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Ludwig van Beethoven: String Quartet E-Flat Major Op. 127: String Quartet: Study
String Quartet: 2 violins, viola, cello
Barenreiter
This new scholarly-critical edition of String Quartet Op.127 the first of Beeth...
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This new scholarly-critical edition of String Quartet Op.127 the first of Beethoven’s late quartets follows upon Urtext publications of Opp.18 59 74 and 95.Once more the editor is the renowned Beethoven authority Jonathan Del Mar. All surviving sources have been consulted including sketches to clarify the conflicting readings in the autograph. Not only has Del Mar reconstructed Beethoven’s original beaming phrasing articulation and length of crescendo hairpins he has also corrected wrong notes that have taken hold in editions published over the years and has supplemented missing notes.Urtext edition at the cutting edge ofscholarship with detailed separate Critical Commentary (Eng)Parts ideally laid out for performance purposesParts (BA9029) & study score format 22.5 x 16.5cm (TP929) available for saleAlready published: String Quartets Op.18 BA 9016 parts TP 916 study scoreString Quartets Op.59 BA 9017 parts TP 917 study scoreString Quartets Opp.74 95 BA 9018 parts TP 918 study score
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Franz Joseph Haydn: Streichquartette Op.71/74: String Quartet: Study Score
String Quartet: 2 violins, viola, cello
[Study Score / Miniature]
G. Henle
Appony Quartets-Joseph Haydn composed the string quartets known as Op.71/74 als...
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Appony Quartets-Joseph Haydn composed the string quartets known as Op.71/74 also called the 'Apponyi' Quartets in 1793. The composer dated the autograph scores accordingly although the year that appears on those of the B flat major and D majorquartets shows signs of having been corrected. These two works might already have been finished in 1792. However it is certain that Op.71/74 were composed in Vienna during the period between Haydn's two journeys to England andintended as a series of six quartets.The decision to divide the quartets into two sets of three was taken by the publishers. The three Quartets Op.71 were first published in 1795 by Corri Dussek & Co. then in a slightlyrevised reprint by the Viennese publishing house of Artaria & Co.
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Ralph Vaughan Williams: Nocturne & Scherzo: String Ensemble
String Quintet: 2 violins, 2 violas, cello
[Part]
Faber Music Limited
Of all his early chamber works the 'Nocturne' is most clearly by the mature Vau...
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Of all his early chamber works the 'Nocturne' is most clearly by the mature Vaughan Williams almost anticipating the influence of Ravel which followed his lessons from the French composer in 1908. In the veiled beauty of its highly chromatic harmonies we hear already the tone-poet of the slow movement of 'A London Symphony' while in the fleet-footed 'Scherzo' there is already a French influence in the way the folk-song is subtly woven into the texture only brief snatches of the tune being heard until the penultimate page when it receives fuller treatment. The work plays for about 10 minutes. The 1904 'Scherzo' is a vigorous march with fugal episodes which lasts some 6minutes and may effectively be performed by itself.
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Alban Berg: Streichquartett op. 3: String Quartet: Parts
String Quartet: 2 violins, viola, cello
G. Henle
String Quartet op. 3-Alban Berg?s String Quartet can be considered to be one of ...
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String Quartet op. 3-Alban Berg?s String Quartet can be considered to be one of the founding works of the Second Viennese School. Already composed in 1910 and first published in 1920 it was the last composition the25-year-old wrote under the tutelage of Arnold Schoenberg who admired ?the fullness and unconstraint of his musical language the strength and sureness of its presentation its careful working and significantoriginality?. Even today the extremely complex work places the highest technical demands on the interpreters; for this reason this edition contains parts that are especially good to play from in which each musician can alsofollow what is going on in the other parts.
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Bohuslav Martinu: String Quartet No.6 H.312 - Study Score: String Quartet: Study
String Quartet: 2 violins, viola, cello
Barenreiter
An informative preface and critical commentary by Ales Brezina and Ivan Straus (...
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An informative preface and critical commentary by Ales Brezina and Ivan Straus (Cz / Ger / Engl / Fr) - A new practical edition at the forefront of Martinu scholarship - All existing sources consulted.The String Quartet no. 6 by Bohuslav Martinu (1890-1959) represents a distinct step on the journey which the composer characterised as his development from geometry to fantasy and for which the almost continuous use of the principle of developing variations restless harmonic development the pulsation of minute rhythmic values and inventive work with sound are characteristic.The quartet which was written in New York in the autumn of 1946 constitutes the beginning of the composer's later works in which moods freely overflow regardless of any predefined formal layout. The editors of the new edition (based on the composer's autograph) have carefully removed all of the problematic and somewhat arbitrary editorial intervention in the sole existing edition dating from 1950 (actually 1955).With its urtext edition of the 6th quartet Editio Bareneriter Praha has continued in its series of new publications of works by Bohuslav Martinu - quartets nos. 4 and 5 have already been published for this instrumental line-up.
