Just the Way You Are Quatuor à cordes: 2 violons, alto, violoncelle - Facile De Haske Publications
String Quartet - early intermediate SKU: BT.DHP-1125308-070 Composed by B...(+)
String Quartet - early
intermediate
SKU:
BT.DHP-1125308-070
Composed by Billy Joel.
Arranged by Anthony
Gröger. De Haske Pops
for String Quartet. Set
(Score & Parts). Composed
2012. 12 pages. De Haske
Publications #DHP
1125308-070. Published by
De Haske Publications
(BT.DHP-1125308-070).
ISBN 9789043150293.
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 add
some classic pop to their
performances.
The Stranger
is het vijfde studio
album van Billy Joel,
uitgebracht in 1977. Dit
album betekende zijn
doorbraak naar het grote
publiek en is dan ook
zijn bestverkochte
reguliere plaat. De meest
succesvolle single van
het albumis het prachtige
Just the way you
are.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 vanuitstekende
arrangementen in
gemiddelde
moeilijkheidsgraad! Die romantische
Ballade, die Billy Joel
1977 für seine Frau
schrieb, umgesetzt in
eine sehr gefühlvolle
Bearbeitung für
Streichquartett.Unter 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.
String Quartet (Study Score) SKU: HL.51487272 Study Score. Compose...(+)
String Quartet (Study
Score)
SKU:
HL.51487272
Study
Score. Composed by
Alexander Zemlinsky.
Edited by Dominik Rahmer.
Henle Music Folios.
Classical. Softcover. G.
Henle #HN7272. Published
by G. Henle
(HL.51487272).
UPC:
840126989366.
6.75x9.5x0.245
inches.
Alexander
Zemlinsky's music was
long unjustly
overshadowed by what was
regarded as the
“more
progressive†Second
Viennese School. Although
Zemlinsky was close
friends with its
protagonist Arnold
Schönberg, he never
did take the latter's
radical step into
dodecaphony. At the same
time, he composed works
that were no less
original or fully
fledged. Composed between
1913 and 1915, his Second
String Quartet in
particular pushed the
contemporaneous
understanding of form and
tonality to its limits.
With just one movement
but spanning over 1,200
measures, this
multi-faceted work
numbers among the most
significant contributions
to the genre of the time
and has long merited a
critical new edition. The
Urtext edition by G.
Henle Publishers corrects
many errors and
inaccuracies in the first
edition that came to
light after careful
comparison with the
autograph sources in
Vienna and Washington.
For the first time, too,
the metronome markings
that survive only in one
of Zemlinsky's letters
have been incorporated.
Editorial work was kindly
supported by the
Alexander Zemlinsky
Endowment Fund in
Vienna.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
String Quartet (Parts) SKU: HL.51481272 Set of Parts. Composed by ...(+)
String Quartet (Parts)
SKU: HL.51481272
Set of Parts.
Composed by Alexander
Zemlinsky. Edited by
Dominik Rahmer. Henle
Music Folios. Classical.
Softcover. G. Henle
#HN1272. Published by G.
Henle (HL.51481272).
UPC: 840126989250.
9.0x12.0x0.348
inches.
Alexander
Zemlinsky's music was
long unjustly
overshadowed by what was
regarded as the
“more
progressive†Second
Viennese School. Although
Zemlinsky was close
friends with its
protagonist Arnold
Schönberg, he never
did take the latter's
radical step into
dodecaphony. At the same
time, he composed works
that were no less
original or fully
fledged. Composed between
1913 and 1915, his Second
String Quartet in
particular pushed the
contemporaneous
understanding of form and
tonality to its limits.
With just one movement
but spanning over 1,200
measures, this
multi-faceted work
numbers among the most
significant contributions
to the genre of the time
and has long merited a
critical new edition. The
Urtext edition by G.
Henle Publishers corrects
many errors and
inaccuracies in the first
edition that came to
light after careful
comparison with the
autograph sources in
Vienna and Washington.
For the first time, too,
the metronome markings
that survive only in one
of Zemlinsky's letters
have been incorporated.
Editorial work was kindly
supported by the
Alexander Zemlinsky
Endowment Fund in
Vienna.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Chamber Music String Quartet SKU: PR.114416530 Composed by James Matheson...(+)
Chamber Music String
Quartet
SKU:
PR.114416530
Composed
by James Matheson.
Premiered by the St.
Lawrence String Quartet,
Samueli Theater,
Segerstrom Center for the
Performing Arts.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2014.
68+24+28+24+24 pages.
Duration 33 minutes.
Theodore Presser Company
#114-41653. Published by
Theodore Presser Company
(PR.114416530).
UPC:
680160623884. 10.5 x 13
inches.
Commissione
d by Justus and Elizabeth
Schlichting for the
Segerstrom Center for the
Arts' chamber music
series, the String
Quartet was premiered in
February 2014 by the St.
