Richard Reed Parry's Quartet For Heart And Breath is an innovative and original piece based on the performers' own bodily rhythms. This sheet music is for String Quartet (Violin/Violin/Viola/Cello).Richard Reed Parry is familiar to millions as the lead singer of rock band Arcade Fire, yet his foray into classical music is equally worthy of attention. Quartet For Heart And Breath is an experiment into using the performers' heartbeats and breathing to dictate the tempo. The performers are instructed to wear stethoscopes in order to listen to their heartbeats closely, while one complete breath corresponds to one bar and two heartbeats equal two crotchets.The result is a quiet and subtle piece, as each instrument has to play softly so as to be able to keep in time. The piece also has a naturally occurring dynamism in that the players' heart rates constantly change as the performance goes on, with each instrument falling in and out of sync sometimes culminating in a beautiful moment of all heartbeats matching each other. Interestingly, this unique aspect means that no performance will ever be the same, meaning to hear or play this composition will be a truly once in a lifetime experience.Quartet For Heart And Breath is a superbly one-of-a-kind composition by Richard Reed Parry. Commissioned by the Kronos Quartet, this piece makes for a wonderfully distinctive performance, with fascinating implications for the connection between the music and the body. / Quatuor A Cordes

An amazing selection from VH-1's 100 Greatest Songs Of Rock and Roll, arranged for solo Viola.Includes the songs: All Along the Watchtower, All Shook Up, American Pie, Beat It, Blowin' in the Wind, Blue Suede Shoes, Bohemian Rhapsody, Born to Be Wild, Born to Run, Bridge over Troubled Water, California Dreamin', Dream On, Every Breath You Take, Fire and Rain, Free Bird, Gloria, Good Vibrations, Great Balls of Fire, A Hard Day's Night, Hey Jude, Hotel California, (I Can't Get No) Satisfaction, I Heard It Through the Grapevine, Imagine, Jump, Layla, Let It Be, London Calling, Maggie May, My Generation, Piano Man, Proud Mary, Respect, Rock Around the Clock, Roxanne, Smells like Teen Spirit, Stairway to Heaven, Stand by Me, Sunshine of Your Love, Superstition, We Are the Champions, When Doves Cry, Yesterday, You Shook Me All Night Long and more. / Alto

Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes

Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum” in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum”. Here it is called 'Te Deum for Cannons” after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea”, the masque which was composed at almost the same time. Though in many respects this 'Te Deum” is reminiscent of the 'Utrecht Te Deum”, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition” (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum”./ Répertoire / Violoncelle, Contrebasse, Basson ou Orgue

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

Par BRUCH MAX. Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto #1 zipped onto the road to success and has never left it since. Yet from the preface of the 'BreitkopfUrtext' edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote '3, 4 development sections in the finale,' and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: 'Have I written nothing but this one concerto?' The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work./ Répertoire / Alto

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted viola parts to his two sonatas. In any case the viola and clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms' authorship of the viola parts. They include important differences from the clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Alto Et Piano

8 Popular String Quartets. Following the success of 'Beautiful Dreamer', Carson Turner returns with a fresh collection of string quartet arrangements, ideal for intermediate-level players. The Schott String Quartet Series With the first books in the series focusing on baroque, classical and romantic styles, The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer', which features original compositions, each book contains original arrangements of well known themes, which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance./ Recueil / Quatuor à Cordes

Par MOZART WOLFGANG AMADEUS. Allegro in B-flat major of a Quintet for Clarinet, two Violins, Viola and Violoncello K. Anh. 91 (516c). This Allegro fragment was possibly sketched in 1787 two years before composition of the A major Clarinet Quintet K. 581. It is 93 bars long and is complete in all instrumental parts but was abandoned abruptly at the bottom of the fourth page. The distinguished Mozart scholar Robert Levin has completed the sketch with the sole purpose of bringing this extraordinary work into the concert hall to add to the small but choice number of those Mozart works which have always been the most treasured of every clarinettist's repertoire./ Répertoire / Clarinette, 2 Violons, Viole et Violoncelle

This series offers a versatile selection of music for flute, clarinet, alto sax, tenor sax, trumpet, horn in F, trombone, violin, viola, and cello. Each book contains carefully edited arrangements appropriate to each instrument, and is well suited for level 2-3 students. The CD includes a fully orchestrated demo track of each song, which features a live instrumental solo performance, followed by a play-along track. Also included are PDFs of piano accompaniments, and Alfred's Tempo Changer Software. / Alto

A dozen of the most popular songs from this iconic British songstress! The price of this book includes access to online audio demonstration and backing tracks that allow instrumentalists to slow down the audio without changing pitch, loop for challenging parts, and more. Songs include: All I Ask - Chasing Pavements - Hello - Make You Feel My Love - Million Years Ago - Remedy - Rolling in the Deep - Rumour Has It - Set Fire to the Rain - Skyfall - Someone like You - When We Were Young. / Alto

Par BLACKWELL KATHY / DAVID. Il couvre les modèles utilisés dans les doigts Viola Time Joggers et coureurs, et comprend toutes les gammes et arpèges pour les élèves de ABRSM 1 et 2, y compris le mineur naturel Etablit chaque forme avec un tableau de doigté, d'un téléphone 'helpline' pour renforcer le doigté arpège, et un jeu de rythme à pratiquer l'échelle Inclut une variété de pièces amusantes pour chaque touche, et une gamme de puzzles et des jeux de composition L'édition révisée de Viola échelles de temps déborde d'idées créatives et emballé avec des dessins animés imaginatives et amusantes à faire échelles d'apprentissage et d'arpèges faciles. / Niveau : Facile / Etude / Alto

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Alto

40 Of His Greatest Hits. Par LLOYD WEBBER ANDREW. 40 of the most memorable songs composed by the inimitable Andrew Lloyd Webber are gathered in this value-packed instrumental solo collection. Songs include: Amigos Para Siempre (Friends for Life) - Any Dream Will Do - Don't Cry for Me Argentina - I Believe My Heart - I Don't Know How to Love Him - Learn to Be Lonely - Love Changes Everything - Memory - No Matter What - The Phantom of the Opera - Pie Jesu - Starlight Express - Stick It to the Man - Tell Me on a Sunday - 'Til I Hear You Sing - Whistle Down the Wind - With One Look - You Must Love Me - and many more./ Recueil / Alto