Parts. Composed by
Poul Ruders. Music Sales
America. Classical.
Softcover. 34 pages.
Music Sales #KP00246.
Published by Music Sales
(HL.14028046).
ISBN
9788759859377.
9.5x14.25x0.12 inches.
International (more than
one
language).
Score
available: KP00247 Ruders
writes: Quartet No. 3
Motet was written in
1979, commissioned by the
Lerchenborg music-week of
1979 during which it was
first performed by
Quatuor Bernede. This
short one-movement
quartet is a kind of
modernization of the 14th
century French motets, a
cadeau to this weird and
fantastic music whose
abstract and almost
deprecatory, introvert
expression appears
unaccountably modern and
incredibly ancient at the
same time. Motet is a
sober, cool treatise on
rhythm and statics,
depicted in a Gothic,
crypt-like atmosphere.
The almost completely
non-vibrato movement is
suggestive of boys'
choir, monks'
processions, and the
piercing sound of musical
glasses. An ancient world
is reborn and becomes the
world of today.
String Quartet SKU: HL.49047454 Score and Parts. Composed by Julia...(+)
String Quartet
SKU:
HL.49047454
Score
and Parts. Composed
by Julian Anderson.
String Ensemble. Chamber,
Classical. Softcover. 148
pages. Duration 1380
seconds. Schott Music
#ED13989. Published by
Schott Music
(HL.49047454).
UPC:
842819101086.
9.0x12.0x0.358
inches.
My 3rd
String Quartet is in six
contrasted movements.
Certain musical figures
recur across the work,
but there are few themes
as such. The main
emphasis is on contrast
of mood, texture,
harmony, pacing and
timing. Unlike many of my
works this quartet had no
extra-musical
inspiration, and in
principle should have no
subtitle. Certain
features already present
in my music became more
prominent in this new
work: modes (limited
collections of pitches)
have always helped me to
focus musical character,
but here a sense of key
note for each mode became
much more pronounced, as
did the difference
between modes for each
section of the work. A
sort of hybrid key-system
emerged (even with
equivalents of major and
minor) which is not
normal tonality, nor does
it aim to imitate it.
Unlike tonality this
key-system includes
noises, extended
performance techniques
and intervals outside
Western tuning as
available resources. What
I hope it does is to
focus the listening
experience onto different
musical areas, to
encourage a sense of both
modulation from one area
to another and to give
the music a sense of
goal. No conscious
knowledge of this is
needed when listening:
the music should
communicate directly on
its own. Here, then, is
this collection of six
musical colours, related
and unrelated, different
yet belonging together,
variable yet in a set
order. Hence the
subtitle, chosen both for
both its sound and its
sense: 'hana no hanataba'
meaning, in Japanese,
'bouquet of flowers'. A
brief description: 1)
Moderately fast. Short
droplets of sounds gather
increasing momentum. 2)
Very fast. Canons and
bells at different
speeds. 3) Very slow -
fast - very slow - very
fast - very slow. The
main slow movement and
its main scherzo. An
emphasis on non-tempered
tunings and on inhaling
and exhaling waves of
sound. The slow sections
feature florid melodic
writing. In the exuberant
scherzo competing duos
and trios create
imaginary folk music. 4)
Extremely fast/extremely
slow. Open strings and
harmonics fuse into a
single string instrument
- like a sort of large
resonating Medieval
tromba marina. 5) Very
fast. A variation on
movement 2). Variation,
Schoenberg told Cage, is
just a sort of repetition
'with some things changed
and others not.' 6) Slow
- Very Fast - Fast -
Slow. The opening calm
harmonies and florid
melodies evoke movement
3) in different music.
The fast part features
one overt theme: a
fanfare-like call to
attention which is
subject to extensive
development. There is
much use of non-Western
tuning. At its climax the
music freezes into a
frieze - a wall of sound
standing in front of the
audience with increasing
obstinacy and certainty
as the work grinds
towards its cadence.
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.
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.
String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Subito Music
String Quartet SKU: SU.90880091 Composed by Nancy Galbraith. Chamber Musi...(+)
String Quartet
SKU:
SU.90880091
Composed
by Nancy Galbraith.
Chamber Music, String
Trio/Quartet/Quintet. Set
of Parts. Composed 2005.
Duration 15'. Subito
Music Corporation
#90880091. Published by
Subito Music Corporation
(SU.90880091).
This CD Sheet
Musicâ„¢ collection
makes available
performing materials for
nearly all of Haydn's
works for string quartet.
Parts for 76 string
quartets (Op. 1, 2, 3, 9,
17, 20, 33, 42, 50, 54,
55, 64, 71, 74, 76, 77,
103) plus The Seven Last
Words of Christ (Op. 51)
Scores for 58 string
quartets (Op. 20, 33, 42,
50, 54, 55, 64, 71, 74,
76, 77) Also includes
composer bio and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 2400+ pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
String Quartet (clar,vl,va,vc) SKU: BR.MR-2082 Composed by Charles Simon ...(+)
String Quartet
(clar,vl,va,vc)
SKU:
BR.MR-2082
Composed
by Charles Simon Catel.
Edited by Himie Voxman.
Chamber music; Softcover.
Musica Rara. Classical
period. Set of parts. 36
pages. Breitkopf and
Haertel #MR 2082.
Published by Breitkopf
and Haertel (BR.MR-2082).
Contemporary String
Quartet Repertoire for
New and Developing
Ensembles -
Score/Parts/CD.
Composed by Various.
Edited by Liz Partridge.
Boosey & Hawkes Chamber
Music. Classical,
Contemporary. Softcover
with CD. Boosey & Hawkes
#M060133756. Published by
Boosey & Hawkes
(HL.48024136).
ISBN
9781784543211.
'Dis
cover' Level: An
introduction to quartet
ensemble playing for
string players of grade
1-3 standard. Familiar
keys, common rhythms and
transparent musical forms
ensure the short pieces
and miniatures featured
within Discover are
accessible to all.
Emphasis is firmly
focussed on playing
together as a unit.
Contents: Mortimer:
Intergalactic Messaging
Mortimer: Sleepy Sawyers:
Copy Cats Scolding:
Clifton Bridge Hewitt
Jones: Ghost Train
Kershaw: Catch Me If You
Can Kershaw: Lullaby for
Lilah Norton: A Relaxed
Mood K. & H.
Colledge: Stargazing
Score, parts and CD.
Contemporary String
Quartet Repertoire for
New and Developing
Ensembles - Score/CD.
Composed by Various.
Edited by Liz Partridge.
Boosey & Hawkes Chamber
Music. Classical,
Contemporary. Softcover
with CD. Boosey & Hawkes
#M060130960. Published by
Boosey & Hawkes
(HL.48024118).
'Discover'
Level: An introduction to
quartet ensemble playing
for string players of
grade 1-3 standard.
Familiar keys, common
rhythms and transparent
musical forms ensure the
short pieces and
miniatures featured
within Discover are
accessible to all.
Emphasis is firmly
focussed on playing
together as a unit.
Contents: Mortimer:
Intergalactic Messaging
Mortimer: Sleepy Sawyers:
Copy Cats Scolding:
Clifton Bridge Hewitt
Jones: Ghost Train
Kershaw: Catch Me If You
Can Kershaw: Lullaby for
Lilah Norton: A Relaxed
Mood K. & H.
Colledge: Stargazing
Score/CD.