String Quartet SKU: HL.14031816 Composed by Jean Joubert. Music Sales Ame...(+)
String Quartet
SKU:
HL.14031816
Composed
by Jean Joubert. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV12053901.
Published by Music Sales
(HL.14031816).
8.5x11.75x0.3
inches.
Though
conceived as four
separate movements, my
second string quartet has
a single motif which is
common to them all. This
is the three-note Muss es
sein? from Beethoven's
last quartet, Op. 135.
But whereas Beethoven's
theme is notated G E A
flat, thus giving it an F
minor connotation, I have
sued an alternative
spelling - G E G sharp -
which suggests an
ambiguous E minor-major.
This ambiguity, in fact,
becomes the tonal basis
of the whole work, only
to be resolved at the end
of the final movement.
Each movement begins with
a variant of the basic
motif on the cello. The
first has the original
form of the theme, while
the second has a
majorised version which
is also expressed as a
chord. The third
movement, with its
scherzoid middle section,
reverts to the
major-minor ambiguity of
the first, and the finale
begins with the majorised
version as an ostinato
accompaniment on
pizzicato cello. The slow
movement is sub-titled In
memoriam DSCH and
concludes with a
quotation of
Shostakovich's motto - D
E flat C B - which is
basically the same as
Beethoven's with the
addition of one note.
This is not to imply that
the work contains no
other thematic material.
One important theme, a
rising fifth and a
second, is also common to
three of the movements,
and is ultimately derived
from my first quartet,
Op. 1 of 27 years
earlier, to which this
second contribution to
the form is in many ways
like a sequel. Like the
earlier work, too, this
quartet is dedicated to
my wife.
Contemporary String
Quartet Repertoire for
New and Developing
Ensembles -
Score/Parts/CD.
Composed by Various.
Edited by Liz Partridge.
Boosey & Hawkes Chamber
Music. Classical,
Contemporary. Softcover
with CD. Boosey & Hawkes
#M060133756. Published by
Boosey & Hawkes
(HL.48024136).
ISBN
9781784543211.
'Dis
cover' Level: An
introduction to quartet
ensemble playing for
string players of grade
1-3 standard. Familiar
keys, common rhythms and
transparent musical forms
ensure the short pieces
and miniatures featured
within Discover are
accessible to all.
Emphasis is firmly
focussed on playing
together as a unit.
Contents: Mortimer:
Intergalactic Messaging
Mortimer: Sleepy Sawyers:
Copy Cats Scolding:
Clifton Bridge Hewitt
Jones: Ghost Train
Kershaw: Catch Me If You
Can Kershaw: Lullaby for
Lilah Norton: A Relaxed
Mood K. & H.
Colledge: Stargazing
Score, parts and CD.
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.
What Child Is This? Quatuor à cordes: 2 violons, alto, violoncelle Advance Music
SKU: AP.1-ADV6402 For String Quartet. Arranged by Dennis C. Anders...(+)
SKU: AP.1-ADV6402
For String
Quartet. Arranged by
Dennis C. Anderson.
Quartet; Solo Small
Ensembles; String
Quartet. Advance Music:
Holiday Celebration
Series. Christmas;
Sacred; Secular;
Traditional; Winter.
Score and Part(s).
Advance Music
#01-ADV6402. Published by
Advance Music
(AP.1-ADV6402).
UPC:
805095064025. English.
Traditional.
Deligh
tful setting is based
upon the traditional
Christmas song, What
Child Is This?. This
arrangement by Dennis C.
Anderson utilizes common
string quartet techniques
coupled with lush
harmonies and contrasting
styles.
String quartet (double
bass ad libitum) -
intermediate
SKU:
HL.49018965
Double
Bass Part. Composed
by Ludwig van Beethoven
and Wolfgang Birtel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover. 8
pages. Duration 13'.
Schott Music #ED20713-15.
Published by Schott Music
(HL.49018965).
ISBN
9790001175791.
What
do Beethoven and the
children's song Fuchs Du
hast die Gans gestohlen
have in common? Nothing,
strictly speaking.
Although the song was
written as early as 1824
(and theoretically,
Beethoven could have
known it), it has not
left deep marks on his
oeuvre. But what if he
had known it? Wolfgang
Birtel pursued this
question and, in reply to
it, conceived a symphony
for string quartet:
behind each movement is
an original symphony by
Beethoven (spiced with
quotes from other works).
The children's song
appears as the main theme
in the final movement of
Symphony No. 1, in the
famous funeral march of
Eroica, fate knocks at
the door (of the goose
house) in remembrance of
Symphony No. 5, and the
work ends with Ode to the
Roast Goose (Symphony No.
9). A funny and cleverly
arranged collage, a
performing and listening
pleasure in the footsteps
of Beethoven.
A Bach Quatuor à cordes: 2 violons, alto, violoncelle Editorial de Musica Boileau
String quartet SKU: BO.B.3388 Composed by Jordi Cervello. Instrumental Se...(+)
String quartet
SKU:
BO.B.3388
Composed by
Jordi Cervello.
Instrumental Sets.
Duration 10:12. Published
by Editorial de Musica
Boileau (BO.B.3388).
English
comments: A Bach for
string quartet is another
evocation of the past, in
this case of J.S. Bach's
works for violin. Written
in 2004, it is a
recreation of two of the
most important movements
in the series of Sonatas
and Partitas: The Adagio
of the third Sonata and
the Prelude of the third
Partita (BWV 1005 and
1006, respectively).
