(Study Score). Composed by Antonin Dvorak (1841-1904). Edited by Peter Jost. For...(+)
(Study Score). Composed
by Antonin Dvorak
(1841-1904). Edited by
Peter Jost. For String
Quartet (Study Score).
Henle Study Scores.
Softcover. G. Henle
#HN7232. Published by G.
Henle
String Quartet SKU: HL.14023641 Composed by Michael Nyman. Music Sales Am...(+)
String Quartet
SKU:
HL.14023641
Composed
by Michael Nyman. Music
Sales America. 20th
Century. Score. Composed
1993. 80 pages. Chester
Music #CH61116. Published
by Chester Music
(HL.14023641).
ISBN
9780711964082.
9.0x12.0x0.219
inches.
String
Quartet No.4 was written
for the Camilli Quartet
who gave the first
performance at the Queen
Elizabeth Hall, London,
April 1995. It is
dedicated to the memory
of Nyman's composition
teacher, Alan Bush. This
quartet is a narrative
made up of a chain of
twelve complete but often
cross-related movements,
each quite simple in
design. For instance, the
Scottish melody first
heard in the second half
of I is hinted at in the
2nd violin/viola in the
second fast section of II
and is directly quoted
again during III and XII.
The theme of the fast
section of IV is taken up
again in VIII; IX reverts
to the mood of the
opening of I, while the
rising scale/syncopated
themes of II, IX and the
bass of X and XII are
related. X also
reintroduces the slow
harmonics theme from VII.
XII is (apparently) cast
in the form of a baroque
French rondeau. The main
theme of VI was plucked
out of the Quartet and
used in my score for
Christopher Hampton's
film Carrington. Duration
40 minutes. A set of
parts is available for
sale.
Love Begins Again Quatuor à cordes: 2 violons, alto, violoncelle - Facile Editions Marc Reift (Swiss import)
String Quartet - Grade 2+ SKU: MA.EMR-58133 Composed by Jan Pfeiffer. Arr...(+)
String Quartet - Grade 2+
SKU: MA.EMR-58133
Composed by Jan Pfeiffer.
Arranged by Jirka Kadlec.
Score and parts. Duration
2'49. Editions Marc Reift
#EMR 58133. Published by
Editions Marc Reift
(MA.EMR-58133).
Composed
by Richard Wernick.
Premiered by the
Juilliard String Quartet,
Perelman Theater,
Philadelphia Chamber
Music Society;
Philadelphia, PA.
Contemporary. Score. With
Standard notation.
Composed February 19
2015. 27 pages. Duration
19 minutes. Theodore
Presser Company
#114-41733S. Published by
Theodore Presser Company
(PR.11441733S).
UPC:
680160631865.
Strin
g Quartet No. 9 is the
fourth that Wernick has
written for the Juilliard
Quartet. A commission by
the Philadelphia Chamber
Music Society, Wernick's
ninth string quartet was
premiered by the
Juilliard in November,
2015 and subsequently
taken on tour. The first
movement's affect (marked
'Assertive, Aggressive')
[compares] to Rockport's
forbidding coastline in
the eyes of the first.
settlers. This was an apt
analogy since the work's
musical language is, in
today's vernacular,
'gnarly.' [The second
movement]...a
'never-ending throb of
repeated notes'...the
effect of steadily
diminishing life-force,
though with a 'final
burst of hope from the
solo cello.' Again, the
composer made intriguing
use of many of the
different ways stringed
instruments can produce
sound. Geoffrey Wieting,
The Boston Musical
Intelligencer.
Composed
by Richard Wernick.
Premiered by the
Juilliard String Quartet,
Perelman Theater,
Philadelphia Chamber
Music Society;
Philadelphia, PA.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed February 19
2015. 27+8+8+8+8 pages.
Duration 19 minutes.
Theodore Presser Company
#114-41733. Published by
Theodore Presser Company
(PR.114417330).
UPC:
680160631841.
Strin
g Quartet No. 9 is the
fourth that Wernick has
written for the Juilliard
Quartet. A commission by
the Philadelphia Chamber
Music Society, Wernick's
ninth string quartet was
premiered by the
Juilliard in November,
2015 and subsequently
taken on tour. The first
movement's affect (marked
'Assertive, Aggressive')
[compares] to Rockport's
forbidding coastline in
the eyes of the first.
settlers. This was an apt
analogy since the work's
musical language is, in
today's vernacular,
'gnarly.' [The second
movement]...a
'never-ending throb of
repeated notes'...the
effect of steadily
diminishing life-force,
though with a 'final
burst of hope from the
solo cello.' Again, the
composer made intriguing
use of many of the
different ways stringed
instruments can produce
sound. Geoffrey Wieting,
The Boston Musical
Intelligencer.
