SKU: HL.290091
ISBN 9788759841396. UPC: 888680922092.
The piece was commissioned by the Engegard Quartet in 2011. On the record String Quartets Vol IV: Schubert-Ratkje-Britten-Haydn. A later piece is made for string orchestra, Tale of Lead and Frozen Light (2014).
SKU: PR.114416550
UPC: 680160623983. 9 x 12 inches.
?The spiritual allusion does not appear until the last movement, which is based on There is a Balm in Gilead, yet even in the first movement, marked Moderato sostenuto, Hailstork's original theme has certain spiritual-like qualities. (Lynn Rene Bayley, Art Music Lounge) String Quartet No. 3 has been included in the Ambrosia Quartet recording Adolphus Hailstork: Swing Low, Sweet Chariot (CD-Albany Records #TROY 1680).
SKU: PR.114405050
UPC: 680160008377. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: PR.11440505S
UPC: 680160008391. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: PR.16400222S
UPC: 680160037841.
This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.
SKU: HL.14043527
9.25x12.0x0.091 inches. English.
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 familiarto 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.
SKU: AP.36-52703617
UPC: 735816385521. English.
This humorous little vignette for string quartet was composed in 1979 and was originally intended to be published by Piedmont Music, the ASCAP division of EB Marks Classical. For reasons unknown, however, it remained in manuscript form until 2021, when a copy of the composer's autograph parts was discovered in the archives of a completely different Alan Shulman piece. This newly engraved Latham Music edition therefore represents the first publication of Shulman's delightful work, as well as the first full score. As the title suggests, this is a medium-slow rag, or cakewalk in a loose AABA form. The bluesy and graceful main melody is introduced by the first violin in a call and response exchange with the rest of the ensemble. The restatement of the primary theme is led by the second violin, with the entire ensemble playing pizzicato, having the effect of playful mockery. In the B section, the first violin earnestly reasserts the stately grace from the opening however, the cello is clearly becoming restless and decides to take over the lead just before the final reprise. The lighthearted ending again has the first violin doing its best to bring the tune to a refined conclusion, but the rest of the group still has mischief in mind. After a couple moments of seeming confusion, the ensemble regroups at last and plays the final riff with resolute emphasis. If you're looking to add a light moment to a recital program, or looking for a short, medium level contest piece that players and audiences alike will enjoy, this little miniature is an ideal choice!
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: SU.24010050
Lyrical and nostalgic with trading lead voices. This is a 2021 arrangement adapted from the original work for cello ensemble, commissioned by Portland Cello Project in 2014.String Quartet Duration: 4’30 Composed: 2014 Published by: Mossgrove Music (BMI).
SKU: PR.11440902S
UPC: 680160013708.
The quartet begins with a 5-note motif, played in unison that permeates melodically and harmonically throughout the movement. The energetic and hard-driven character of the second musical idea propels the music forward with fast moving notes and greater urgency. It often alternates with the more lyrical rendition of the 5-note motif, yielding contrasting sections. After a brief coda, the 5-note motif concludes the movement much the same way it had begun but with greater intensity. The second movement explores the world of fantasy. To some extent the beginning and the ending of the movement function as the opening and closing doors that separate the reality from the dream and subconscious. It is one continuous movement in an arch form that gradually accelerates to an expansive emotional climax and returning steadily to the surface led by an ethereal solo cello. The transcendent ending is similar to the beginning, though half step higher. The third movement begins boldly with the 5-note motif transformed into a dance character in a compound meter. The asymmetrical meter of the Persian folk music influences much of the rhythmic character of the movement. The return of many materials from earlier movements interwoven into the fabric of this movement reinforces the cyclical and organic character of the quarter. Particularly, a mysterious passage, reminiscence of the second movement leading to a brief full-blown ballad is a favorite moment of Ranjbaran's in the quartet. A blazingly virtuosic viola leads the quartet to an uplifting conclusion.
SKU: PR.144407270
UPC: 680160681891. 9 x 12 inches.
My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.
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