String Quartet

SKU: SU.90880090

Composed by Nancy Galbraith. Chamber Music, String Trio/Quartet/Quintet. Score. Composed 2005. Duration 15'. Subito Music Corporation #90880090. Published by Subito Music Corporation (SU.90880090).

2 Violins, Viola, Cello Duration: 15' 1. Allegro; 2. Folk Fragments; 3. Chorale and Ostinato; 4. Appalachian Strings Set of Parts: available for sale: (#90880091) Composed: 2005 Published by: Subito Music Publishing.

String Quartet

SKU: SU.90840081

Composed by Nancy Galbraith. Chamber Music, String Trio/Quartet/Quintet. Set of Parts. Composed 1996. Duration 17'. Subito Music Corporation #90840081. Published by Subito Music Corporation (SU.90840081).

2 Violins, Viola, Cello Duration: 17' Composed: 1996 Published by: Subito Music Publishing ... an exciting three-movement work... Motoric rhythms, jazzy motives, and plenty of rustic quintal harmony supply the action for the outer movements; the Night Music-like slow movement finds a romantic cello solo accompanied by suspiciously Glass-y arpeggiations. Call it Ginastera Lite, but the work makes a joyful noise and deserves to be heard. —American Record Guide

Full Score: available for sale (#90840080)

String Quartet

SKU: SU.90880091

Composed by Nancy Galbraith. Chamber Music, String Trio/Quartet/Quintet. Set of Parts. Composed 2005. Duration 15'. Subito Music Corporation #90880091. Published by Subito Music Corporation (SU.90880091).

This CD Sheet Musicâ„¢ collection makes available performing materials for nearly all of Haydn's works for string quartet. Parts for 76 string quartets (Op. 1, 2, 3, 9, 17, 20, 33, 42, 50, 54, 55, 64, 71, 74, 76, 77, 103) plus The Seven Last Words of Christ (Op. 51) Scores for 58 string quartets (Op. 20, 33, 42, 50, 54, 55, 64, 71, 74, 76, 77) Also includes composer bio and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2400+ 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.

By Nancy Galbraith (1951-). For String Quartet. Score and Part(s). Composed 2000. Duration 9'. Published by Subito Music Corporation . Score and Part(s).

String Quartet

SKU: SU.90840080

Composed by Nancy Galbraith. Chamber Music, String Trio/Quartet/Quintet. String Quartet. Score. Composed 1996. Duration 17'. Subito Music Corporation #90840080. Published by Subito Music Corporation (SU.90840080).

2 Violins, Viola, Cello Duration: 17' Set of Parts: available for sale (#90840081) Composed: 1996 Published by: Subito Music Publishing ... an exciting three-movement work... Motoric rhythms, jazzy motives, and plenty of rustic quintal harmony supply the action for the outer movements; the Night Music-like slow movement finds a romantic cello solo accompanied by suspiciously Glass-y arpeggiations. Call it Ginastera Lite, but the work makes a joyful noise and deserves to be heard. —American Record Guide.

Composed by Nancy Galbraith (1951-). For String Quartet. Score and Part(s). Composed 2000. Duration 9'. Published by Subito Music Corporation

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Chamber Music String Quartet

SKU: PR.114417830

Composed by Carter Pann. Premiered at the ACE Gallery in Beverly Hills, CA. Contemporary. Set of Score and Parts. With Standard notation. Composed 2014. 46+16+16+16+16 pages. Duration 30 minutes. Theodore Presser Company #114-41783. Published by Theodore Presser Company (PR.114417830).

UPC: 680160636860.

With support from Elizabeth and Justus Schlichting, Pann's Second String Quartet was written for the Takacs Quartet to honor the contributions of NancyBell Coe as president of the Music Academy of the West. The Takacs, hailed as one of the world's greatest ensembles, performed the work as part of a weeklong series of masterclasses at the Academy's Summer Festival 2015. The Second String Quartet is made up of six descriptive movements: I. L'Extase, II. Precipitato, III. Passacaglias, IV. Commute, V. Adjusting the Torque, VI. Escher's Rounds. For advanced performers.

Chamber Music String Quartet

SKU: PR.11441783S

Composed by Carter Pann. Premiered at the ACE Gallery in Beverly Hills, CA. Contemporary. Full score. With Standard notation. Composed 2014. 46 pages. Duration 30 minutes. Theodore Presser Company #114-41783S. Published by Theodore Presser Company (PR.11441783S).

UPC: 680160636884.

With support from Elizabeth and Justus Schlichting, Pann's Second String Quartet was written for the Takacs Quartet to honor the contributions of NancyBell Coe as president of the Music Academy of the West. The Takacs, hailed as one of the world's greatest ensembles, performed the work as part of a weeklong series of masterclasses at the Academy's Summer Festival 2015. The Second String Quartet is made up of six descriptive movements: I. L'Extase, II. Precipitato, III. Passacaglias, IV. Commute, V. Adjusting the Torque, VI. Escher's Rounds. For advanced performers.