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: BT.DHP-1185965-070
ISBN 9789043154505. English-German-French-Dutch.
Queen are known not only for their stylistic diversity, but also for their over-the-top theatrics during concerts and in videos. This helped give them the staying power to have hit songs for over twenty years! One of their biggest, instantly recognised hits is the rock-anthem We Are the Champions, written by Freddie Mercury. This monster hit is now available in an energetic string quartet arrangement by Anthony Gröger. Queen is niet alleen gekend om hun muziek in diverse stijlen, maar ook om hun theatrale uitvoeringen tijdens concerten en in videoclips. Een van hun grootste hits is het rocknummer We Are the Champions, geschreven door Freddie Mercury. Deze monsterhit is nu beschikbaar in een meesleepend arrangement voor strijkkwartet bewerkt door Anthony Gröger. Neben der stilistischen Vielseitigkeit ist das Theatralische und Pompöse eines der Erkennungsmerkmale der Musik von Queen und zwar offensichtlich durchaus im positiven Sinne, wie der zeitlose Erfolg ihrer Hits beweist! Ein Paradebeispiel dafu r ist die Rockhymne We Are the Champions aus der Feder von Freddie Mercury, die nun in einer mitreiÃ?enden Streichquartettbearbeitung von Anthony Gröger vorliegt. Emmené par le charismatique Freddie Mercury, le groupe Queen a marqué et marquera encore de nombreuses générations. We Are the Champions connaît un immense succès dès sa sortie, en 1977. Aujourdâ??hui, on ne compte plus le nombre de références ce titre dans les championnats sportifs mais également au cinéma, la télévision, dans des spots publicitaires etc. Anthony Gröger a ecrit un arrangement énergique de cet hymne rock pour quatuor cordes.
SKU: FG.55011-875-1
Lotta Wennäkoski's Pige (2021-2022) for string quartet was commissioned to be paired with the Death and the Maiden quartet by Franz Schubert (pige is Danish for girl). The composer tells:The first movement Vorüber, ach, vorüber! is based on the first half of Schubert’s lied lying behind his The Death and the Maiden quartet. The maiden’s song in the beginning of the lied has not found its way to his string quartet, so I wanted to use this material in mine. The second move-ment Daktylus borrows its idea from the haunting pulse of Schubert’s chant of Death. Something fierce and something soundless can be heard here - along with other variants on the dactyl rhythm. For example, I’ve written a lyrically flowing melody based on the same rhythmic pattern (long-short-short).Schubert’s quartet is wonderful music and of course a cornerstone of the repertoire, and the death and the maiden is a strong, tempting and gloomy motif in art history. On the other hand, I just couldn’t help seeing the motif also as a - somewhat passé - image of an old male desiring the ulti-mately young female body. The third movement thus turns its gaze to the girl herself. Pigen og scrapbogen, The Girl and the Scrapbook, is joyful textural music - compiled of fragments and freely handled quotations that might spring to mind when thinking of a vital girl’s life.This product includes the full score and the set of parts.Movements:1. Vorüber, ach, vorüber!2. Daktylus3. Pigen og scrapbogen (das Mädchen und das Scrapbuch)The first movement can also be performed separately as a prologue to The Death and the Maiden string quartet by Franz Schubert.
SKU: BA.BA11525
ISBN 9790260108868. 31 x 24.3 cm inches.
Pavel Haas was one of Leoš Janácek’s most gifted students. His String Quartet No. 2 “From the Monkey Mountains†is considered to be one of the first high points of his oeuvre.In this work, Haas combined elements of Janácek’s compositional technique with jazz, particularly in the fourth movement’s instrumentation for string quartet and percussion ad libitum. This version was premiered in Brno in 1926; later, the work was revised for string quartet only. For this edition Ondrej Pivoda has reconstructed the original version, bringing to light passages that were never published until now.This is the first critical edition of the work. It is based on all relevant sources, taking sketches of the final version of the score and contemporary performance material into account. It includes an extensive Foreword (Cz/Eng/Ger) as well as a Critical Commentary (Eng).
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BT.DHP-1115204-070
9x12 inches. English-German-French-Dutch.
De Haske's best-selling Pops for String Quartet series offers excellent arrangements for intermediate string quartets who want to bring some classic pop to their performances.Have you ever played Queen with your string quartet? Now you can treat the audience to music from this iconic band. Onder de naam Pops for String Quartet heeft de Haske een nieuwe serie ontwikkeld voor strijkkwartetten die zich eens buiten het klassieke pad willen begeven. Een collectie van uitstekende arrangementen in gemiddelde moeilijkheidsgraad!Brian May (gitarist van Queen) : Killer Queen was the turning point. It was the song that best summed up our kind of music, and a big hit, and we desperately needed it as a mark of something successful happeningfor us... I was always very happy with this song. Maak uw publiek en uzelf ook blij met deze uitgave!Unter dem Titel Pops for String Quartet hat De Haske eine Notenreihe ins Leben gerufen, die Streichquartette, die sich einmal abseits der ausgetretenen klassischen Pfade bewegen wollen, mit ausgezeichneten Arrangements im leichten bis mittleren Schwierigkeitsgrad versorgt.Haben Sie schon einmal Queen im Streichquartett gespielt? Mit dieser Ausgabe können Sie sich (und Ihrem Publikum) dieses Vergnügen gönnen! La collection Killer Queen pour Quatuor Cordes. Pops for String Quartet: una collana per tutti i violinisti desiderosi di suonare qualcosa di diverso dal repertorio classico.Avete gi suonato un brano dei Queen con un quartetto di archi? Un brano che delizier sia voi sia chi vi ascolta!
SKU: AP.36-50703012
ISBN 9781628762532. UPC: 660355076503. English.
Brahms composed 21 Hungarian Dances beginning in 1869. All were composed for piano, but many of them have been orchestrated and are performed by symphony orchestras. They are based on Hungarian folk songs and dances, and No. 5 is the most popular. Standard interpretation includes many tempo changes with the Violin 1 part requiring more advanced technique.
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: BA.TP00525
ISBN 9790260108851. 22.5 x 16.5 cm inches. Preface: Pivoda, Ondrej.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version