Cello, Viola, 2 Violins SKU: HU.HN1224 Composed by George Gershwin. Edited by N...(+)
Cello, Viola, 2 Violins
SKU: HU.HN1224
Composed by George
Gershwin. Edited by
Norbert Gertsch. String
Quartet, Strings,
Ensembles. Lullaby for
String Quartet. Set of
Parts. G. Henle #HN1224.
Published by G. Henle
(HU.HN1224).
12.2 x 9.3 x 0.1 inches.
In 1919-20 George
Gershwin was making a
name for himself with
Broadway songs and a
first show of his own in
New York. But he was
already attracted to the
world of classical music
- a world he would enter
with a bang in 1924 with
his "Rhapsody in blue".
He prepared himself for
this by taking an
intensive course in
composition, during which
he wrote this brief
"Lullaby" for string
quartet as an exercise,
probably in 1919. He
liked its catchy melody
so much that he later
used it again in his
one-act "jazz opera"
"Blue Monday Blues". "I
find the piece charming
and kind", wrote his
brother Ira in 1968 when
the quartet movement
appeared in print for the
first time. Thus the
world was given a second
lullaby by this American
composer - one worthy to
stand alongside his
famous "Summertime" from
"Porgy and Bess".
Over the Rainbow Quatuor à cordes: 2 violons, alto, violoncelle [Partition + CD] Santorella Publications
(from The Wizard of Oz ). Composed by Harold Arlen. Arranged by Michael Tarro. ...(+)
(from The Wizard of Oz
). Composed by Harold
Arlen. Arranged by
Michael Tarro. For string
quartet. Score and 2
play-along CDs. Published
by Santorella
Publications
String Quartet SKU: HL.14030978 Parts. Composed by Wilhelm Hansen....(+)
String Quartet
SKU:
HL.14030978
Parts. Composed by
Wilhelm Hansen. Music
Sales America. Classical.
Set of Parts. Edition
Wilhelm Hansen #KP00248.
Published by Edition
Wilhelm Hansen
(HL.14030978).
ISBN
9788759877142. UPC:
888680792640.
9.75x14.5x0.141
inches.
Score
available: KP30120 The
composer writes: The slow
choral-like music which
initiates Adieu was the
result of an image or
almost a dream that I
had. Without being able
to explain why, I
imagined a procession of
people, maybe medieval
munks, wearing large gray
mantles with
Ku-Klux-Klan-like white
cowls on their heads,
something like a funeral
procession. The title
Adieu is partly a comment
on this funeral
procession, but also used
because the piece is
split up by three
slow-ascending glissandi,
a kind of farewell
glissandi which removes
the intervening music.
The first absorbing
glissando is soft and
removes both the slow
funeral choral and the
agitating figures in the
first half of the piece.
The second glissando is
given only to the cello
and crawls out from the
elegiac melodies in the
middle part. The third
and final glissando is
intense and agitating,
and prepares the way for
the end of the piece.
This end primarily deals
with the relationship
fast - slow. This
relationship is turned
topsy turvy: the music
gets faster and faster
until it is so fast that
it suddenly becomes slow,
so slow in fact that it
is very quickly able to
become extremely fast
again.
String Quartet SKU: HL.14030979 Score. Composed by Bent Sorensen. ...(+)
String Quartet
SKU:
HL.14030979
Score. Composed by
Bent Sorensen. Music
Sales America. 20th
Century. Edition Wilhelm
Hansen #KP30120.
Published by Edition
Wilhelm Hansen
(HL.14030979).
Parts
available: KP00248 The
composer writes: The slow
choral-like music which
initiates Adieu was the
result of an image or
almost a dream that I
had. Without being able
to explain why, I
imagined a procession of
people, maybe medieval
munks, wearing large gray
mantles with
Ku-Klux-Klan-like white
cowls on their heads,
something like a funeral
procession. The title
Adieu is partly a comment
on this funeral
procession, but also used
because the piece is
split up by three
slow-ascending glissandi,
a kind of farewell
glissandi which removes
the intervening music.
The first absorbing
glissando is soft and
removes both the slow
funeral choral and the
agitating figures in the
first half of the piece.
The second glissando is
given only to the cello
and crawls out from the
elegiac melodies in the
middle part. The third
and final glissando is
intense and agitating,
and prepares the way for
the end of the piece.
This end primarily deals
with the relationship
fast - slow. This
relationship is turned
topsy turvy: the music
gets faster and faster
until it is so fast that
it suddenly becomes slow,
so slow in fact that it
is very quickly able to
become extremely fast
again.