SKU: BT.DHP-1196090-070
ISBN 9789043157674. English-German-French-Dutch.
Cinema has always aimed to do one thing above all else: arouse emotions. Yet however exciting, entertaining or fascinating a story might be, its full impact is really only felt with the help of the right music. While most original soundtracks demand a large orchestra, a much smaller ensemble is sufficient: Anthony Gröger has taken ten of the all-time most beautiful film scores and created stunning arrangements for string quartet. In keeping with the Pops for String Quartet series, this volume also includes an optional third violin part in case a viola is not available. This is an indispensable collection for any occasion!Van oudsher is de film bovenal bedoeld geweest om emotie op te roepen. Maar hoe spannend, vermakelijk of boeiend een verhaal ook is, pas met de ondersteuning van de juiste muziek komt het volledig tot zijn recht. Hoewel de meeste originele soundtracks een orkest met een grote bezetting vereisen, voldoet in dit geval een kleiner ensemble. Anthony Gröger heeft tien van de mooiste filmmuziektitels verzameld en er prachtige arrangementen voor strijkkwartet van gemaakt. Net als bij de andere uitgaven in de serie Pops for String Quartet bevat ook deze bundel een optionele derde vioolpartij, voor het geval er geen altviool beschikbaar is. Een fraaie collectie met nummers voordiverse gelegenheden! Seit jeher möchte Kino vor allem eines: Emotionen wecken. Doch wie spannend, lustig, interessant eine Story auch immer sein mag erst mit Hilfe der passenden Filmmusik kann sie ihre volle Wirkung entfalten. Während die meisten Soundtracks im Original ein groß besetztes Orchester erfordern, genügt hier bereits eine viel kleinere Besetzung: Anthony Gröger hat sich zehn der schönsten Filmmusik-Titel aller Zeiten vorgenommen und wirkungsvoll für Streichquartett bearbeitet. Eine unverzichtbare Sammlung für Anlässe jeder Art, bei denen ein Streichquartett gefragt ist. Wie in der Serie Pops for String Quartet üblich, enthält das Set auch eine optionale dritteViolinstimme für den Fall, dass keine Bratsche zur Verfügung steht. Le cinéma a toujours cherché, par-dessus tout, éveiller des émotions. Cependant, aussi passionnante, émouvante ou envo tante que soit une histoire, son impact n’est ressenti pleinement que si elle est accompagnée d’une musique appropriée. Bien que la plupart des bandes sonores exigent un grand orchestre, un ensemble beaucoup plus modeste suffit. Anthony Gröger a pris dix des plus belles musiques de films de tous les temps et produit de splendides arrangements pour quatuor cordes. Comme les autres volumes de la série Pops for String Quartet, le présent ouvrage comprend une troisième partie facultative pour violon au cas où un alto ne serait pas disponible. Voiciune collection indispensable pour toutes les occasions !
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: AY.CM3224PM
ISBN 9790543573703.
The great American philosopher William James talks about a credit system of truth in which we take for granted the knowledge of the world around us. For instance as a child you learn what a car is, what it looks like, what it does, what its made of, etc. So, every time you see a car you do not need to re examine all these aspects,you use a credit of truth to know about all cars what you learned about the first. I found this fascinating and made it a challenge for myself to translate this sentiment into music. In my string quartet a melody is repeated many times but each time its reality is a bit different, you think you know this melody at one point but the music around it and its structure are always mutated a bit to challenge your credit system of truth. Gene Pritsker.
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: BR.EB-9243
ISBN 9790004185438. 9 x 12 inches.
