SKU: HL.14043527
9.25x12.0x0.091 inches. English.
Richard Reed Parry 's Quartet For Heart And Breath is an innovative and original piece based on the performers' own bodily rhythms. This sheet music is for String Quartet (Violin/Violin/Viola/Cello). Richard Reed Parry is familiarto millions as the lead singer of rock band Arcade Fire, yet his foray into classical music is equally worthy of attention. Quartet For Heart And Breath is an experiment into using the performers' heartbeats and breathing to dictate the tempo. The performers are instructed to wear stethoscopes in order to listen to their heartbeats closely, while one complete breath corresponds to one bar and two heartbeats equal two crotchets. The result is a quiet and subtle piece, as each instrument has to play softly so as to be able to keep in time. The piece also has a naturally occurring dynamism in that the players' heart rates constantly change as the performance goes on, with each instrument falling in and out of sync sometimes culminating in a beautiful moment of all heartbeats matching each other. Interestingly, this unique aspect means that no performance will ever be the same, meaning to hear or play this composition will be a truly once in a lifetime experience. Quartet For Heart And Breath is a superbly one-of-a-kind composition by Richard Reed Parry . Commissioned by the Kronos Quartet, this piece makes for a wonderfully distinctive performance, with fascinating implications for the connection between the music and the body.
SKU: BT.DHP-1196088-070
ISBN 9789043158572. English-German-French-Dutch.
No matter the occasion, string quartets are always in demand. Music for Celebrations features eight works by composers ranging from Marc-Antoine Charpentier to Charles Gounod which rank among the most popular wedding classics, with many of the pieces also well suited for other occasions. The arranger Anthony Gröger has succeeded in transforming the works, some of which originally had extensive instrumentation, into compelling string quartet arrangements that are also easy to play while preserving much of the familiar character of the originals. The third violin part, which can replace the viola part if no violist is available, is an added bonus.Er is altijd vraag naar strijkkwartetten voor diverse feestelijke gelegenheden. Music for Celebrations bevat acht werken van verschillende bekende componisten, van Marc-Antoine Charpentier tot Charles Gounod, die behoren tot de meest geliefde klassiekers voor bruiloften, maar veelal eveneens geschikt zijn voor andere gelegenheden. Arrangeur Anthony Gröger is erin geslaagd de stukken waarvan sommige oorspronkelijk voor een omvangrijke instrumentatie zijn geschreven te transformeren tot overtuigende, goed speelbare muziek voor strijkkwartetbezetting, waarin het vertrouwde klankbeeld grotendeels behouden is gebleven. Een handig extraatje is de toegevoegde derdevioolpartij, die de altvioolpartij kan vervangen als er geen altviolist beschikbaar is. Bei festlichen Anlässen diverser Art sind Streichquartette immer wieder gefragt. In Music for Celebrations sind acht Kompositionen von Marc-Antoine Charpentier bis Charles Gounod versammelt, die besonders auf Hochzeitsfeiern zu den beliebtesten Klassikern zählen, wobei viele der Stücke sich auch für andere Gelegenheiten bestens eignen. Dem Arrangeur Anthony Gröger ist es gelungen, die teilweise umfangreich besetzten Originalwerke in überzeugende, gut spielbare Streichquartettsätze zu verwandeln und dabei viel vom vertrauten Klangbild zu bewahren. Ein Bonbon ist die zusätzlich beiliegende dritte Violinstimme, die anstelle der Bratschenstimme genutzt werdenkann, falls kein Bratschist zur Verfügung steht. Souvent demandés, les quatuors cordes se prêtent toutes sortes d’occasions festives. Music for Celebrations rassemble huit œuvres de compositeurs allant de Marc-Antoine Charpentier Charles Gounod. Ces pièces comptent parmi les classiques les plus populaires lors des mariages, mais un grand nombre d’entre elles sont aussi parfaitement adaptées d'autres occasions. L'arrangeur Anthony Gröger est parvenu transformer les œuvres originales, parfois dotées d’une instrumentation étendue, en quatuors cordes convaincants et faciles jouer, tout en conservant en grande partie leur identité sonore familière. La troisième partie de violon constitue une friandisesupplémentaire. Elle peut être utilisée la place de la partie d'alto si aucun altiste n'est disponible.
SKU: HL.14008374
ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches.
The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties.
SKU: HL.14032634
ISBN 9780711975156. UPC: 888680967635.
Scored For String Quartet. Commissioned by the New Arts String Quartet, first performed in Tokyo November 1996. Quoting Tanaka: The title Metal Strings suggests speed metal rock music which I have been listening to a lot in recent years. I find an explosive energy in its music that people of today thirst for. Previously I have explored solid, speedy and metallic sound in pieces such as 'Wave Mechanics' (1994), 'Wave Mechanics II' (1994) and 'Metalic Crystal' (1994-95). This idea has been extended and developed in my string quartet, Metal Strings. Score only edition, separate parts are also available on sale.
SKU: HL.14037707
ISBN 9781849385916. UPC: 884088578626. 8.25x11.75x0.262 inches.
Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.Kevin Volans (the composer) notes on the piece:In the past I have been interested in trying to go beyond historicism (1970s), beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy', almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This, of course, has already been done by a numberof composers (many from New York - Phil Niblock and La Monte Young, to name but two), butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work,and fearing this would make the label stick, I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic, an aesthetic which,however, pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure - the ego - underfoot.You get theimpression He dances on the spot, not movingaround at all. I like that.The piece is dedicated to Pablo Pascual Cilleruelo.
SKU: HL.49017072
ISBN 9790001150118. 9.5x12.0x0.38 inches.
This string quartet by a grand master of the German avant-garde combines a decidedly traditional four-movement structure with experimental situations in the concert hall. In various sections the performers act on revolving stools, in others they take positions at the edge and in the corners of the platform or around the listeners. However, the composer also allows a performance in a conventional seating arrangement which emphasizes the work's classical nature with regard to material and form even further.
SKU: HL.14042753
ISBN 9780711965423. 9.25x12.0x0.323 inches.
A series of popular music for working string quartets. Light enjoyable repertoire pieces and entertaining encores. Each folio contains five pieces. Contents: 'Moon River', 'Schindler's List', 'Speak Softly Love', 'Theme FromE.T.', 'A Whole New World'.
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.
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.
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