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Alban Berg: Streichquartett op. 3: String Quartet: Study Score
String Quartet: 2 violins, viola, cello
G. Henle
String Quartet op. 3-Alban Berg?s String Quartet can be considered to be one of ...
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String Quartet op. 3-Alban Berg?s String Quartet can be considered to be one of the founding works of the Second Viennese School. Already composed in 1910 and first published in 1920 it was the last composition the25-year-old wrote under the tutelage of Arnold Schoenberg who admired ?the fullness and unconstraint of his musical language the strength and sureness of its presentation its careful working and significantoriginality?. Even today the extremely complex work places the highest technical demands on the interpreters.
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Johannes Brahms: Streichquartett Op.67: String Quartet: Study Score
String Quartet: 2 violins, viola, cello
[Study Score / Miniature]
G. Henle
Urtext Edition-Brahms had already composed over 20 String quartets (he confessed...
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Urtext Edition-Brahms had already composed over 20 String quartets (he confessed to a friend that he had burnt all of that ?stuff?) before he finally presented his Opus 51 to the public. In the end only three surviving works managedto withstand his high self-criticism; numerous layers of corrections bear witness to his struggle with each detail. We are now publishing the two passionate dark Quartets Op. 51 separately from the rather more lively Opus67. The basis for this edition is the volume in the New Complete Edition of Brahms? works published in 2004 by Henle for which previously missing sources in a Swiss bequest were consulted for the firsttime.
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Johannes Brahms: Streichquartett Op.51: String Quartet: Study Score
String Quartet: 2 violins, viola, cello
[Study Score / Miniature]
G. Henle
String Quartets in c minor and a minor op. 51-Brahms had already composed over 2...
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String Quartets in c minor and a minor op. 51-Brahms had already composed over 20 String quartets (he confessed to a friend that he had burnt all of that ?stuff?) before he finally presented his Opus 51 to the public. In the end only threesurviving works managed to withstand his high self-criticism; numerous layers of corrections bear witness to his struggle with each detail. We are now publishing the two passionate dark Quartets Op. 51 separatelyfrom the rather more lively Opus 67. The basis for this edition is the volume in the New Complete Edition of Brahms? works published in 2004 by Henle for which previously missing sources in a Swiss bequest wereconsulted for the first time.
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Franz Joseph Haydn: Streichquartette Heft IX op. 71 und 74: String Quartet:
String Quartet: 2 violins, viola, cello
[Set of Parts]
G. Henle
String Quartets Book IX op. 71 and 74-Haydn dedicated the series of Quartets op....
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String Quartets Book IX op. 71 and 74-Haydn dedicated the series of Quartets op. 71 and 74 to the Hungarian Count Apponyi a Viennese patron of music and a freemason friend. Haydn composed them when he was enjoying a great deal ofsuccess with his 'London Symphonies' in England. With their weighty slow introductions and dense movements focusing on sound they also have symphonic characteristics. In particular the Quartet in g minor op. 74 3 isstriking on account of its expressiveness and originality. Due to the rhythmic drive of the outer movements it was give the epithet 'Rider Quartet'. The study edition complements the parts of the 'ApponyiQuartets' which are already available in Henle Urtext.
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Henryk Mikolaj Górecki: Already It Is Dusk op. 62: String Quartet: Parts
String Quartet: 2 violins, viola, cello
Boosey and Hawkes
String Quartet No. 1-(Parts). Gorecki Hm
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Gabriel Fauré: Quatuor à Cordes Op.121 - Study Score: Trumpet: Study Score
String Quartet: 2 violins, viola, cello
Barenreiter
Gabriel Fauré's only string quartet which was composed in 1923-24 is the compos...