It was the practice of Khoomii (throat singing) - following several workshops with Michael Ormiston - that first attracted me to Tuvan music. Composing this Songbook, the first in a series commissioned by the Ligeti Quartet, I took the chance to reflect on compositional questions around transcription and arrangement of existing music, and frequently found myself asking: where is the boundary between the source material and the new substance? Of course the relationship varies from piece to piece, and moment to moment: sometimes we seem to glimpse the pure source, but most of the time there are differing degrees of distance, working towards or away from it. This new version for string orchestra corresponds closely to the original quartet version, with an additional part for double basses.The traditional Tuvan songs that I have transcribed and recomposed are all known to me from the Ay Kherel CD The Music of Tuva: Throat Singing and Instruments from Central Asia (2004, Arc Music). According to the notes from that CD, this is what the songs are about:1. Dyngylday: If you have come on a horse in blue, it doesn't mean that you are the best. My heart tells me something else: my sweetheart doesn't have such a beautiful horse, but he is my darling.An alternative interpretation from Alash Ensemble (alashensemble.com): The word dyngylday is a nonsense term with no translation. The song makes good-humored fun of somebody for being a good-for-nothing.2. Eki Attar (The Best Steeds): The horse is the basis of our life. It is a magic creature. Even its step is full of music and rhythm. You may not be a horse rider, but when you hear this song you will always remember horses.3. Kuda Yry: This wedding song glorifies the strength of the groom and the beauty of his Horse.4. Ezir-Kara ('Black Eagle'): This was the name of a horse, who became a legend through his remarkable strength and speed.It is not just overtones that abound here: there are galloping rhythms aplenty, and though I am no horse rider I tried to keep the horses galloping in my imagination while composing these pieces.Christian Mason (with quotes from Ay Kherel and Alash Ensemble)World premiere of the original version: London/UK, May 10, 2016, World premiere of the string orchestra version: Clermont-Ferrand/France, October 8, 2020.
SKU: BR.EB-9244
ISBN 9790004185445. 9 x 12 inches.
SKU: HL.49045761
ISBN 9784115902275. 8.25x11.75x0.145 inches.
Improvisational energy inherent in music that spouts The Savage Mind, which is mentioned by Japanese musicologist and anthopologist Masakuni Kitazawa in his book Sound as Metaphor, always fascinates me. One of the aims of writing this work was to test whether a highly refined medium like a string quartet can produce the energy. 'Inherent in music' mentioned above can be restated as 'inherent in human being.' Beyond the intellectual inquiring mind, I hope this worl is strongly connected to 'living in the present.' Tokuhide Niimi.
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SKU: PE.EP72822
ISBN 9790577011769. 232 x 303mm inches. English.
I have only visited Damascus once, twenty years ago, on the way to Palmyra. I had a purpose (I was writing music for a play about Palmyra’s Queen Zenobia) but essentially I was a tourist. Like any visitor, I was thrilled to step out of the noisy modern city into the magical ancient world of the walled Old City, its vibrant souk leading to the magnificent mosque, and a labyrinth of winding, narrow streets filled with the smell of unleavened bread.
In Palmyra, I was met with extraordinary kindness everywhere. On one occasion, a little Bedouin boy noticed that I was risking sunstroke wandering bare-headed among the spectacular ruins: he showed me how to tie a turban, then took me to have tea with his family in their tent.
Since then, I have watched helplessly as these places of wonder have been devastated and their inhabitants scattered and killed. When the Sacconi Quartet suggested that I might choose a Syrian poet for our collaboration, I welcomed the idea.
I searched for a long time to find a contemporary poet whose work might gain from any music I could imagine. I felt it was important to find first-hand accounts of the Syrian experience – but, of course, I was always reading them in translation. In an anthology called Syria Speaks, I was astonished to read something that looked like prose, but was full of poetry. It was Anne-Marie McManus’s fine translation of Ali Safar’s A Black Cloud in a Leaden White Sky – an eloquent, thoughtful, contained yet vivid account of life in a war-torn country, all the more moving for its restraint.
In setting these words, I have not attempted to imitate Syrian music. However, there is what might be called a linguistic accommodation in my choice of scale, or mode. Several movements are in a mode that I first discovered while writing a cantata commemorating the First World War: it has a tuning that I associate with war, its violence and desolation. This eight-note mode is similar to scales found in Syrian music. I did not choose it in the abstract: it emerged from the harmonies I was exploring in the earlier work, and emerged again as I was looking for the right musical colours to set Ali Safar’s words. In this work, its Arabic aspect is more prominent. - Jonathan Dove
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