SKU: HL.14042752
ISBN 9780711965454. 9.0x12.0x0.403 inches.
A series of popular music for working string quartets. Light enjoyable repertoire pieces and entertaining encores. Each folio contains five pieces. Contents: 'Empty Chairs at Empty Tables', 'I Don't Know To Love Him', 'If I Were ARich Man', 'Somewhere', 'Tonight'.
SKU: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: PR.164002720
UPC: 680160573042. 8.5 x 11 inches.
SKU: PR.144404550
UPC: 680160030859.
After finishing a serious woodwind quintet in the fall of 2001 [Tela Lacerata], I found, in the ensuing months, that its cinders/ashes were still impregnating my eardrums. Therefore, when I set out to write the present string piece, I realized that the musical veins of the quartet, like related cousins, were sharing the same blood as the earlier wind composition. The resultant Fifth Quartet evolved into two large, extended movements, each one containing seven parts that are played without pause. As the list of the various sub-sections clearly indicates, the formal structure of the movements appear to be identical: each with three main parts enveloped by interludes, plus an introduction and coda. However, the principal segments of the first (slow) movement gradually decrease in length, while those of the second (fast) movement increase. In addition, there is a goodly amount of sonic material stolen from the first movement which reappears -- stitched together in a new guise -- into the world of the second. for example, the bulk of Parts B and C of Movement II are lifted bodily, although elaborately modified, from their first appearances in the Introduction and Part A of the fist movement. This offers, I suppose at least a hint of a traditional recapitulation. As was true in the earlier woodwind piece -- both harmonically and melodically -- the embryonic growth of the musical fabric (primarily the tritone and perfect fifth) is omnipresent, almost obsessively, throughout the course of the whole work. These two intervals, not unlike plasticine, habitually transform themselves into the scales, chords, and melodic lines that pervade the texture of the quartet. Owing to the largely unrelieved dramatic flow, the shifting speed, and the often fervent intensity, the quartet places considerable demands on the dexterity, virtuosity, and stamina of the four performers. String Quartet No. 5 is approximately 22 minutes in duration and affectionately dedicated to my violinist wife Elizabeth, as a gift for our 47 years together. It was commissioned by the Corigliano String Quartet, New York, NY. -- Sydney Hodkinson.
SKU: PR.14440455S
UPC: 680160030873.
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: HL.49043938
ISBN 9790220133923. 9.25x12.0x0.494 inches.
The 3rd String Quartet was originally composed in 1982-3 to a commission from The Adelaide Festival, and premiered by The Petra Quartet in 1983. Subsequent to this quartet, I have composed two more; No. 4 in 1986 and No. 5 in 2002.The offer to re-publish this work, led me to begin by a process of amendment, but ended in the composition of a virtually new quartet! Only parts of the original quartet have been retained. I also chose to 'frame' (in my case this means an inspirational focus and filter), the quartet in a new way too.In Flight Music keeps the 4-movement format of the original quartet, but is now directly linked to a life-long interest in flight. The first two movements are concerned with aspects of humans in flight, whilst the last two deal with insects and birds respectively.Since all my music is these days preceded by visualisations in the form of drawings, wherever possible, this quartet might be performed with the four drawings, one for each movement, back-projected behind the players.Digital copies of these drawings may be obtained from Schott Music.Edward Cowie.Maurens. France. August, 2010.
SKU: BR.EB-9383
ISBN 9790004188538. 9 x 12 inches.
Two years ago in Rome, I encountered a murmuration of starlings and I was amazed with its overwhelming beauty, changing shape as it moved. Moving of a fish school that you can watch in an aquarium, has the same beauty and the energy. According to the scientists, their fine movement in a flock is based on the following three simple rules: - steer to avoid crowding local flockmates - steer towards the average heading of local flockmates - steer to move towards the average position (center of mass) of local flockmates The word Boids refers to bird-like objects (bird-oids), representing the beauty of their movements in a flock which is a result of balancing out with each other, following the principle of least effort. I wonder if these rules can be applied to the way a string quartet is shaped. Boids again has been written as a sequel to the piece Boids (2017), a 4 minute study for string quartet in the frame of the Kronos Quartet's educational project 50 for the Future. (Misato Mochizuki)World premiere: Osaka, International Chamber Music Competition, February 12, 2021 Commissioned by Osaka International Chamber Music Competition and Festa Commission.
SKU: BR.EB-9384
ISBN 9790004188545. 9 x 12 inches.
SKU: HL.49019756
ISBN 9783795794712. 11.0x15.0x0.982 inches.
The work of Paul Hindemith is encyclopedic in nature. From the outset, he worked in all musical genres and devised several of his musical ideas and projects not as individual, self-contained works but as work cycles with different functional relationships. These contrasting pieces complement each other if experienced as part of the overall structure. Hindemith himself not only wanted a complete edition of his collected works but had begun planning it; at his death he left a detailed list of ‚Unpublished pieces for an eventual complete edition‘.The Complete Works contain all finished works in all extant versions, newly engraved for the edition. Sketches and fragments are published in appendices of the relevant volume, and are evaluated in the Introduction and Critical Commentary by the respective volume editor.Each volume contains a preface by the editorial directors and an introduction by the volume editor, delineating the genesis and performance history of the work, with authentic performance instructions, an evaluation of extant recordings by Paul Hindemith himself and a Critical Commentary.The Complete Works of Paul Hindemith are thus presented in a critical, scholarly edition which is equally appropriate for study and performance. Hindemith researchers will welcome the numerous first publications of works by the composer, and practical musicians will appreciate the newly prepared, philologically ordered performance material.
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