The Four Quarters Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Faber Music Limited
Composed by Thomas Ades (1971-). Masterworks; Quartet; Solo Small Ensembles; Str...(+)
Composed by Thomas Ades
(1971-). Masterworks;
Quartet; Solo Small
Ensembles; String
Quartet. Faber Edition.
20th Century; Masterwork.
Score. Faber Music
#12-0571540112. Published
by Faber Music
(AP.12-0571540112).
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.
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.
SKU: AP.1-ADV6403 For String Quartet. Arranged by Dennis C. Anders...(+)
SKU: AP.1-ADV6403
For String
Quartet. Arranged by
Dennis C. Anderson.
Quartet; Solo Small
Ensembles; String
Quartet. Advance Music:
Holiday Celebration
Series. Form: Medley.
Christmas; Sacred;
Secular; Traditional;
Winter. Score and
Part(s). Advance Music
#01-ADV6403. Published by
Advance Music
(AP.1-ADV6403).
UPC:
805095064032. English.
Traditional 18th Century
Carols.
Featuring
God Rest Ye Merry
Gentlemen, and Deck the
Halls with Bows of Holly,
this well-crafted
coupling of two popular
Christmas carols has been
arranged for string
quartet. Ideal for
holiday programming or as
an encore piece.
Beatles for 4 Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1175785-070 Composed by John Le...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1175785-070
Composed by John Lennon
and Paul McCartney.
Arranged by Anthony
Gröger. De Haske Pops
for String Quartet. Set
(Score and Parts).
Composed 2017. 12 pages.
De Haske Publications
#DHP 1175785-070.
Published by De Haske
Publications
(BT.DHP-1175785-070).
ISBN 9789043152877.
International.
In
the entire history of pop
and rock, no band has so
dominated the music scene
as original brit-poppers
the Beatles did in the
1960s. For this medley
for string quartet, four
songs were selected that
show the musical range of
the Fab Four: from the
powerful Help!
through the romantic
evergreen
Yesterday and the
rock classic A Hard
Dayâ??s Night to the
passionate anthem All
You Need Is Love.
In de Pop and
Rock geschiedenis heeft
geen enkele ander band de
muziekscene zo
gedomineerd als The
Beatles tijdens de jaren
zestig. In deze medley
voor strijkkwartet zijn
vier songs geselecteerd
die de muzikale
verscheidenheid van de
Fab Four goed
weerspiegelen: van het
krachtige Help!
via de romantische
evergreen
Yesterday en de
rockklassieker A Hard
Dayâ??s Night tot
het hartstochtelijke
All You Need Is
Love.
In der
gesamten Geschichte der
Pop- und Rockmusik gab es
keine andere Band, die
die Musikszene so
beherrscht hat, wie es
bei der britischen
Popband The Beatlesâ??
in den 1960er Jahren der
Fall war. Für dieses
Medley für
Streichquartett wurden
vier Stücke
ausgewählt, welche die
musikalische Bandbreite
der Fab Fourâ??
(berühmten Vierâ??)
zeigen: vom
mitreiÃ?enden
Help! über den
klassischen Evergreen
Yesterday und den
Rock-Klassiker A Hard
Dayâ??s Night bis
hin zu der
leidenschaftlichen Hymne
All You Need Is
Love.
'In Flight Music'.
Composed by Edward Cowie.
This edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed
1982-1983. 122 pages.
Duration 15'. Schott
Music #ED13390. Published
by Schott Music
(HL.49043938).
ISBN
9790220133923.
9.25x12.0x0.494
inches.
The 3rd
String Quartet was
originally composed in
1982-3 to a commission
from The Adelaide
Festival, and premiered
by The Petra Quartet in
1983. Subsequent to this
quartet, I have composed
two more; No. 4 in 1986
and No. 5 in 2002.The
offer to re-publish this
work, led me to begin by
a process of amendment,
but ended in the
composition of a
virtually new quartet!
Only parts of the
original quartet have
been retained. I also
chose to 'frame' (in my
case this means an
inspirational focus and
filter), the quartet in a
new way too.In Flight
Music keeps the
4-movement format of the
original quartet, but is
now directly linked to a
life-long interest in
flight. The first two
movements are concerned
with aspects of humans in
flight, whilst the last
two deal with insects and
birds respectively.Since
all my music is these
days preceded by
visualisations in the
form of drawings,
wherever possible, this
quartet might be
performed with the four
drawings, one for each
movement, back-projected
behind the
players.Digital copies of
these drawings may be
obtained from Schott
Music.Edward
Cowie.Maurens. France.
August, 2010.
String quartet SKU: M7.DOHR-88815 Variations for String Quartet. C...(+)
String quartet
SKU:
M7.DOHR-88815
Variations for String
Quartet. Composed by
Adrian Connell. Sheet
music. Score and parts.
48 pages. Duration 15'.
MDS (Music Distribution
Services) #DOHR 88815.
Published by MDS (Music
Distribution Services)
(M7.DOHR-88815).
ISBN
9790202098158.
On
the workFor many years I
was the director of
festive music at our
local church in
Orpington. I always
carried a little music
notebook on me for use
during the sermons. I
remember writing a series
of notes, as a challenge
to use as a melody when I
got home, then I realised
it used all twelve notes
of the scale. Having been
penned during a sermon, I
decided to use this as a
structure. The tone row
became the sermon and the
following variations the
reactions to this sermon.
As a clue to the ideas
behind the music, I added
sectional headings to
each variation. While
this is a serious work
musically, it is actually
meant to be a piece of
fun! (Adrian
Connell)Duration: 15
minutes.
Nocturnal - Partitur Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Music Sales
Trombone, String Quartet SKU: HL.14023162 Composed by Bent Sorensen. Musi...(+)
Trombone, String Quartet
SKU: HL.14023162
Composed by Bent
Sorensen. Music Sales
America. Classical.
Score. 28 pages. Music
Sales #KP01123. Published
by Music Sales
(HL.14023162).
ISBN
9788759860960.
Danish.
Nocturnal
(1998-2001) for Trombone
and String Quartet was
composed by Bent Sorensen
. Progamme note: The two
movements of Nocturnal
were written with a gab
of three years. The last
movement, which bears the
title The Wings of Night,
was commisioned by Warsaw
Autumn in 1998, while the
first movement -
Mondnacht - was
commisioned for Ultima
Festival in Oslo in 2001.
Despite the three years
gab, these are not two
separate pieces which
have been linked
together. The sketches
for the first movement
were begun immediately
after the first
performance of the second
movement in Warsaw 1998.
As the title suggests,
there is a nocturnal
atmosphere in the work.
In the first movement
weare perhaps in a park
and notice the shadows of
the clouds passing the
bright moon. In the short
second movement we are
perhaps with
Shakespeare's Juliet,
calling for love, calling
for the night: Come
night, come Romeo, come,
thou day in night, For
thou wilt lie upon the
wings of night Whither
than snow upon a raven's
back. ...perhaps we are
elsewhere - at night!
Nocturnal was written for
Christian Lindberg and
the Arditti Quartet and
premiered in Oslo in
2001.