She's Always A Woman Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1115206-070 Composed by Billy J...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1115206-070
Composed by Billy Joel.
Arranged by Anthony
Gröger. De Haske Pops
for String Quartet. Pop &
Rock. Set (Score &
Parts). Composed 2011. 12
pages. De Haske
Publications #DHP
1115206-070. Published by
De Haske Publications
(BT.DHP-1115206-070).
ISBN 9789043149297.
9x12 inches.
English-German-French-Dut
ch.
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.This
lyrical ballad was
released by Billy Joel in
1977 and has gained
popularity recently when
it was used for a John
Lewis television advert.
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!Deze
prachtige ballad uit de
jaren zeventig van Billy
Joel leent zich
uitstekend voor een
gevoelige interpretatie
door
strijkkwartet.
Unt
er 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.Die lyrische
Ballade von Billy Joel
aus dem Jahre 1977 eignet
sich vorzüglich
für eine
gefühlvolle
Interpretation im
Streichquartett!
Pops
for String Quartet:
una collana per tutti i
violinisti desiderosi di
suonare qualcosa di
diverso dal repertorio
classico.La splendida
ballata lirica di Bill
Joel del 1977 si presta
alla perfezione per
essere interpretata da un
quartetto di archi.
Composed
by Gyorgy Ligeti.
Arranged by Jost-H.
Hecker. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Score and Parts. 38
pages. Schott Music #ED
9147. Published by Schott
Music (HL.49032923).
String quartet SKU: M7.DOHR-20172 Composed by George Frideric Handel. Arr...(+)
String quartet
SKU:
M7.DOHR-20172
Composed by George
Frideric Handel. Arranged
by Wolfgang Birtel. Sheet
music. Score and parts.
MDS (Music Distribution
Services) #DOHR 20172.
Published by MDS (Music
Distribution Services)
(M7.DOHR-20172).
ISBN
9790202041727.
Bei
dem Stück handelt es
sich um die Sinfonia zum
dritten Akt aus
Händels Oratorium
Solomon HWV 67. Der
dritte Akt handelt von
dem glänzenden Fest,
das König Salomo
für die Königin von
Saba veranstaltet. Das
Vorspiel gleicht einem
sprühenden
Klangfeuerwerk.
SKU: SU.00220263 Composed by Alexander Glazunov, Antonin Dvorak, and Pete...(+)
SKU: SU.00220263
Composed by Alexander
Glazunov, Antonin Dvorak,
and Peter Ilyich
Tchaikovsky. Chamber
Music, String
Trio/Quartet/Quintet. CD
(PDF Scores). CD Sheet
Music #00220263.
Published by CD Sheet
Music (SU.00220263).
This CD Sheet
Musicâ„¢ collection
makes available full
scores and parts for
string quartets by 19th C
Slavic masters Dvorák,
Glazunov and Tchaikovsky.
DVORÃK: String
Quartets No. 2 in B-flat
major (parts only); No. 5
in F minor, Op. 9 (parts
only); No. 7 in A minor,
Op. 16 (parts only); No.
8 in E major, Op. 80; No.
9, Op. 34; No. 10 in
E-flat major, Op. 51
Slavonic; No. 11 in C
major, Op. 61; No. 12 in
F major, Op. 96 American;
No. 13 in G major, Op.
106; No. 14 in A-flat
major, Op. 105 GLAZUNOV:
String Quartets No. 1 in
D Major, Op. 1; No. 2 in
F Major, Op. 10; No. 3 in
G major, Op. 26, Quartet
Slave; No. 4 in A Minor,
Op. 64; No. 5 in D Minor,
Op. 70; No. 6 in Bb
Major, Op. 106; Suite in
C Major for String
Quartet, Op. 35; 5
Novelettes for String
Quartet, Op. 15
TCHAIKOVSKY: String
Quartet, No 1 in D major;
Op. 11; No. 2 in F major,
Op. 22; No. 3 in E-flat
minor, Op. 30 Also
includes composer bios
and relevant articles
from the 1911 edition of
Grove's Dictionary of
Music and Musicians 2000+
pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
SKU: SU.00220259 Composed by Mendelssohn/Schubert. Chamber Music, String ...(+)
SKU: SU.00220259
Composed by
Mendelssohn/Schubert.
