SKU: FG.55011-510-1
ISBN 9790550115101.
Matthew Whittall's preface to Bright Ferment (2019): I have a complicated history with the string quartet. Actually, it's not that complicated. I spent months writing a huge one in my early twenties and hastily withdrew it after a long delayed premiere, vowing never to write another. In a typical case of karmic retribution, my fear of the form would eventually be overcome by the unrefusable offer to write the compulsory piece for the Banff International String Quartet Competition in my native Canada. The short duration requested, about nine minutes, also felt like a good way to wade gingerly back into the medium. The title was originally just a nice-sounding pair of words that surfaced in a brainstorming session with fellow composer Alex Freeman over an injudicious amount of fermented barley. When I looked it up later, I found that it was a phrase of older coinage, seemingly used more for poetic resonance than any fixed meaning. Ferment by itself denotes a state of confusion, change or lack of order. With bright, it takes on a more positive connotation with regard to society and creativity: a wild profusion of ideas barely checked by reason. (It may not actually mean that, but it describes this piece nicely, so let's go with it.) Fermentation in its trendy culinary usage is also hinted at via a recurrent percolating device of scattered pizzicati. As one may guess from the tone of this introduction, there is little attempt at gravity in Bright Ferment, the only means by which I felt I could sidestep the historical and expressive weight of the string quartet genre. Styles, gestures and moods are tossed around, cross-cut and abandoned in stream-of-consciousness fashion, connected by little except an intuitive sense of rightness in their juxtaposition. If the piece acquires depth in spite of me, it will only be because its disparate parts amplify and strengthen each other simply by being together - much like the ensemble itself. Bright Ferment was commissioned by the Banff Centre for the Arts and Creativity and the Canadian Broadcasting Corporation, with additional funding from the Americas Society (New York), for the 2019 Banff International String Quartet Competition. Duration: ca. 9 minutes.
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.14023617
ISBN 9780711968882. 9.0x12.0x0.059 inches.
The arrangement for string quartet was made at the request of Alexander Balanescu for the Bicentenary of Mozart's death in 1991. It was first performed by the Balanescu Quartet at the Queen Elizabeth Hall, London, 1991. Duration 3 minutes. A set of parts is available for sale.
SKU: FG.55011-876-8
Timo Alakotila's String quartet no. 4 (2022) was premiered by Tempera Quartet. In its four movements the work combines the rich sound of the classical string quartet with rhythms and idioms of Finnish folk music. The titles of the movements decribe the journey (Quest - Joy - Direction - Resolution).This product includes a full score and a set of parts.Composer, musician Timo Alakotila (b. 1959) is a distinguished, active and versatile talent in the Finnish music scene whose long career working with different genres of music - folk music in particular - has been ground-breaking. Alakotila's works showcase his versatility: he has produced highly acclaimed classical music compositions and arrangements for Pekka and Jaakko Kuusisto, the Meta4 quartet, the Kamus and Tempera quartets, Eeva Oksala, Dalia Stasevska and Jorma Hynninen, among others.
SKU: PR.144407270
UPC: 680160681891. 9 x 12 inches.
My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.
SKU: PR.14440727S
UPC: 680160681907. 9 x 12 inches.
SKU: ST.Y262
ISBN 9790220222665.
Written in 2009 for an event to celebrate the Bicentenary of the birth of Charles Darwin, The Last Dance is a musical reflection on contemporary questions about the survival of our planet. It begins with energetic, even frenetic, material exchanged between the instruments. This is interspersed with moments of respose that are gradually extended, until the piece concludes with a quiet final section with solo first violin playing high above the other instruments, an ending open to many different interpretations.
SKU: BR.KM-266
The Breitkopf Originals series opens up a fascinating view into the Breitkopf & Hartel publishing-house archives. The focus is on its rarities and treasures, together with milestones in the history of interpretation for works of the. Classical; Romantic. Score. 224 pages. Breitkopf and Haertel #KM 266. Published by Breitkopf and Haertel (BR.KM-266).
ISBN 9790004504901. 10 x 12.5 inches.
The editor, Engelbert Rontgen, writes in his foreword:Following a commission by the gentlemen Breitkopf & Hartel in Leipzig to produce a complete edition of Beethoven's string quartets supplied with bowing marks and fingerings, I undertook this task on the basis of the critical complete edition of these quartets, published in 1862. First of all, it seemed necessary to change the original slurring in some places to suit the bowing technique, with regard to performing and expression.In the quartets from Beethoven's early period, the performing marks often lack the accuracy and completeness that is required for an exact interplay, whereas they are given in the quartets of his later period almost everywhere with the greatest detail and precision, . Furthermore, the before mentioned scores contain a number of mistakes, which in all likelihood may have crept into the manuscripts as writing mistakes.I have therefore endeavored to carefully add the missing performing marks, as well as to correct the incorrect notes, without, however, claiming to have done everything that is questionable.Breitkopf Originals invite you to take a fresh look at 19th-century reception history.The music is printed clearly and in a larger than usual size.(Rebekah Smith, AUSTA Stringendo)The Breitkopf Originals series opens up a fascinating view into the Breitkopf & Hartel publishing-house archives. The focus is on its rarities and treasures, together with milestones in the history of interpretation for works of the Classical and Romantic repertoire, presented by the most prominent artists of their time.
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