Boids again Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9383 Composed by Misato Mochizuki. ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9383
Composed
by Misato Mochizuki.
Chamber music; stapled.
Edition Breitkopf. New
music (post-2000). Full
score. Composed
2019/2020. 12 pages.
Duration 7'. Breitkopf
and Haertel #EB 9383.
Published by Breitkopf
and Haertel (BR.EB-9383).
ISBN 9790004188538. 9
x 12 inches.
Two
years ago in Rome, I
encountered a murmuration
of starlings and I was
amazed with its
overwhelming beauty,
changing shape as it
moved. Moving of a fish
school that you can watch
in an aquarium, has the
same beauty and the
energy. According to the
scientists, their fine
movement in a flock is
based on the following
three simple rules: -
steer to avoid crowding
local flockmates - steer
towards the average
heading of local
flockmates - steer to
move towards the average
position (center of mass)
of local flockmates The
word Boids refers to
bird-like objects
(bird-oids), representing
the beauty of their
movements in a flock
which is a result of
balancing out with each
other, following the
principle of least
effort. I wonder if these
rules can be applied to
the way a string quartet
is shaped. Boids again
has been written as a
sequel to the piece Boids
(2017), a 4 minute study
for string quartet in the
frame of the Kronos
Quartet's educational
project 50 for the
Future. (Misato
Mochizuki)
World
premiere: Osaka,
International Chamber
Music Competition,
February 12, 2021
Commissioned by Osaka
International Chamber
Music Competition and
Festa Commission.
Boids again Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9384 Composed by Misato Mochizuki. ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9384
Composed
by Misato Mochizuki.
Chamber music; stapled.
Edition Breitkopf. New
music (post-2000). Set of
parts. Composed
2019/2020. 36 pages.
Duration 7'. Breitkopf
and Haertel #EB 9384.
Published by Breitkopf
and Haertel (BR.EB-9384).
ISBN 9790004188545. 9
x 12 inches.
Two
years ago in Rome, I
encountered a murmuration
of starlings and I was
amazed with its
overwhelming beauty,
changing shape as it
moved. Moving of a fish
school that you can watch
in an aquarium, has the
same beauty and the
energy. According to the
scientists, their fine
movement in a flock is
based on the following
three simple rules: -
steer to avoid crowding
local flockmates - steer
towards the average
heading of local
flockmates - steer to
move towards the average
position (center of mass)
of local flockmates The
word Boids refers to
bird-like objects
(bird-oids), representing
the beauty of their
movements in a flock
which is a result of
balancing out with each
other, following the
principle of least
effort. I wonder if these
rules can be applied to
the way a string quartet
is shaped. Boids again
has been written as a
sequel to the piece Boids
(2017), a 4 minute study
for string quartet in the
frame of the Kronos
Quartet's educational
project 50 for the
Future. (Misato
Mochizuki)
World
premiere: Osaka,
International Chamber
Music Competition,
February 12, 2021
Commissioned by Osaka
International Chamber
Music Competition and
Festa Commission.
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet
SKU:
HL.49045639
Chaconne. Composed
by Fred Lerdahl. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2016.
108 pages. Duration 990
seconds. Schott Music #ED
30174. Published by
Schott Music
(HL.49045639).
ISBN
9781540004796. UPC:
888680710774.
9.5x12.0x0.37
inches.
Chaconne
(2016), for string
quartet, was commissioned
by the Daedalus Quartet
to celebrate its 15th
anniversary. The
commission was supported
by New Music USA, made
possible by annual
program support and/or
endowment gifts from
Pennsylvania Council on
the Arts, Helen F.
Whitaker Fund, and Aaron
Copland Fund for Music.My
music has a substantial
history with Daedalus. I
composed the Third String
Quartet (2008) for them,
and subsequently they
performed my three string
quartets on several
occasions and recorded
them brilliantly on
Bridge Records (Bridge
9352: Music of Fred
Lerdahl, vol. 3).
Chaconne is in one
movement lasting 19
minutes. It is
effectively my fourth
string quartet. Quartets
1-3 form a unified cycle
lasting 70 minutes. When
I finished the cycle, I
thought I would never
write again for the
medium; yet I could not
resist the opportunity of
working again with
Daedalus. The issue was
how to compose another
string quartet unrelated
to the earlier cycle. The
solution came from my
solo cello piece There
and Back Again (2010),
which was based on a
four-bar variation
pattern from a
17th-century chaconne.
