SKU: BT.DHP-1064034-070
ISBN 9789043124720. 9x12 inches. English-German-French-Dutch.
Traditionally a string quartet will not readily take on pop music. But times are changing and the classic quartet line-up proves suitable for beautiful arrangements of contemporary songs as well. This book features three hits from past decades, The Rose (Bette Midler) with its simple, pure sounds and underlying harmonies, La Solitudine (Laura Pausini) - compelling and with a hidden energy and finally Wonderwall (Oasis), an unexpected choice, with its persistent rhythmic background. To allow the string quartet to play together with optional guitar or keyboard, chord symbols have been added in the score. These songs - which certainly have a passionate andromantic ring to them - are ideal for receptions, weddings and other festive occasions. (Position 1-5) Drie bekende songs in geslaagde bewerkingen voor strijkkwartet: Pop Ballads for String Quartet bewijst dat het kan. Om het strijkkwartet de mogelijkheid te bieden samen te spelen met gitaar of keyboards zijn akkoordsymbolentoegevoegd in de partituur. Deze songs vol passie en romantiek zijn ideaal voor het opluisteren van recepties, bruiloften en andere feestelijke gelegenheden. (Position 1-5)Ein Buch für alle Streicher, die anstatt der klassischen Literatur für Streichquartett auch einmal etwas ganz Modernes, Unterhaltsames spielen wollen. Hans Aerts und Gunter Van Rompaey bearbeiteten für diese Ausgabe drei bekannte Pop- Titel für zwei Violinen, Viola und Cello. Akkordsymbole für eine Begleitung von Keyboard oder Gitarre sind ebenfalls enthalten.(Position 1-5) Ce recueil contient trois succès des dernières décennies : The Rose, avec ses sonorités simples et épurées et ses harmonies demi cachées ; La Solitudine, l‘énergie dissimulée et enfin Wonderwall, un choix inattendu dont le tapis sonore est continuellement rythmé. Des symboles d’accords ont été ajoutés sur la partition afin de permettre au quatuor cordes de se faire accompagner d’une guitare ou clavier (partie optionnelle). (Position 1-5)Questa pubblicazione permetter ai giovani musicisti di cominciare a suonare in gruppo. Il quartetto d’archi è da sempre la formazione per eccellenza, equilibrata e potente nell’espressione. Anche la musica in stile pop, arrangiata per l’occasione da Hans Aerts, si adatta a questo tipo di organico. L’importante è saper ascoltare la parte degli altri per inserire il proprio ritmo nell’insieme. (Position 1-5).
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: BT.DHP-1185855-070
ISBN 9789043153911. English-German-French-Dutch.
The Phantom of the Opera is, without doubt, one of the great classics of our time. The stage production of this tale, exciting and mysterious in equal measure, has now captivated over a million theatre-goers. The phantom sings the song The Music of the Night to the beautiful Christine, who he has just kidnapped into his realm, as if entrancing her. This enchanting mood is so authentically recreated in Nico Dezaire’s sensitive arrangement for string quartet that it feels like listening to the singer perform the original version from the musical.De musical The Phantom of the Opera is zonder twijfel een van de grote klassiekers van onze tijd. De theaterversie van dit spannende en tegelijk mysterieuze verhaal heeft in de loop der tijd al een miljoenenpubliek getrokken. Met het lied The Music of the Night brengt het spook de mooie Christine, die hij zojuist naar zijn rijk heeft ontvoerd, als het ware in trance. De betoverende sfeer wordt in dit gevoelige strijkkwartetarrangement van de hand van Nico Dezaire zo authentiek overgebracht, dat het voelt alsof je luistert naar de zanger in de originele versie uit de musical.Das Phantom der Oper gehört zweifellos zu den ganz großen Musical-Klassikern unserer Zeit. Die Bühnenversion dieser ebenso spannenden wie mystischen Geschichte hat schon ein Millionenpublikum in seinen Bann gezogen. Mit dem Lied The Music of the Night singt das Phantom die schöne Christine, die er soeben in sein Reich entführt hat, gleichsam in Trance. Eben diese Stimmung lässt Nico Dezaire in seiner einfühlsamen Bearbeitung für Streichquartett so glaubwürdig wieder aufleben, dass es sich so anfühlt, als höre man dem Sänger der originalen Musical-Fassung zu.Le Fantôme de l’Opéra est, sans aucun doute, l’un des grands classiques de notre époque. La représentation sur scène de cette histoire, la fois exaltante et mystérieuse, a déj captivé plus d’un million de spectateurs. Interprétée par le fantôme, la chanson « La Musique de la nuit » s’adresse la belle Christine, qu’il vient d’emprisonner dans son repaire, comme pour la subjuguer. Ce climat enchanteur est tellement bien recréé dans l’arrangement habile pour quatuor cordes de Nico Dezaire qu’on a l’impression d’entendre le chanteur de la version originale de cette comédie musicale.
SKU: FG.55011-813-3
ISBN 9790550118133.
Juha T. Koskinen (b. 1972) tells about his String quartet no. 2: Second string quartet (2014) is connected to great changes in my personal life. A few months after the score was finished, I became a father. The musical key moment is found at the very end of the work; Holy Night allusions are embedded to the finale of the work - con tenerezza, with ten-derness.Duration: c. 14'This product includes the score and the parts.
SKU: FG.55011-814-0
ISBN 9790550118140.
Juha T. Koskinen's (b. 1972) responsiveness to timbre and particular inetrest to take into account the musical dramaturgy as a parameter in the duration of the movements are important in the String quartet no. 3 (2022). The aim of the composer is to provide the listener with clear musical marks, using which one can navigate on the ocean of one's own mind.This product includes the full score and string parts.
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: AP.36-52703558
ISBN 9781628760330. UPC: 660355067679. English.
Don't let this title fool you...this collection of ten meditative preludes is useful for more than just weddings. For service introits, communion gatherings, memorials, funerals or prayer interludes these lovely settings will find a way to your folder throughout the year in church or concert venues.
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: 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.114414250
UPC: 680160607846.
Lowell Liebermann's 4th String Quartet was commissioned by the Canandaigua Lake Chamber Music Festival and the Wood Library, Canandaigua, NY, for the Orion Quartet in celebration of their 20th Anniversary. The quartet was premiered by the Orions at the Canandaigua Lake Chamber Music Festival in Rochester, NY on February 9th, 2008. To quote the writer Mark Greenberg: It's a remarkable piece. The mood is elegiacal and meditative, the melodic lines sinuous and searching, the harmonies rich and astonishingly beautiful. Liebermann works within the traditions of Western tonality, but that is a mansion with many rooms. Liebermann inhabits all of them as his expressive purposes require, and he doesn't mind knocking down a wall to create new harmonic spaces. The Fourth Quartet doesn't exactly fit the neoromantic niche into which Liebermann is sometimes placed. Much of the music, especially near the beginning, is a highly advanced and fluid chromatic expressionism with modernist tendencies. Sometimes this roiling cloudscape breaks open to allow a patch of near-classical harmony and almost-resolution. Near the midpoint the clouds lift in leaping modulations. Several chordal passages recall Russian Orthodox chant. Suddenly, when you've begun to think the somber, deliberate pace has gone on a bit too long, Liebermann introduces a kind of hobbled, stilted jazz idiom. The piece dies in pensive quiet.
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