Composed by Kathy and David Blackwell. For piano accompaniment. Cello Time. Leve...(+)
Composed by Kathy and
David Blackwell. For
piano accompaniment.
Cello Time. Level A-B
(very easy - easy). Piano
accompaniment book. 40
pages. Published by
Oxford University Press
String Quartet SKU: BT.PMC4092 For string quartet. Composed by Lou...(+)
String Quartet
SKU:
BT.PMC4092
For
string quartet.
Composed by Lou Harrison.
Set (Score & Parts).
Composed 2015. 40 pages.
Peermusic Classical
#PMC4092. Published by
Peermusic Classical
(BT.PMC4092).
A
five-movement work whose
materials range widely in
time and place of origin.
String Quartet Set opens
with a set of variations
on a medieval German
song, includes a medieval
estampie (stamping
dance), and concludes
with Usul,which uses a
rhythmic mode from
Ottoman classical music.
Recorded by the Kronos
Quartet on New World
Records. Lou Harrison's
centennial occurs in
2017.
String Quartet Set Quatuor à cordes: 2 violons, alto, violoncelle Peermusic Classical
(Score and Parts). Composed by Lou Harrison (1917-2003). For String Quartet (Sco...(+)
(Score and Parts).
Composed by Lou Harrison
(1917-2003). For String
Quartet (Score and
Parts). Peermusic
Classical. Softcover.
Peermusic #70113-759.
Published by Peermusic
Parts for String Quartet No.3 'Angel's Music' by Bent Sorensen (1988) Premiered ...(+)
Parts for String Quartet
No.3 'Angel's Music' by
Bent Sorensen (1988)
Premiered by the Arditti
String Quartet at the
Danish Radio Concert Hall
16 November 1988. Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angels Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on Angels
Music was started in
Rome, where I spent the
autumn of 1987 staying at
The Danish Academy.
Whether this stay has
influenced the quartet or
not is impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part ofthe
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of Angels
Music is divided into
three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the small
cells into the general
pattern.'
String Quartet SKU: HL.14030980 Parts. Composed by Bent Sorensen. ...(+)
String Quartet
SKU:
HL.14030980
Parts. Composed by
Bent Sorensen. Music
Sales America. Classical.
Set of Parts. Edition
Wilhelm Hansen #KP00249.
Published by Edition
Wilhelm Hansen
(HL.14030980).
ISBN
9788759871973.
12.0x16.0x0.285
inches.
Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angel's Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on
Angel's Music was started
in Rome, where I spent
the autumn of 1987
staying at The Danish
Academy. Whether this
stay has influenced the
quartet or not is
impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part of the
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of
Angel's Music is divided
into three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the general
pattern almost
fractionally into the
smallest cells of the
music, or more correctly;
crawl from the small
cells into the general
pattern.'.
Mixed choir (STBar) and
instruments (VC(FAG)) -
easy
SKU:
HL.49006290
Sumer
is icumen in.
Composed by Carl Orff.
Sheet music. Edition
Schott. Classical.
Individual part. Composed
1972. 4 pages. Duration
4'. Schott Music #ED
6412-26. Published by
Schott Music
(HL.49006290).
ISBN
9790001068253. Old
English.
The first
known canon of European
art music, now in the
British Museum in London,
is preserved in a
thirteenth-century
manusript from the
English abbey in Reading:
This is the so-called
summer canon, whose
verses greet the advent
of summer. An
accompanying note
elucidates the artistic
layer-like construction
of the sound structure: a
two-voice foundation of
bell-like, swinging
pendulum tones supports
an upper structure of
four voices which enter
at equal time intervals.
The note terms the canon
rota * round -, which
makes reference to the
turning, circling
movement of the
constantly pulsating
sound. The circular
figure originates in a
vital, ages-old moving
force in music-making,
and it demands a
dance-like execution. But
the canon is also,
through the interaction
of the strictly ordered
voice entries,
convivially bound musical
form. Carl Orff was able
to choose no better
fitting musical form for
the Greetings to Youth at
the Olympic Games 1972 in
Munich than the medieval
rota. In the connexion of
the singing voices with
the Orff instruments,
today in world-wide use,
a testimony of European
tradition sounds in a
living present.