2nd
string quartet.
Composed by Joerg
Widmann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Score and Parts. Composed
2003/2006. 32 pages.
Duration 16'. Schott
Music #ED9748. Published
by Schott Music
(HL.49033269).
ISBN
9790001136853. UPC:
884088567088.
9.0x12.0x0.092
inches.
My 2nd
string quartet is one
single slow movement. The
piece does not directly
reflect Joseph Haydn's
Seven Last Words but I
would not have been able
to write it without
knowing that work. The
movements in Haydn's
quartets (except the
final earthquake) are
slow movements of
shocking forcefulness.
What makes the work even
more unsettling for me is
the relaxed and cheerful
acceptance of death (the
'smile' of the A major
pizzicato thirds!). When
I made myself familiar
with the subject matter
of crucifixion I
discovered that terms
like 'walking' and 'the
last walk' were most
important to me. My piece
starts at the final stage
of this experience. It
contains a number of lost
sounds, phrases of
futility which come from
nowhere and lead to
nowhere. The horrifying
rubbing and sanding of
skin and wood become the
'theme' of the piece
which is combined with
tonal, choral-like
melodies. I am interested
in how to make noises no
longer symbolize
desolation and tonal
phrases no longer
represent confidence.-
Jorg Widmann.
3rd
string quartet.
Composed by Joerg
Widmann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Score and parts. Composed
2003. 112 pages. Duration
12'. Schott Music
#ED9749. Published by
Schott Music
(HL.49033270).
ISBN
9790001136860.
9.25x12.0x0.3
inches.
The
Jagdquartett (Hunt
Quartet), which Jorg
Widmann wrote as his
third string quartet in
2003, following the
Choralquartett, also
begins with a visible
gesture. After a short
signal cry from the
performers, the piece
starts by quoting Robert
Schumann's Papillons op.
2, and for its full
duration retains this
gesture, these starting
sounds. The degrees of
recognizability do change
continuously, to be sure,
in the furious, racing
organism of the score.
The contours change into
forms on another level,
yet now and then the
begining material returns
clearly to the fore,
initiated anew by a cry
from the performers, and
is then digested or
mutated as a rhythmic
study into a field of
harmonic experimentation.
On rare occasions, there
are moments of pause - as
though the musicians were
testing the atmosphere,
as though they were
sensing the weather, so
as ultimately to continue
playing the quartet
across the fields an
forests of notes. A hunt
after joyful performance,
a chase, the whip
cracking, after the thing
to be shot, the sound,
its performer, perhaps
the composer himself? - A
last shout, morendo, dal
niente... - The victim is
not the audience, at any
rate.When comparing the
output of string quartets
from the 18th century to
thetime of Schumann, it
appears to have dropped
considerably. Schumann
composed only three
complete quartets, all of
them in the so-called
'chamber music year'
1842. Jorg Widmann, who
counts Robert Schumann
among his greatest
inspirations, finished a
series of five string
quartets in 2005, at the
same age as Schumann. The
quartets in the cycle
form in themselves the
characters of the
movements of the
classical quartet.
Jagdquartett represents
the fast middle movement,
the scherzo. Widmann's
work appears rough and
wild in the style of
Schumann's alter ego
Florestan. His hunt
begins in the tempo of
'allegro vivace assai'
with the final theme of
Schumann's Papillons
which often appears or is
cited in many of
Schumann's compositions.
Widmann eventually
dismantles the thematic
material of his fierce
quartet, thus
skeletonising his
prey.
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.
Tarantella Quatuor à cordes: 2 violons, alto, violoncelle Carl Fischer
Choral String Quartet SKU: CF.CM9348M Score and Parts. Composed by...(+)
Choral String Quartet
SKU: CF.CM9348M
Score and Parts.
Composed by Z. Randall
Stroope. Patriotic.
Performance Score. With
Standard notation.
12+2+2+2+2 pages. Carl
Fischer Music #CM9348M.
Published by Carl Fischer
Music (CF.CM9348M).
String Quartet - Grade 4 SKU: HL.14001159 Composed by Bent Sorensen. Musi...(+)
String Quartet - Grade 4
SKU: HL.14001159
Composed by Bent
Sorensen. Music Sales
America. Classical.
Studyscore. Composed
2005. 28 pages. Edition
Wilhelm Hansen #WH30120B.
Published by Edition
Wilhelm Hansen
(HL.14001159).
ISBN
9788759805527. UPC:
888680792657.
8.25x11.75x0.106
inches.
Study score
to Bent Sorensen's Adieu
for String Quartet. 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
monks, 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. Bent Sorensen.
Appony-Quartet No.
2. Composed by Franz
Joseph Haydn. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Op. 71/2. 22 pages.
Eulenburg Edition
#ETP145. Published by
Eulenburg Edition
(HL.49015903).
ISBN
9783795763466. UPC:
073999317336.
5.25x7.5x0.098
inches.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
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covering large part of
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