Unlike the asymmetrical
phrases and expanding
variations of much of my
music, the chaconne form
requires symmetrical
phrases and strictly
periodic variations. I
wished to work again with
these symmetries but on a
larger scale. Chaconne
also differs in character
and expression from the
three-quartet cycle. The
cycle is inward and
intense, a kind of
psychological excavation.
Chaconne is, for the most
part, transparent and
playful. Many of its
textures emerge from
little canons, not
completely unlike the
rounds that children
sing. Any composer who
writes in chaconne form
(one thinks above all of
the last movement of
Bach's D minor violin
partita and the finale of
Brahms's Fourth Symphony)
is confronted with the
challenge of how to
create a larger form out
of a constantly repeating
pattern.My Chaconne grows
from paired
antecedent-consequent
phrases, each variation
lasting eight bars. The
50 variations group into
three large rotations,
forming three arcs of
tension and relaxation,
with subtle parallel
connections across the
rotations.
Notwithstanding my
attraction to chaconne
form, I purposefully
disguised its symmetries
and periodicities in
order to build an overall
dramatic shape. Fred
Lerdahl.
(Streichquartett nr. 14 / Quatuor A Cordes No. 14). By Antonin Dvorak (1841-1904...(+)
(Streichquartett nr. 14 /
Quatuor A Cordes No. 14).
By Antonin Dvorak
(1841-1904). For 2
violins, viola, cello. In
a folder. The Complete
Works of Antonin Dvorak
IV/7 - B 193. Czech
title: Smy covy kvartet
14 As dur op. 105. Set of
parts. Opus 105, No. 14.
16/16/16/16 pages.
Published by Editio
Baerenreiter Praha
String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.14440265S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440265S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation.
Duration 25 minutes.
Merion Music #144-40265S.
Published by Merion Music
(PR.14440265S).
UPC:
680160027910.
The
Second and Third Quartets
were conceived at the
same time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed. Accordingly,
they share similar
material but, like the
intertwining blood of
cousins, their natures
differ: No. 2 being
somewhat acerbic and
declamatory, No. 3 more
lyric and gentler. An
annunicatory 'leaping
motive' (derived from a
motto generated by my
name) opens Quartet No. 2
and inhabits the course
of the piece as a
cyclical binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
'grammar' spoken tends to
recall the jazz world of
my youth. To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms. The
first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The second
movement is a set of
strophic variants and an
epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
'call-and-response.' It
is dedicated to the
memory of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto. All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For example,
the climax of movement
III's Rondo throws the
first movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda. The Second and
Third Quartets were
conceived at the same
time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed.Â
Accordingly, they share
similar material but,
like the intertwining
blood of cousins, their
natures differ: No. 2
being somewhat acerbic
and declamatory, No. 3
more lyric and gentler.An
annunicatory
‘leaping
motive’ (derived
from a motto generated by
my name) opens Quartet
No. 2 and inhabits the
course of the piece as a
cyclical
binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
‘grammar’
spoken tends to recall
the jazz world of my
youth.To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms.Â
The first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The
second movement is a set
of strophic variants and
an epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
‘call-and-response.
’ It is
dedicated to the memory
of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto.All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For
example, the climax of
movement III’s
Rondo throws the first
movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda.
Christmas Pops Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire Latham Music Enterprises
Grade 3 SKU: AP.36-52703290 Composed by Steve Mauldin. This edition: Lath...(+)
Grade 3
SKU:
AP.36-52703290
Composed by Steve
Mauldin. This edition:
Latham Music. Performance
Music Ensemble; Quartet;
Solo Small Ensembles;
String Quartet.
LudwigMasters - Latham
Music. Score and Part(s).
Latham Music Enterprises
#36-52703290. Published
by Latham Music
Enterprises
(AP.36-52703290).
ISBN
9781628761672. UPC:
830056002907.
English.
Here are
some swinging holiday
arrangements for the
medium-easy level and up.
Easy to read and quick to
learn, this collection
will be used again and
again. Includes Winter
Wonderland; Jingle Bell
Rock; Santa Claus Is
Coming to Town; Frosty
the Snowman and Let It
Snow!
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
(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
(Parts). Composed by Antonin Dvorak (1841-1904). Edited by Peter Jost. For Strin...(+)
(Parts). Composed by
Antonin Dvorak
(1841-1904). Edited by
Peter Jost. For String
Quartet (Parts). Henle
Music Folios. Softcover.
G. Henle #HN1232.
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.