String Quartet

SKU: ST.Y248

Composed by Morgan Hayes. String music. Score and parts. 6 minutes. Score and parts. Stainer & Bell Ltd. #Y248. Published by Stainer & Bell Ltd. (ST.Y248).

ISBN 9790220222351.

Commissioned by Bromsgrove Concerts with financial assistance from Arts Council England
1st perf: Smith Quartet, Artrix, Bromsgrove, 27 February 2009

Favoured by English composers from Purcell to Vaughan Williams and Britten, the ground-bass form receives a contemporary makeover in Morgan Hayes's Dances on a Ground. Artfully four-square, a cello ostinato stays stubbornly true to its original thoughts. Meanwhile, above it a capricious ensemble of two violins and viola swaggers its way through flights of melody and jumpy pizzicati to an ecstatic conclusion. Commissioned by Bromsgrove Concerts with funding provided by Arts Council England, Dances on a Ground was first performed by the innovative Smith Quartet at the Artrix, Bromsgrove, on 27 February 2009.

(Study Score). By Bela Bartok (1881-1945). Edited by Peter Bartok. For String Quartet (Study Score). Boosey and Hawkes Scores/Books. Softcover. 96 pages. Universal Edition #UE34311. Published by Universal Edition

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.114417330

Composed by Richard Wernick. Premiered by the Juilliard String Quartet, Perelman Theater, Philadelphia Chamber Music Society; Philadelphia, PA. Contemporary. Set of Score and Parts. With Standard notation. Composed February 19 2015. 27+8+8+8+8 pages. Duration 19 minutes. Theodore Presser Company #114-41733. Published by Theodore Presser Company (PR.114417330).

UPC: 680160631841.

String Quartet No. 9 is the fourth that Wernick has written for the Juilliard Quartet. A commission by the Philadelphia Chamber Music Society, Wernick's ninth string quartet was premiered by the Juilliard in November, 2015 and subsequently taken on tour. The first movement's affect (marked 'Assertive, Aggressive') [compares] to Rockport's forbidding coastline in the eyes of the first. settlers. This was an apt analogy since the work's musical language is, in today's vernacular, 'gnarly.' [The second movement]...a 'never-ending throb of repeated notes'...the effect of steadily diminishing life-force, though with a 'final burst of hope from the solo cello.' Again, the composer made intriguing use of many of the different ways stringed instruments can produce sound. Geoffrey Wieting, The Boston Musical Intelligencer.