Chamber Music String Quartet

SKU: CF.BE11F

Composed by Jason Eckardt. Full score. 78 pages. Duration 16 minutes. Carl Fischer Music #BE11F. Published by Carl Fischer Music (CF.BE11F).

ISBN 9780825888595. UPC: 798408088590. 8.5 x 11 inches.

Beginning in the 1950s, the CIA became very interested in psychological research beingconducted on the effects of sensory deprivation on humans. The research, that suggestedrapid regression in those tested, provided a framework for sections of what would later beknown as the KUBARK manual, the first a series of US-government documents thatprovided techniques for interrogating detainees. These methods involved radicallyaltering a detainee’s sense of time and environment.Among these techniques, some developed independently of the manuals by interrogators,were the manipulation of light and sound. In order to weaken the resolve of a detaineeand prolong “capture shock,” complete sensory deprivation followed by blasts of light ornoise, or very loud music, proved effective. So much so that variations and combinationsof these techniques were widely used by the United States as well as both its allies andenemies in Vietnam, Latin America, Northern Ireland, and the Middle East.Though the idea of sound as a weapon is at least as old as the account of Joshua’s siegeof Jericho, it was only recently deemed “inhuman and degrading” for the purposes ofinterrogation by the European Court of Human Rights in the 1978 case “Ireland v. theUnited Kingdom.”.
Accidentals apply only to the notes they precede with the exception of tied or consecutively repeated notes.Tempi are consistent throughout the meter changes (Le., ~'=),)=)l, etc.).Grace notes are always to be played as fast as possible. Each grace note in a group should be of the same duration. Gracenotes curtail the previous measured note's duration with the exception noted below.Approximate duration: 16 minutes.

String Quartet (Score & Parts) - advanced

SKU: HL.49044199

Composed by Ulvi Cemal Erkin. This edition: Saddle stitching. Sheet music. String Ensemble. Classical, Contemporary. Softcover. Composed 1935/1936. 80 pages. Duration 14'. Schott Music #ED21652. Published by Schott Music (HL.49044199).

ISBN 9790001193740. 9.0x11.75x0.286 inches.

These two chamber music works are one of the main focuses in the oeuvre of Ulvi Cemal Erkin. Lively and spirited, they combine Western European tradition with rhythmic and melodic elements from Turkish folk music. Both are perfectly suitable for music lessons and concert recitals, adding a new interesting colour to the common chamber music repertoire.Erkin (1906-1972) is one of the most important composers of Turkey. He studied piano and composition in France and later returned to his home country where he became professor in Ankara.

Chamber Music String Quartet

SKU: PR.11441916S

Composed by Richard Wernick. Sws. Full score. 24 pages. Duration 16 minutes. Theodore Presser Company #114-41916S. Published by Theodore Presser Company (PR.11441916S).

ISBN 9781491131626. UPC: 680160679614. 9 x 12 inches.

Wernick's tenth String Quartet was written for the Emerson String Quartet, with whom he had previously collaborated (his String Quartet No. 4 is also dedicated to the ensemble). The Emerson premiered the work in Berlin in March, during a European tour of three countries. A performance is scheduled for their appearance at Tanglewood, July 23. String Quartet No. 10 is crafted in three movements: Prelude, Fuga Pomposa & Postlude (Maestoso); Scherzo Serioso (with a secular song of thanks); and CODA (Lamentoso).

String Quartet - advanced

SKU: BT.BB3474

Set (Score & Parts). 106 pages. Bote & Bock #BB3474. Published by Bote & Bock (BT.BB3474).

ISBN 9783793141716.

For Isang Yun, String Quartet No. 3 from 1959 marked the beginning of his European creative phase and of his official canon of works. Now it is possible to encounter Yun's early works from his Korean period inthe form of his String Quartet No. 1 (1955). Three important 10-minute movements containing references not only to Asia but also to Ravel, Bartók and Eastern European folk music and having an idiosyncraticstructure: Yun lines up forms and figures, makes them emerge from each other in a contrasting manner and assembles them into a mosaic-like whole, seeking for integration, laying down his material in layer upon layer and endingthemovements with a rhythmic unison. […] Even then, he probably regarded a work of art as an energetic stream of sounds and as a reflection of a world whose diverging parts weave into a harmonic whole. (Walter-WolfgangSparrer)