SKU: PR.114413230

UPC: 680160583683.

Wernick's String Quartet No. 7 was given its world premiere by the esteemed Juilliard String Quartet in Philadelphia, PA, November 2008. These same performers then gave the New York premiere in April 2009 in the Alice Tully Hall, as part of their final New York appearance of the season. From the Juilliard press release: Mr. Wernick describes the format of the work: 'The Seventh String Quartet features a four-voice mensuration [measured] canon that spins out over a span of about ten minutes followed by a homophonic coda in which the proportional relationship is no longer from voice to voice, but from chord to chord..

SKU: PR.11441382S

UPC: 680160585847.

Another prize-winning composition from Needham is his String Quartet No. 1, which sprang from an afternoon's exposure to Vivaldi's Four Seasons. Says the composer, The work itself is about cycles. Nature cycles (day to night, seasonal, moon, tides, etc.), life cycles, and even cycles in music make their way into the piece, both consciously and subconsciously. The work is a homage to nature and to the affective spirit found in the music of Vivaldi..

SKU: PR.114416260

ISBN 9781491101070. UPC: 680160620043. 9 x 12 inches.

Adler's milestone String Quartet No. 10 was composed for the Cassatt String Quartet for performance at the Bowdoin International Music Festival's 50th Anniversary season in 2014. Built in a single movement of contrasting sections, Adler's 10th will continue to be featured in upcoming concerts by the Cassatt Quartet, including a performance in Beijing in July.
The String Quartet No. 10 was written in 2013 for the 50th anniversary of the Bowdoin International Summer Music Festival and is dedicated to the Cassatt Quartet who premiered the work during the 50th anniversary celebration in July 2014.  The work was written with a generous grant from the Fromm Music Foundation.The 10th String Quartet is in one continuous movement but divided into four sections.  The first section is a slow introduction which presents the basic harmonic material of the entire work.  This is suddenly interrupted by a very agitated movement forming a great contrast to the calm of the beginning.  This rhythmic drive comes to a stop and is relieved by the third section which is a variation of the beginning, but is a bit longer and more developed.  This is followed by the final section which again captures the agitation of the second section and brings the work to a wild and most aggressive end.—Samuel Adler.

SKU: IS.VCP4195EM

ISBN 9790365041954.

In 1901, Flor Alpaerts finished his music studies at the Flemish School of Music of Antwerp, which later became the Royal Flemish Conservatory. He studied harmony and composition with Jan Blockx. In 1903 he became professor at this institute and from 1934 until 1941 its director. For one season (1922-1923) he was also director of the Royal Flemish Opera House of Antwerp together with the Bass Arthur Steurbaut. His fame, as a composer and a conductor, came shortly after World War I, when he succeeded in 1919 Eduard Keurvels as conductor of the concerts organized by the Royal Zoological Society of Antwerp and as artistic director of the Peter Benoit Fonds. He also conducted the choral group Arti Vocali. As a composer, Flor Alpaerts was the leading figure in the Flemish impressionistic movement. An impressionism that came closer to Richard Strauss and Ottorino Respighi than to Claude Debussy. A highlight in this direction was the symphonic poem Pallieter (1921-1924). With his suite James Ensor, inspired by four works of the Ostend painter, he created an expressionistic work. In his later compositions he turned to neo-classicism.

SKU: HL.14004213

9.0x12.0x0.175 inches.

Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season. This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked 'allegro', uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before.

SKU: CF.CAS36

ISBN 9780825863646. UPC: 798408063641. 8.5 X 11 inches. Key: F major.

A warm and richly scored setting of the popular Christmas carol Bring a Torch Jeanette, Isabella, this full sounding arrangement will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection.
Bring a Torch is a lovely Christmas carol. Using techniques such as suspensions, re-harmonization and modulations, my goal is to provide an interesting showcase for this familiar melody. the introduction in F major features sustained violins with a pattern of moving eighth notes in the violas and cellos. This pattern recurs throughout the piece. The first statement of the melody is in the first violins. The second violins supply harmonic support along with the viola/cello pattern. Measures 13-29 feature a section of tutti chordal playing. Measure 30 crescendos into the modulation to D major at m. 32. Here, the dynamic is forte, and the viola/cello pattern returns. At m. 40, the violas and cellos have the melody with violin accompaniment. A crescendo begins at m. 44 and builds to fortissimo at m. 48, featuring a modulation to G major. At this point the melody should soar. A descrescendo at m. 60 is followed by a ritard at m. 64. The final four measures are in the original tempo ending on a tutti chord.Careful attention to dynamics, especially in the accompanying parts, will result in a fine performance.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians