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CHOIR - VOC…
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CORNET
DOBRO - GUI…
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DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
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FLUTE
GUITAR
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MARIMBA
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NO SCORES
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ORCHESTRA -…
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OUD
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Piano Quartet: piano, violin, viola, cello
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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Mes Béatitudes (PESSON GERARD)
Français
Piano Quartet: piano, violin, viola, cello
Lemoine, Henry
Par PESSON GERARD. Mes béatitudes résulte(nt) d'un projet presque impossible q...
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Par PESSON GERARD. Mes béatitudes résulte(nt) d'un projet presque impossible qui consistait à réunir dans une narration, une forme traversée, l'idéal schématisé de tout ce que j'avais dû abandonner pendant des années. Non pas un cimetière des idées, mais un programme articulé, tendu par un fil panique, des tentatives ou des repentirs qui sont tout de même la matière vive de toute invention poétique. Dans l'idéal schématisé, je voulais retrouver cette énergie, cette ferveur un peu distancée et souvent rageuse qui s'attache à la compression ou au recyclage des figures délaissées, aux moments préférés non avenus qui se retrouvent ici déformés, accélérés ou étirés. Les gestes extrêmes sont recueillis et pour ainsi dire sauvés: lenteurs élégiaques, refrains stridents, assèchement de la matière musicale, décomposition du geste instrumental en plusieurs états successifs donnés séparément. Au milieu de la partition figure, comme une stèle, livré dans un état de grande fragilité, presque hors de portée, le deuxième thème de l'adagio de la Septième symphonie de Bruckner (sans doute un des plus beaux thèmes jamais écrits). Ce n'est pas une citation mais un hors-texte sacré, pôle magnétique de toute tentative. Bruckner est sans doute l'artiste (avec Messiaen) qui a porté à ses plus ultimes conséquences la tension entre macroforme et écriture par moments interrompus ou tournant sur eux-mêmes. II est aussi le maître douloureux du repentir. Deux Abgesänge, ces fins suspendues qu'Adorno affiliait chez Mahier à la catégorie de l'accomplissement, forment alternative pour essayer de ne pas finir - 'deux détours qui sont peut-être le chemin direct' (Adorno). Voici le programme qui résulte de ce 'centon composé des idées délaissées': refrain - pantoum - refrain - barcarolle (mib) - refrain - thrène (stèle Bruckner) - refrain - abgesang 1 - refrain (ongles et bois) - abgesang 2 Mes béatitudes, commande de l'Etat, a été créé le 27 mars 1995, au Centre Georges-Pompidou, par l'Ensemble Itinéraire sous la direction de Pascal Rophé. / contemporain / Répertoire / Piano, Violon, Alto et Violoncelle
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Piano quartet (1925-26, rev. 1935) (LEIVISKA HELVI)
Piano Quartet: piano, violin, viola, cello
Fennica Gehrman
Par LEIVISKA HELVI. Finnish composer Helvi Leiviskä (1902-1982) created a broad...
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Par LEIVISKA HELVI. Finnish composer Helvi Leiviskä (1902-1982) created a broad-based output of orchestral works, solo songs and chamber music. Her style could be described as moderate modernism, deriving influences from multiple sources such as late Romanticism, Symbolism, Expressionism, Existentialism and Neo-Classicism. Leiviskä's output is characterised by philosophical and religious themes, images of nature and narrative structures. Many of her works focus on human existential angst and spiritual searching and growth. Helvi Leiviskä originally completed her Piano Quartet in A major op. 1 in 1926 but revised it a decade later, in 1935. Written for the traditional piano quartet lineup (violin, viola, cello and piano), the work is in three movements and has a duration of about 25 minutes. It features religious and ecstatic imagery such as may be found in French, German or Russian neo-Romantic styles. Leiviskä's Piano Quartet is considered one of the cornerstones of her chamber music output. Its early version was premiered in two parts at student recitals of the Helsinki Music Institute (the 1st movement in 1925 and the 2nd and 3rd movements in 1926). The revised version was performed in full by Timo Mikkilä (piano), Sulo Aro (violin), Ilmo Ranta (viola) and Pentti Rautawaara (cello) on Finnish radio in 1939. The work was also on the programme of Leiviskä's second composition concert in 1945, being performed on that occasion by Jussi Jalas (piano), Erik Cronvall (violin), Erik Karma (viola) and Yrjö Selin (cello). Two commercial recordings have been released (Finlandia Classics 2012 and Telos Music 2016). It is published for the first time 2022 with an extensive foreword by Susanna Välimäki. The product includes the full score (piano part) and a set of string parts. Duration: c. 25'. Have a look inside by clicking 'sample'. / Date parution : 2022-05-31/ Répertoire / Quatuor avec Piano
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Two Nocturnes (DAVIES PETER MAXWELL)
Piano Quartet: piano, violin, viola, cello
[Score and Parts]
Schott
for piano quartet. Par DAVIES PETER MAXWELL. The two nocturnes were composed imm...
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for piano quartet. Par DAVIES PETER MAXWELL. The two nocturnes were composed immediately after major surgery, against a deadline, and, despite the music sounding unlike anything I have written before, I decided to keep them exactly as they turned out. 2010 is a Chopin year, and I made this pair of nocturnes into a little tribute, after playing through and listening to most of his output. Never before had I composed under these drugged conditions – the musical dimensions were enormously exaggerated, with each interval and each phrase being elongated out of all proportion, and the whole few minutes filling the whole of time and space. The orchestration, for piano quartet, was influenced by the very neo-classical feel of the chamber version of the concertos, and the harmonic language very much the result of pondering Chopin’s very individual take on J.S Bach. They are dedicated to James MacMillan and Amelia Freedman respectively. Sir Peter Maxwell Davies (2010)/ Répertoire / Piano, Violon, Alto et Violoncelle
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Robert Schumann: Piano Quartet In E Flat Op. 47: Piano Quartet: Score and Parts
Piano Quartet: piano, violin, viola, cello
[Score and Parts]
G. Henle
?In the evening we played Robert?s E-Flat Major Quartet for the first time ? and...
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?In the evening we played Robert?s E-Flat Major Quartet for the first time ? and I was once again truly delighted at this beautiful and so youthful work? enthused Clara Schumann in 1842. Inpreparation for this work Schumann had studied String quartets by the Viennese Classical composers. This is why all of the parts in the quartet are treated equally forming a splendid ensemble. Our edition has anextensive critical commentary on account of the difficult source situation. The fold-out page in the Cello part was designed with music practice in mind. The Piano Quartet and the Piano quintet op. 44 referred toas ?sister works? were both composed in Schumann?s ?chamber music year?. For this reason we were publishing them both in the 2006 ?Schumann Year?.
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