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Gabriel Fauré's only string quartet which was composed in 1923-24 is the composer?s final work and was written at the suggestion of his publisher Jacques Durand.Until then Fauré had always put off writing a string quartet evidently because of Beethoven?s imposing shadow. When Fauré composed the quartet he was already extremely ill. He added dynamics and slurs only in some parts of the exposition of the first movement and then asked his former pupil Jean Roger-Ducasse to complete the work. Roger-Ducasse?s additions were however very extensive; he even altered and supplemented some of Fauré?s own markings in the exposition.Bärenreiter's first ever scholarlycritical edition of the quartet based on vol. V/3 of the edition 'Gabriel Fauré: ?vres complètes' begun in August 2010 utilises all sources including the composer?s letters which provide valuable insights into the origins of the composition. In particular Fauré?s penultimate work the Piano Trio op. 120 was used to guide the editor with his emendations.
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Gabriel Fauré: Quatuor à Cordes Op.121 - Parts: String Quartet: Parts
String Quartet: 2 violins, viola, cello
[Set of Parts]
Barenreiter
Gabriel Fauré's only string quartet which was composed in 1923-24 is the compos...
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Gabriel Fauré's only string quartet which was composed in 1923-24 is the composer?s final work and was written at the suggestion of his publisher Jacques Durand.Until then Fauré had always put off writing a string quartet evidently because of Beethoven?s imposing shadow. When Fauré composed the quartet he was already extremely ill. He added dynamics and slurs only in some parts of the exposition of the first movement and then asked his former pupil Jean Roger-Ducasse to complete the work. Roger-Ducasse?s additions were however very extensive; he even altered and supplemented some of Fauré?s own markings in the exposition.Bärenreiter's first ever scholarlycritical edition of the quartet based on vol. V/3 of the edition 'Gabriel Fauré: ?vres complètes' begun in August 2010 utilises all sources including the composer?s letters which provide valuable insights into the origins of the composition. In particular Fauré?s penultimate work the Piano Trio op. 120 was used to guide the editor with his emendations.
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LULLABY (BERCEUSE) QUATUOR A CORDES - PARTIES SEPAREES
String Quartet: 2 violins, viola, cello
[Sheet music]
G. Henle
Für Streichquartett-In 1919-20 George Gershwin was making a name for himself wi...
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Für Streichquartett-In 1919-20 George Gershwin was making a name for himself with Broadway songs and a first show of his own in New York. But he was already attracted to the world of classical music a world he would enter with a bang in 1924 withhis Rhapsody in blue. He prepared himself for this by taking an intensive course in composition during which he wrote this brief ?Lullaby? for string quartet as an exercise probably in 1919. He liked its catchy melody so muchthat he later used it again in his one-act ?jazz opera? Blue Monday Blues. ?I find the piece charming and kind? wrote his brother Ira in 1968 when the quartet movement appeared in print for the first time. Thus the world wasgiven a second lullaby by this American composer one worthy to stand alongside his famous ?Summertime? from Porgy and Bess.(englisches Originalzitat: ?I find the piece charming and kind.?)
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String Quartets (RAFF JOSEPH JOACHIM)
String Quartet: 2 violins, viola, cello
[Sheet music]
Breitkopf & Härtel
No. 1 d minor op. 77 and No. 2 A mejor op. 90. Par RAFF JOSEPH JOACHIM. He had b...
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No. 1 d minor op. 77 and No. 2 A mejor op. 90. Par RAFF JOSEPH JOACHIM. He had been there as Franz Liszt?s assistant since 1850 and had made a name for himself in the city?s art scene now he embarked on new paths. He already composed his second Quartet in A major, op. 90, in Wiesbaden, the spa town that was to become his home for 21 years. The two quartets are unequivocal works: orchestrally-conceived, full of energetic vigor, and at times uncompromisingly modern. They confidently continue the Beethoven tradition and attest at the same time to Raff?s intensive confrontation with Richard Wagner?s music during the Weimar years. In his chamber music, the composer wanted to achieve progress ?in an inherently historical way? and ?toground the individual substance in existing forms,? as he told the Viennese violinist Josef Hellmesberger, who launched opus 77. The quartets, first published in 1860/62, found illustrious interpreters, among them, the Müller brothers? renowned ensemble, to which opus 90 was also dedicated, and Joseph Joachim. / Date parution : 2021-11-25/ Répertoire / Quatuor à Cordes
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Johann Sebastian Bach: Harpsichord Concerto No.2 in E major: Chamber Ensemble:
Harpsichord and Strings
Barenreiter
E major BWV 1053-In early 1729 Bach became director of the so-called »Scottis...
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E major BWV 1053-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).BWV 1053 is the second piece in the autograph score of harpsichord concertos that Bach prepared in or around 1738 (Berlin Staatsbibliothek Mus. ms. Bach P 234). It was probably transcribed from a concerto for a solo woodwind instrument although opinions differ on the original key and instrument. Bach had alreadyreworked the original concerto in two church cantatas in the autumn of 1726 (BWV 49 and BWV 169) at which time he assigned the solo part to the organ. Perhaps the original concerto is not much older than these cantatas for the siciliano slow movement is closely related in expression to many numbers from his great Passion settings.Urtext of the New Bach EditionFull score & parts (BA5225) two-keyboard reduction (BA5225-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale
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Egon Sassmannshaus: Early Start on the Violin 2: Violin: Instrumental Tutor
Violin
[Score]
Barenreiter
A violin method for children age four and older-The second volume already presen...
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A violin method for children age four and older-The second volume already presents classical Violin duets. The child’s knowledge and technique is expanded by dotted rhythms sixteenths notes and first double stops. And here is the most revolutionary aspect of the method: different finger patterns can be connected and combined to create any major and minor scale without the use of open strings. This creates the ability to practice scales in any position often within the first year of playing!With this skill songs learned in first position are easily transposed to other keys and higher position. Coupled with beginning shifting exercises this sets a foundation for an early virtuoso technique notavailable in any other method.The authors:The original German Violin method was first published in 1976. The author Egon Sassmannshaus is one of the most experienced and renowned Violin pedagogues in Germany.For the new English edition his son Kurt Sassmannshaus worked as co-author and adapted his father’s successful method for English-speaking children.The combined knowledge and experience of father and son make the four volumes of the Sassmannshaus Tradition the most thoroughly researched and thought-through beginner Violin method in the world.The second volume already presents classical Violin duets. The child’s knowledge and technique is expanded by dotted rhythms sixteenths notes and first double stops. And here is the most revolutionary aspect of the method: different finger patterns can be connected and combined to create any major and minor scale without the use of open strings. This creates the ability to practice scales in any position often within the first year of playing!With this skill songs learned in first position are easily transposed to other keys and higher position. Coupled with beginning shifting exercises this sets a foundation for an early virtuoso technique not available in any other method.The authors:The original German Violin method was first published in 1976. The author Egon Sassmannshaus is one of the most experienced and renowned violin pedagogues in Germany.For the new English edition his son Kurt Sassmannshaus worked as co-author and
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Gaetano Donizetti: String Quartets No. 1-6: String Quartet: Miniature Score
String Quartet: 2 violins, viola, cello
Eulenburg
Mainly famous as an opera composer Donizetti is also the most important Italian...
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Mainly famous as an opera composer Donizetti is also the most important Italian representative of the string quartet genre. If the first quartets can be regarded as experiments of the young composer with a strictly classical form the intermediate and later pieces are unmistakable expressions of a mature musical mind.The String Quartets Nos. 1-6 complete the two volumes already published (Nos. 7–12 13–18); for the first time the editions present a complete critically edited musical text.
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Henryk Mikolaj Górecki: Already It Is Dusk op. 62: String Quartet
String Quartet: 2 violins, viola, cello
Boosey and Hawkes
Hawkes Pocket Scores HPS 1192-Study Score - Hawkes Pocket Score 1192. Gorecki H...
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Hawkes Pocket Scores HPS 1192-Study Score - Hawkes Pocket Score 1192. Gorecki Hm
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Ludwig van Beethoven: Violin Concerto In D Op. 61 - Kremer Edition: Violin:
Violin and Piano
G. Henle
2 volumes in a slipcase with marked and unmarked string part with orchestra part...
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2 volumes in a slipcase with marked and unmarked string part with orchestra parts-On the occasion of the 70th birthday of Gidon Kremer violinist extraordinaire G. Henle Publishers is issuing a special edition of Beethoven?s Violin Concerto in collaboration with the Kronberg Academy. It comprises two editions gathered together in an attractive slipcase: the piano score and violin part without annotations (also available as HN 326) and the ?Kremer part?. The latter includes fingerings and bowings by Gidon Kremer. The musical text isfollowed by an essay by Kremer about recordings of the Beethoven Concerto bearing the attractive title: ?Searching for Ludwig?. And this is not all: the first-movement cadenza by the composer Victor Kissine which Kremer hasalready played numerous times is published here for the very first time. The solo violin is here accompanied by wind and percussion. The edition also includes the corresponding performance materials for the cadenza including thescore and a piano reduction for study purposes. This extraordinary Urtext edition is rounded off with a foreword by Friedemann Eichhorn. Congratulations Maestro Kremer!
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Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
Violin and Piano
PWM (Polskie Wydawnictwo Muzyczne)
2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wi...
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2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.
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