Quartet Sant Petersburg Quatuor à cordes: 2 violons, alto, violoncelle Editorial de Musica Boileau
String quartet SKU: BO.B.3664 Composed by Jordi Cervello. Published by Ed...(+)
String quartet
SKU:
BO.B.3664
Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3664).
Cuarteto San
Petersburgo (The Saint
Petersburg Quartet) was
written between January
and March 2011. It owes
its name to the fact that
Saint Petersburg has been
a very significant city
for me. I was invited
there in 1988 to take
part in a big
contemporary music
festival, but my
uninterrupted bond with
the city started on 2002,
thanks to the
negotiations of my friend
and pupil Albert Barbeta.
Since then, I have
constantly travelled
there in order to record
a considerable part of my
repertoire: seventeen
pieces. In addition to
the concerts we went to,
I took the opportunity
during my trips to visit
the well-known
conservatoire where so
many great personalities
from the world of music
composition once taught,
and the place that
launched the most
important violin school
in the whole of Russia:
the school of Leopoldo
Auer. Spending a long
time in Auer's classroom
writing my concert for
violin and orchestra was
an unforgettable
experience for me. His
large portrait motivated
me even
further.
Cuartet
o San Petersburgo evokes
many of the most
cherished and moving
moments that I have had
in this city. It is
structured in four
movements. The first one,
Allegretto-Allegro, opens
with an introduction that
sets forth the two main
themes, amid a soft and
elastic atmosphere. The
Allegro starts vigorously
and in it we find changes
in the tempo and moments
of mystery, as well as
certain seclusion,
returning then to the
emphatic theme where the
counterpoint finds its
place. The movement ends
placidly.
The
Scherzo-marcato that
follows is marked by a
persistent rhythm of
triplets that carries on
from beginning to end.
The tempo does not
change, but brief and
decided themes are
introduced, as well as
passages of counterpoint.
Brief and dissonant
chords are heard
throughout the movement,
which ends
vigorously.
The
third movement, Ut, is a
very special one. For a
while already I had been
playing with the idea of
writing a movement that
was to have the tonality
C as a leitmotiv. This
one is made up by two
slow and static parts. In
the first one, the first
violin plays
pizzicatti-glissandi. In
the second, the first
violin and particularly
the violoncello settle on
C while the other two
instruments produce
descending chromatic
harmonies.
Final
ly, the
Introduccion-Presto (the
Introduction-Presto). It
starts with some bucolic
passages which remind us
of the introduction to
the first movement. A
fast and energetic Presto
suddenly erupts. A kind
of moto perpetuo which
alternates with two
expressive passages and,
towards the end, a viola
and violoncello tremolo,
all of great mystery and
expectation, make way for
a resounding finale
marcato.
String Quartet (2vl,va,vc) SKU: BR.EB-9259 Composed by Manuela Kerer. Cha...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9259
Composed
by Manuela Kerer. Chamber
music; stapled. Edition
Breitkopf.
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017
Music
post-1945; New music
(post-2000). Full score.
Composed 2016/17. 32
pages. Duration 15' -
18'. Breitkopf and
Haertel #EB 9259.
Published by Breitkopf
and Haertel (BR.EB-9259).
ISBN 9790004185599. 9
x 12 inches.
When
Hugo Ticciati asked me to
write a new piece for his
quartet, I was
immediately enthusiastic
about this project. I
love how Hugo and his
O/MODERNT String Quartet
unite old and new music
in a completely natural
way. So, I was absolutely
excited about Hugo`s idea
of having my piece based
on two of my idols, Bach
and Beethoven,
deconstructing the one
and constructing the
other. With all my
respect for these great
composers I gave to the
piece a very personal
inner part consisting of
my own music that
influenced and inspired
the other parts. For the
whole piece I felt very
close to Beethoven, who
said: To make a fugue is
not art, which [is
something] I have made
dozens of times in my
study. But the
imagination will assert
its rights and must come
today, in light of the
old traditional form, to
another truly poetic
element. De/Con is a
travel into different
centuries with different
sound-languages. For me,
it was like having a
wonderful constructive
discussion with Johann
Sebastian Bach and Ludwig
van Beethoven, each of us
trying to speak our own
language, approaching the
others step by step. The
piece could be defined as
a Love Letter to two of
the greatest composers
ever. De/Con could be
preceded by (parts of)
Johann Sebastian Bach's
Die Kunst der Fuge (The
Art of the Fugue) and
succeeded by Ludwig van
Beethoven's Grosse Fuge
(Great Fugue). Ideally,
then, all parts should be
played attacca. It could,
but it hasn't to be
played with these two
pieces. (Manuela
Kerer)
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017.
String Quartet (2vl,va,vc) SKU: BR.EB-9260 Composed by Manuela Kerer. Cha...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9260
Composed
by Manuela Kerer. Chamber
music; Folder. Edition
Breitkopf.