Jordi Cervello was a
violinist and, as such,
it should come as no
surprise that he once
again makes use of
compositions written for
his instrument. The
Adagio, here in common
time (the original by
Bach is in three-four
time), keeps up the
constant rhythmic figure
of the dotted quaver and
semi-quaver throughout
the movement, with a
calmness that is shrouded
in mystery. The second
movement, Preludiando,
retains the same lively
spirit as the original,
but explores different
moods. Moments of calm,
vigour and even some
dramatic points give it a
new dimension thanks to
the fact that it is
written for a quartet and
to Cervello's original
treatment of harmony and
counterpoint.
Co
mentarios del
Espanol: A Bach para
cuarteto de cuerda es
otra evocacion del
pasado, en este caso de
la obra para violin de
J.S. Bach. Escrita el ano
2004, se trata de una
recreacion de dos de los
movimientos mas
importantes de la serie
de Sonatas y Partitas: El
Adagio de la tercera
Sonata y el Preludio de
la tercera Partita (BWV
1005 y 1006
respectivamente). Jordi
Cervello fue violinista
y, como tal, no debe
sorprender que una vez
mas se sirva de material
compositivo procedente de
su instrumento. El
Adagio, aqui en compas de
cuatro (el original de
Bach es de tres) conserva
en todo el movimiento la
constante figura ritmica
de corchea con puntillo y
semicorchea, dentro de un
clima sereno pero rodeado
de misterio. El segundo
movimiento, Preludiando,
conserva el mismo
espiritu vivo del
original, pero
recorriendo diferentes
estados de animo.
Momentos de calma, de
vigor e incluso
dramaticos dan nueva
dimension gracias a la
escritura cuartetistica y
al original tratamiento
armonico y
contrapuntistico de
Cervello. A Bach se
estreno en La Pedrera de
Barcelona dentro del
ciclo Celebracions de la
Fundacio Caixa de
Catalunya en el ano 2006
con el Quarteto
Prometeo.
String quartet - difficult SKU: HL.49007611 Composed by Cornelius Uwe Gus...(+)
String quartet -
difficult
SKU:
HL.49007611
Composed
by Cornelius Uwe Gustav
Jenner. Edited by Horst
Hermann Heussner. Sheet
music. Edition Schott.
Classical. Score and
Parts. 148 pages. Schott
Music #ED 7896. Published
by Schott Music
(HL.49007611).
ISBN
9790001081757.
Gust
av Jenner (1865-1920), a
student of Brahms', wrote
only three string
quartets. The Third
String Quartet in F major
was completed in 1911 and
premiered by the Rebner
Quartet. Common to all
Jenner's Quartets is his
way of infusing the
classical model with his
own musical language,
both on an intellectual
plane and from a
technical point of view.
True to the tradition of
the genre, the classical
form of the string
quartet is retained,
without however showing
itself to be a constraint
in the completion of the
cycle. What stands out is
the sophistication of
detail and the purity of
form achieved through
integration of the
elements of composition
and nuances of mood.
String quartet SKU: HH.HH389-FSP Composed by Litha Efthymiou. Two Violins...(+)
String quartet
SKU:
HH.HH389-FSP
Composed
by Litha Efthymiou. Two
Violins, Viola,
Violoncello. Full score
and parts. Duration 10
minutes. Edition HH Music
Publishers #HH389-FSP.
Published by Edition HH
Music Publishers
(HH.HH389-FSP).
ISBN
9790708146032.
The
inspiration for Tread
Softly came from two
contrasting sources: the
religious music of early
medieval Spain, and
Debbie Locke’s
work of art
‘Retracing Your
Steps - Bristol
I’. Although over
a thousand years apart,
these two sources share a
common feature - a
powerful sense of
movement enclosed within
a static form. In early
Spanish music this
manifests in the use of
extended melisma, and in
Locke’s work it is
depicted through the
seemingly moving,
web-like form of the
central image. Tread
Softly explores the idea
of movement within stasis
through the use of a main
melodic gesture that
transforms very slowly,
but constantly,
throughout.
Contemporary String
Quartet Repertoire for
New and Developing
Ensembles - Score/CD.
Composed by Various.
Edited by Liz Partridge.
Boosey & Hawkes Chamber
Music. Classical,
Contemporary. Softcover
with CD. Boosey & Hawkes
#M060130960. Published by
Boosey & Hawkes
(HL.48024118).
'Discover'
Level: An introduction to
quartet ensemble playing
for string players of
grade 1-3 standard.
Familiar keys, common
rhythms and transparent
musical forms ensure the
short pieces and
miniatures featured
within Discover are
accessible to all.
Emphasis is firmly
focussed on playing
together as a unit.
Contents: Mortimer:
Intergalactic Messaging
Mortimer: Sleepy Sawyers:
Copy Cats Scolding:
Clifton Bridge Hewitt
Jones: Ghost Train
Kershaw: Catch Me If You
Can Kershaw: Lullaby for
Lilah Norton: A Relaxed
Mood K. & H.
Colledge: Stargazing
Score/CD.
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.
Composed
by Ulvi Cemal Erkin. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Classical, Contemporary.
Softcover. Composed
1935/1936. 80 pages.
Duration 14'. Schott
Music #ED21652. Published
by Schott Music
(HL.49044199).
ISBN
9790001193740.
9.0x11.75x0.286
inches.
These two
chamber music works are
one of the main focuses
in the oeuvre of Ulvi
Cemal Erkin. Lively and
spirited, they combine
Western European
tradition with rhythmic
and melodic elements from
Turkish folk music. Both
are perfectly suitable
for music lessons and
concert recitals, adding
a new interesting colour
to the common chamber
music repertoire.Erkin
(1906-1972) is one of the
most important composers
of Turkey. He studied
piano and composition in
France and later returned
to his home country where
he became professor in
Ankara.