Lawrence String Quartet
at the Center's Samueli
Theater. The String
Quartet is included on
the just-released
all-Matheson CD on
Yarlung Records, which
includes the world
premiere performance of
his Violin Concerto along
with his vocal cycle,
Times Alone.
Chamber Music String Quartet SKU: PR.11441653S Composed by James Matheson...(+)
Chamber Music String
Quartet
SKU:
PR.11441653S
Composed
by James Matheson.
Premiered by the St.
Lawrence String Quartet,
Samueli Theater,
Segerstrom Center for the
Performing Arts.
Contemporary. Full score.
With Standard notation.
Composed 2014. 68 pages.
Duration 33 minutes.
Theodore Presser Company
#114-41653S. Published by
Theodore Presser Company
(PR.11441653S).
UPC:
680160623969.
Commi
ssioned by Justus and
Elizabeth Schlichting for
the Segerstrom Center for
the Arts' chamber music
series, the String
Quartet was premiered in
February 2014 by the St.
Lawrence String Quartet
at the Center's Samueli
Theater. The String
Quartet is included on
the just-released
all-Matheson CD on
Yarlung Records, which
includes the world
premiere performance of
his Violin Concerto along
with his vocal cycle,
Times Alone.
SKU: HL.50603994 Score and Parts. Composed by Daniel D'Adamo. Stri...(+)
SKU: HL.50603994
Score and Parts.
Composed by Daniel
D'Adamo. String.
Softcover. 88 pages.
Duration 600 seconds.
Chant Du Monde
#CDMMC5013. Published by
Chant Du Monde
(HL.50603994).
ISBN
9781705164679. UPC:
196288068310. 9.0x12.0
inches.
Quatuor No
2 was first performed by
the Tana string quartet
on April 14, 2013, at
Radio France, Paris. I
conceived a piece whose
principal subject was
going to consist in the
description of a
minuscule sonic element.
The description of this
tiny initial material
would be so precise, so
detailed that, deployed
on a much larger scale
than its original one, it
would occupy the entire
duration of the piece. At
that point, I just had to
choose a sound model as
the starting point of the
piece, the sound that
would best characterize
the string instruments
themselves: the noisy
sound produced by the bow
barely coming in contact
with one of the strings,
getting ready to acquire
speed, weight,
acceleration, and
producing a full sound of
a violin, a viola or a
cello... -Daniel
D'Adamo.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
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.
The Music of the Night Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1185855-070 From The Phantom...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1185855-070
From The Phantom of
the Opera. Composed
by Andrew Lloyd Webber.
Arranged by Nico Dezaire.
De Haske Pops for String
Quartet.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2018. 8 pages. De Haske
Publications #DHP
1185855-070. Published by
De Haske Publications
(BT.DHP-1185855-070).
ISBN 9789043153911.
English-German-French-Dut
ch.
The Phantom
of the Opera is,
without doubt, one of the
great classics of our
time. The stage
production of this tale,
exciting and mysterious
in equal measure, has now
captivated over a million
theatre-goers. The
phantom sings the song
The Music of the
Night to the
beautiful Christine, who
he has just kidnapped
into his realm, as if
entrancing her. This
enchanting mood is so
authentically recreated
in Nico Dezaire’s
sensitive arrangement for
string quartet that it
feels like listening to
the singer perform the
original version from the
musical.
De
musical The Phantom of
the Opera is zonder
twijfel een van de grote
klassiekers van onze
tijd. De theaterversie
van dit spannende en
tegelijk mysterieuze
verhaal heeft in de loop
der tijd al een
miljoenenpubliek
getrokken. Met het lied
The Music of the
Night brengt het
spook de mooie Christine,
die hij zojuist naar zijn
rijk heeft ontvoerd, als
het ware in trance. De
betoverende sfeer wordt
in dit gevoelige
strijkkwartetarrangement
van de hand van Nico
Dezaire zo authentiek
overgebracht, dat het
voelt alsof je luistert
naar de zanger in de
originele versie uit de
musical.
Das
Phantom der Oper
gehört zweifellos zu
den ganz großen
Musical-Klassikern
unserer Zeit. Die
Bühnenversion dieser
ebenso spannenden wie
mystischen Geschichte hat
schon ein
Millionenpublikum in
seinen Bann gezogen. Mit
dem Lied The Music of
the Night singt das
Phantom die schöne
Christine, die er soeben
in sein Reich entführt
hat, gleichsam in Trance.
Eben diese Stimmung
lässt Nico Dezaire in
seiner einfühlsamen
Bearbeitung für
Streichquartett so
glaubwürdig wieder
aufleben, dass es sich so
anfühlt, als höre
man dem Sänger der
originalen
Musical-Fassung
zu.
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
Violin
3 Part. Composed by
Henry Purcell. Edited by
Herbert Just. Arranged by
Herbert Just. Sheet
music. Antiqua (Chamber
Music). Classical.
Individual part. 4 pages.
Schott Music #ANT 90-13.
Published by Schott Music
(HL.49000326).