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017
Music
post-1945; New music
(post-2000). Set of
parts. Composed 2016/17.
32 pages. Duration 15' -
18'. Breitkopf and
Haertel #EB 9260.
Published by Breitkopf
and Haertel (BR.EB-9260).
ISBN 9790004185605. 9
x 12 inches.
When
Hugo Ticciati asked me to
write a new piece for his
quartet, I was
immediately enthusiastic
about this project. I
love how Hugo and his
O/MODERNT String Quartet
unite old and new music
in a completely natural
way. So, I was absolutely
excited about Hugo`s idea
of having my piece based
on two of my idols, Bach
and Beethoven,
deconstructing the one
and constructing the
other. With all my
respect for these great
composers I gave to the
piece a very personal
inner part consisting of
my own music that
influenced and inspired
the other parts. For the
whole piece I felt very
close to Beethoven, who
said: To make a fugue is
not art, which [is
something] I have made
dozens of times in my
study. But the
imagination will assert
its rights and must come
today, in light of the
old traditional form, to
another truly poetic
element. De/Con is a
travel into different
centuries with different
sound-languages. For me,
it was like having a
wonderful constructive
discussion with Johann
Sebastian Bach and Ludwig
van Beethoven, each of us
trying to speak our own
language, approaching the
others step by step. The
piece could be defined as
a Love Letter to two of
the greatest composers
ever. De/Con could be
preceded by (parts of)
Johann Sebastian Bach's
Die Kunst der Fuge (The
Art of the Fugue) and
succeeded by Ludwig van
Beethoven's Grosse Fuge
(Great Fugue). Ideally,
then, all parts should be
played attacca. It could,
but it hasn't to be
played with these two
pieces. (Manuela
Kerer)
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017.
String Quartet - Grade 5 SKU: HL.14042989 Composed by Pelle Gudmundsen-ho...(+)
String Quartet - Grade 5
SKU: HL.14042989
Composed by Pelle
Gudmundsen-holmgreen.
Music Sales America.
Classical. Softcover.
Composed 2014. Edition
Wilhelm Hansen #WH31937.
Published by Edition
Wilhelm Hansen
(HL.14042989).
ISBN
9788759829240.
English.
All In One for
3 String Quartets was
composed by Pelle
Gudmundsen-Holmgreen
in 2013 (String Quartet
No.12,13 and 14 played
simultaneously).
Gudmundsen
-Holmgreen has written a
collection of three new
string quartets: String
Quartet no. 12,
‘Each in
Each’; String
Quartet no. 13,
‘Mutual
Ordering’, and
String Quartet no. 14,
‘Well-Tuned
Sounds’. Each
quartet can be played on
its own; they can also
played simultaneously in
any combination. When all
three quartets are played
together, as they are
tonight, the combined
work is titled All in
One. About this
collection,
Gudmundsen-Holmgreenwrite
s:
'Some
years ago Kronos and the
vocal group Theatre of
Voices performed three
new pieces, which I had
written for the two
groups: one for Theatre
of Voices (Green), and
two for Kronos (New
Ground and No Ground).
They were played and sung
by each group
independently – but
also both groups together
concurrently, on top of
each other, as a final
gesture. The combined
pieces were called New
Ground Green and No
Ground
Green.
'David liked the idea
(and the result) of pairs
of quartets that could be
played both independently
and simultaneously, and
asked me if the vocal
quartet could be
transformed into a string
quartet. It could not. He
then asked me to repeat
the whole set-up with a
new pair of quartets,
adding also some
percussion instruments,
as was the case with
Green for Theatre of
Voices. Of course this
was tempting. Furthermore
David asked me to make
one of the two new
quartets a little easier
to play. 'I began to
work. The Kronos part of
the pair of quartets
turned out to be tough to
play, as David puts it.
Unfortunately the
‘easier’ one
was tough to play also!
So I had to write one
more, which was then a
little easier still (but
still not easy).
'The three new works can
be played separately and
on top of each other in
many different
combinations, resulting
in different kinds
of.
Parts. Composed by
Simon Holt. Music Sales
America. Classical,
Contemporary. Softcover.
Chester Music #CH8277501.
Published by Chester
Music (HL.14043782).
8.5x11.75x0.3
inches.
Simon Holt
's 3rd Quartet is the
third of six pieces which
make up a cycle with the
overall title 'Terrain'.
Lasting around 23
minutes, this wonderful
work is arranged for
String Quartet and was
co-commissioned by The
Radcliffe Trust, NMC
Recordings,
Internationales
Musikfestival
Heidelberger Fruhling and
Wigmore Hall. The
premiere was performed on
19th January
2015. This is the
set of parts for 2
Violins, Viola and Cello.
