attempting to soar above it all; the second violin as the voice in the wilderness, the viola as the voice of reason and the 'cello as mover and shaker. The opening of the movement is marked argument in progress; with greatest intensity. The second, third and fourth movements are a series of portraits, played without a break. In movement two, Inner Voices, the second violin and viola are featured in a collegial and decidedly non-contentious dialogue. Movement three, Little Hands and Little Feet, is the quiet center of the quartet. It is here that the first violin finally attains the lyric heights vainly sought in the first movement. The fourth movement is a vigorous dance entitled Freund Barry. This movement honors three great friends: Dr. Barry Gardiner, whose friendship and support made the writing of this quartet possible; Gustav Mahler, whose Symphony No. 4, second movement (Freund Heine) inspired this one; and Sandy Wilson, who first encouraged me to compose my second string quartet (Child's Play) for the Alexander in 1987 and whose boisterous 'cello is Freund Barry's alter-ego. The fifth movement is entitled Friendly Persuasion. Rapid fire repeated notes, accompanimental figures and melodic lines are shuttled about from voice to voice, each time elaborated or altered in some way. In this way the music slowly metamorphoses, ultimately arriving at a version of the argumentative music that concluded the first movement. Movement six, All For One and One For All is a fast, brief coda/finale, during which the quartet plays primarily in unison, the musical antithesis of the contentious argument that began the quartet. Among Friends was commissioned by the Koussevitzky Foundation in the Library of Congress and the Alexander String Quartet. Among Friends i.

String Quartet No. 2: Child's Play
Quatuor à cordes: 2 violons, alto, violoncelle

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987857 Composed …(+)

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987857 Composed by Robert M. Greenberg. 20th Century. Score and parts. 121 pages. Robert M. Greenberg #115423. Published by Robert M. Greenberg (A0.987857). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 21 minutes Year of composition: 1988 Program Note: !. Games (fast) II. Intermezzo: Dreams of Gold (slow) III. Dances (very fast) Child's Play was completed in August, 1988. In no way does the title refer to the technical demands of the piece, which are considerable. Rather, it refers to the endlessly imaginative, energized, and constantly changing play that might be engaged in by four different, though like-minded children. Indeed, the inspiration for the quartet was my then two-year-old daughter Rachel, whose boundless energy and capacity for play I found (and still find) rather terrifying. Child's Play consists of three movements: Games (fast), Intermezzo: Sogni d'Oro (Dreams of Gold) (slow), and Dances (very fast). In Games, four energetic and well-rested players leap out of the starting blocks together and engage in sport of various kinds: running games, chasing games, teasing games, tag, echo games (Simon Says), races, and so forth, eventually returning to the unison from which they began. Intermezzo: Sogni d'Oro (Dreams of Gold) offers a quiet, episodic, dreamlike respite from the frenetic mood of Games. In Dances, the energized character of the first movement resumes, only faster. Dances is a perpetual motion movement in three parts, with a slower, more fragmented middle section sandwiched between a boisterous and frenzied dance of life. This movement ends much in the same way as the first movement began, bringing the circuit of the piece to a close. Child's Play was commissioned by, and is dedicated, with many thanks and great appreciation, to the Alexander String Quartet.
$36.00 33.6 € #Quatuor à cordes: 2 violons, alto, violoncelle #Robert M #String Quartet No. 2: Child's Play #Robert M. Greenberg #SheetMusicPlus