Composed by Alexander Borodin (1833-1887). Arranged by Andrew H. Dabczynski. Orchestra. Masterworks; Part(s); Score; String Orchestra. Highland String Orchestra. Form: Transcription. Masterwork Arrangement; Romantic. Grade 3. 62 pages. Published by Highland/Etling

(String Bass). Arranged by Andrew H. Dabczynski. Orchestra. For String Bass. Part(s); String Quartet. Alfred's Ovation String Quartet Series. Wedding. 24 pages. Published by Alfred Music Publishing

(Cello). Arranged by Andrew H. Dabczynski. Orchestra. For Cello. Part(s); String Quartet. Alfred's Ovation String Quartet Series. Wedding. 32 pages. Published by Alfred Music Publishing

(Viola). Arranged by Andrew H. Dabczynski. Orchestra. For Viola. Part(s); String Quartet. Alfred's Ovation String Quartet Series. Wedding. 32 pages. Published by Alfred Music Publishing

Composed by Alexander Borodin (1833-1887), arranged by David Curran. Instrumental solo book for violin solo and piano accompaniment. With solo part, standard notation and piano accompaniment. 11 pages. Published by C.F. Peters.

By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin. Quartets. Music for Four. Baroque / Classical. Intermediate/Advanced. Part 2

By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Quartets. Music for Four. Baroque / Classical. Intermediate/Advanced. Part 4

String Quartet, Accordion

SKU: BT.WHKP01684

Composed by Hans Abrahamsen. Classical. Score Only. 32 pages. Edition Wilhelm Hansen #WHKP01684. Published by Edition Wilhelm Hansen (BT.WHKP01684).

English.

Three Little Nocturnes was composed by Hans Abrahamsen in 2005. Commissioned by the Cikada Ensemble, with support from NOMUS, and written for Frode Haltli and the Cikada String Quartet. Programme Note: In the first nocturne a slow, falling music emerges on an irregular pulse, filled with high harmonics in the strings. The second nocturne is fast and unrestful music, with a lot of passion, which in a moment runs into a glimpse of a tango. In this movement the accordion is employed in its traditional fashion, using the chord bass, with its “oom-pah-pah” standard chords. The third nocturne is again slow, indeed very slow, and it has German tempo and expression markings. Thepiece ends with a lullaby in the accordion, played with an unusual technique, imitating the string portato. This is accompanied by high harmonics in the strings, while the first violin slowly and softly plays a melody from the second nocturne. Hans Abrahamsen.