The six different
compositions, of which
3rd Quartet is
the third, are for
different combinations of
stringed instruments,
featuring Piano in the
second piece. The music
that comprises 3rd
Quartet is drawn
from the other parts
ofthe cycle as a whole,
yet in a reverse order.
In this way the piece
develops what has come
before, foreshadows
what's to come, all the
while encompassing the
entire cycle in a single
piece.
Score. Composed by
Simon Holt. Music Sales
America. Classical,
Contemporary. Softcover.
44 pages. Chester Music
#CH82775. Published by
Chester Music
(HL.14043783).
8.25x11.75
inches.
Simon Holt
's 3rd Quartet is the
third of six pieces which
make up a cycle with the
overall title 'Terrain'.
Lasting around 23
minutes, this wonderful
work is arranged for
String Quartet and was
co-commissioned by The
Radcliffe Trust, NMC
Recordings,
Internationales
Musikfestival
Heidelberger Fruhling and
Wigmore Hall. The
premiere was performed on
19th January 2015. The
six different
compositions, of which
3rd Quartet is
the third, are for
different combinations of
stringed instruments,
featuring Piano in the
second piece. The music
that comprises 3rd
Quartet is drawn
from the other parts of
the cycle as a whole, yet
in a reverse order. In
this way the
piecedevelops what has
come before, foreshadows
what's to come, all the
while encompassing the
entire cycle in a single
piece.
String Quartet No. 1 Quatuor à cordes: 2 violons, alto, violoncelle Bote and Bock
String Quartet (Score & Parts) SKU: HL.48024228 Composed by Isang Yun. Bo...(+)
String Quartet (Score &
Parts)
SKU:
HL.48024228
Composed
by Isang Yun. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 110
pages. Bote & Bock
#M202534748. Published by
Bote & Bock
(HL.48024228).
ISBN
9781540057310. UPC:
888680949266. 9x12
inches.
For Isang
Yun, String Quartet No. 3
from 1959 marked the
beginning of his European
creative phase and of his
official canon of works.
Now it is possible to
encounter Yun's early
works from his Korean
period in the form of his
String Quartet No. 1
(1955). Three important
10-minute movements
containing references not
only to Asia but also to
Ravel, Bartók and
Eastern European folk
musicand having an
idiosyncratic structure:
“Yun lines up forms
and figures, makes them
emerge from each other in
a contrasting manner and
assembles them into a
mosaic-like whole,
seeking for integration,
laying down his material
in layer upon layer and
ending the movements with
a rhythmic unison. []
Even then, he probably
regarded a work of art as
an energetic stream of
sounds and as a
reflection of a world
whose diverging parts
weave into a harmonic
whole.”
(Walter-Wolfgang
Sparrer).
Set
(Score & Parts). 106
pages. Bote & Bock
#BB3474. Published by
Bote & Bock (BT.BB3474).
ISBN
9783793141716.
F
or Isang
Yun, String
Quartet No. 3 from 1959
marked the beginning of
his European creative
phase and of his official
canon of works. Now it is
possible to encounter
Yun's early works from
his Korean period inthe
form of his String
Quartet No. 1
(1955). Three important
10-minute movements
containing references not
only to Asia but also to
Ravel, Bartók and
Eastern European folk
music and having an
idiosyncraticstructure:
Yun lines up forms and
figures, makes them
emerge from each other in
a contrasting manner and
assembles them into a
mosaic-like whole,
seeking for integration,
laying down his material
in layer upon layer and
endingthemovements with a
rhythmic unison.
[…] Even then, he
probably regarded a work
of art as an energetic
stream of sounds and as a
reflection of a world
whose diverging parts
weave into a harmonic
whole.
(Walter-WolfgangSparrer)<
/p>
Soprano voice and string quartet - difficult SKU: HL.49007921 By Rober...(+)
Soprano voice and string
quartet - difficult
SKU: HL.49007921
By Robert Schumann,
op. 107. Composed by
Robert Schumann. Arranged
by Aribert Reimann. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score and
Parts. 56 pages. Duration
10'. Schott Music #ED
8329. Published by Schott
Music (HL.49007921).
ISBN 9790001111911.
9.0x12.0x0.238
inches.
In these
lieder, Robert Schumann
seems to mirror his life
full of crises. The
composition coincides
with the first
signs of his illness. The
picture of the drowning
Ophelia evoked in the
first chant
conjures up the image of
his suicide attempt three
years later. Aribert
Reimann's transcription
seems to be opposed to
Schumann's endeavours to
make stronger use of 'the
development of the
accompanying instrument,
the piano'. On the other
hand, the complete
integration of the vocal
part in the musical
setting of the string
quartet confirms
Schumann's assessment
that the singing voice
alone cannot 'express
everything; apart from
the expression of the
whole, even subtle
nuances of the poem shall
become apparent'. These
transcriptions show
Reimann's sense of timbre
and his many years of
experience as a lied
accompanist.