Chamber Music, String
Trio/Quartet/Quintet. CD
(PDF Scores). CD Sheet
Music #00220259.
Published by CD Sheet
Music (SU.00220259).
This CD Sheet
Musicâ„¢ collection
makes available full
scores and parts for
string quartets by
Mendelssohn and Schubert.
MENDELSSOHN: String
Quartets Op. 12; Op. 13;
Op. 44 Nos. 1, 2, 3; Op.
80; Four Pieces for
String Quartet, Op. 81
SCHUBERT: String Quartets
No. 1-15, including
Quartettsatz, Rosamunde,
Death and the Maiden Also
includes composer bios
and relevant articles
from the 1911 edition of
Grove's Dictionary of
Music and Musicians 1180+
pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
SKU: SU.00220545 Composed by Wolfgang Amadeus Mozart. Chamber Music, Stri...(+)
SKU: SU.00220545
Composed by Wolfgang
Amadeus Mozart. Chamber
Music, String
Trio/Quartet/Quintet. CD
(PDF Scores). CD Sheet
Music #00220545.
Published by CD Sheet
Music (SU.00220545).
Please
note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
String Quartets Quatuor à cordes: 2 violons, alto, violoncelle CD Sheet Music
SKU: SU.00220547 Composed by Franz Joseph Haydn. Chamber Music, String Tr...(+)
SKU: SU.00220547
Composed by Franz Joseph
Haydn. Chamber Music,
String
Trio/Quartet/Quintet. CD
(PDF Scores). CD Sheet
Music #00220547.
Published by CD Sheet
Music (SU.00220547).
A comprehensive
and unparalleled
collection that brings
together both familiar
and lesser-known vocal
and rhythmic exercises,
vocalizes, and methods
from the 18th, 19th and
early 20th century by 19
pedagogical masters,
including: Abt, Concone,
Dannhauser, Lablache,
Lamperti, Marchesi,
Rossini, Sieber, Vaccai,
and Viardot. Configured
in alternate keys for all
voice types; suitable for
all technical levels Also
includes: composer
biographies and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 3000+ pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
SKU: SU.00114330 Chamber Music, String Trio/Quartet/Quintet. CD (PDF Scor...(+)
SKU: SU.00114330
Chamber Music, String
Trio/Quartet/Quintet. CD
(PDF Scores). CD Sheet
Music #00114330.
Published by CD Sheet
Music (SU.00114330).
This disk
contains performance
materials for an enormous
collection of string
quartets from master
composers. Included are
works of Bartók,
Borodin, Cherubini,
Chopin, Debussy, Fuchs,
Hindemith, Schoenberg,
Schumann, Smetana, Verdi,
Wolf and many more, for
an offering of 4,000
pages of music. Included
also are articles on the
lives of the composers
and other relevant
entries from the 1911
edition of Grove’s
Dictionary of Music and
Musicians
Please
note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
Composed by Lara Poe.
Classical, contemporary.
Score & parts. Fennica
Gehrman #55011-853-9.
Published by Fennica
Gehrman (FG.55011-853-9).
Lara Poe's (b.
1993) energetic
Divergence (2015-2016)
for string quartet was
conceived cyclically: the
four movements explore
drifting in and out of
focus between different
materials. A light ditty
of the second movement
diverges to the third
movement's overtone
derived
chords.
Duration:
c. 25'
This
product includes a set of
parts (violin I, violin
II, viola, violoncello)
and a score.
Lara
Poe is a Finnish-American
composer who is currently
based in London. Her
works have been performed
across a wide range of
venues throughout the US,
Europe, and Asia. Her
piece Kaamos, which she
wrote for the Lahti
Symphony Orchestra, was
recently nominated for a
Ivors Composer Award in
the Large Scale
Composition category.
Kaamos also was selected
by YLE Radio Finland to
represent Finland at the
International Rostrum of
Composers 2021 in
Belgrade, Serbia. Poe was
the 2019 Tanglewood Music
Patricia Plum Wilde
Fellow and represented
Finland at Ung Nordisk
Musik 2019 in Piteå.
She was also a 2018-2019
participant in the London
Symphony Orchestra's
Panufnik Scheme, where
she worked under the
guidance of Colin
Matthews and Christian
Mason.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.