String Quartet (2vl,va,vc)

SKU: BR.KM-2502

Composed by Isabel Mundry. Chamber music; stapled. Kammermusik-Bibliothek (Chamber Music Library).

World premiere: Hannover, November 2004

Music post-1945; New music (post-2000). Performance score. Composed 1999/2004. 20 pages. Duration 12'. Breitkopf and Haertel #KM 2502. Published by Breitkopf and Haertel (BR.KM-2502).

ISBN 9790004502761. 10.5 x 14 inches.

Linien, Zeichnungen ist eine neuere Komposition uber eine altere Komposition von mir, und zwischen beiden liegt ein zeitlicher Abstand von dreizehn Jahren - eine Kluft, die ich nicht uberwinden, sondern fruchtbar machen wollte. Die Ausgangskomposition, 11 Linien fur Streichquartett, widmet sich der Gestaltung linearer Prozesse in ausserster Reduktion. In elf Abschnitten, die jeweils siebenundsiebzig Sekunden dauern, durchziehen annahernd einstimmige, gelegentlich gespaltene, Klanglinien die im Quadrat positionierten Instrumente. Wie Umrisse einer Landschaft am Horizont, bleiben diese linearen Klangzeichnungen in der ersten Version schemenhaft.Ursprunglich wollte ich dieses Stuck nach vielen Jahren lediglich abschreiben, doch dieser Vorgang verselbstandigte sich und entwickelte ein Eigenleben, der schliesslich in eine neue Komposition mundete. So begann es mich zu interessieren, jene abstrakten Landschaften nun aus der Nahe zu betrachten und die ursprunglichen Linien wie mit einem Zoomobjektiv in die Nahe zu holen und aus verschiedenen Perspektiven zu betrachten. Auf dieses Weise haben sich differenzierte Konturen dort entwickelt, wo in der ersten Version nur grobe Umrisse zu erkennen waren, wie zum Beispiel ein linear fallendes Glissando oder eine statische Skala. Die Ferne und Nahe zu den einstigen Klangkonfigurationen und die Entdeckung ihres moglichen Innenlebens ist auf diese Weise zu einem zentralen Thema der zweiten Version geworden. So sind aus den 11 Linien schliesslich sieben neue Kompositionen geworden, gepragt von dem Ineinandergreifen von abstrakten Linien und polyphon aufgefacherten Zeichnungen. Auf artifizielle Weise stehen sie nun in einer Beziehung zueinander wie eine eingefrorene Photographie im Verhaltnis zu einem gelebten Augenblick.(Isabel Mundry, 2010)

World premiere: Hannover, December 4, 2004.

Chamber Music String Quartet

SKU: PR.114410380

Composed by Lowell Liebermann. Saddle, Tape Junction. Set of Score and Parts. With Standard notation. Composed 1998. Opus 60. 48 + 92 pages. Duration 30 minutes. Theodore Presser Company #114-41038. Published by Theodore Presser Company (PR.114410380).

UPC: 680160015160. 9.5 x 13 inches.

My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
My second String Quartet was written twenty years after the first, Opus 4 from 1978.  The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond.  I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements:  Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work.  While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact.  The quartet is pervaded by a sense of seriousness, even mournfulness.  The second movement’s scherzo is an aggressively animated piece of musical machinery.  The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts.  The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

String Quartet - intermediate

SKU: BT.DHP-1175850-070

Composed by Henry Mancini. Arranged by Nico Dezaire. De Haske Pops for String Quartet. Set (Score & Parts). Composed 2017. 8 pages. De Haske Publications #DHP 1175850-070. Published by De Haske Publications (BT.DHP-1175850-070).

ISBN 9789043153904. English-German-French-Dut ch.

Moon River was written especially for Audrey Hepburn to sing and originally featured on the soundtrack for the movie Breakfast at Tiffany’s. The song has been covered by many other artists and has remained well-known for many years. This love song to a river also makes a wonderful instrumental work, especially so on stringed instruments. Nico Dezaire’s sensitive arrangement for string quartet gives each member of the ensemble the opportunity to play the wistful melody.

Het speciaal voor Audrey Hepburn geschreven nummer Moon River maakte oorspronkelijk deel uit van de soundtrack voor de film Breakfast at Tiffany’s. Al snel werd het echter door vele zangers en zangeressen gecoverd en ontpopte het zich blijvend tot een wereldwijde hit. Dit liefdesliedje voor een rivier is ook een heerlijk instrumentaal werkje, vooral voor strijkinstrumenten. Nico Dezaires gevoelige arrangement voor strijkkwartet geeft elk lid van het ensemble de gelegenheid om de weemoedige melodie te spelen.

Moon River war ursprünglich Teil des Soundtracks zum Hollywood-Klassiker Breakfast at Tiffany's und der jungen Audrey Hepburn auf den Leib geschrieben. Schon bald wurde der Song von zahlreichen Sängern gecovert und trat so seinen Siegeszug um die Welt an, der bis heute anhält. Diese musikalische Liebeserklärung an einen Fluss lässt sich natürlich auch bestens instrumental darstellen, besonders schön auf Streichinstrumenten. Nico Dezaire lässt in seinem einfühlsamen Arrangement für Streichquartett jeden der vier Musiker an der sehnsuchtsvollen Melodie teilhaben.

Moon River a été écrit spécialement pour Audrey Hepburn et figure sur la bande originale du film Diamants sur canapé. Peu après, la chanson s’est vue reprise par de nombreux artistes, et est ainsi devenue le succès mondial qu’elle reste toujours. Cette chanson d’amour pour une rivière se prête aussi une interprétation instrumentale, particulièrement par des instruments cordes. Cet arrangement délicat de Nico Dezaire pour quatuor cordes permet chaque membre de l’ensemble de jouer la mélodie mélancolique.

Arrangement for String Quartet. By Franz Joseph Haydn. This edition: HN851. Henle Music Folios. Book only. 74 pages. Published by Henle Urtext Edition.

Arrangement for String Quartet Study Score. By Franz Joseph Haydn. This edition: HN9771. Henle Music Folios. Softcover. Published by Henle.

String quartet

SKU: BO.B.3388

Composed by Jordi Cervello. Instrumental Sets. Duration 10:12. Published by Editorial de Musica Boileau (BO.B.3388).

English comments:
A Bach for string quartet is another evocation of the past, in this case of J.S. Bach's works for violin. Written in 2004, it is a recreation of two of the most important movements in the series of Sonatas and Partitas: The Adagio of the third Sonata and the Prelude of the third Partita (BWV 1005 and 1006, respectively). Jordi Cervello was a violinist and, as such, it should come as no surprise that he once again makes use of compositions written for his instrument. The Adagio, here in common time (the original by Bach is in three-four time), keeps up the constant rhythmic figure of the dotted quaver and semi-quaver throughout the movement, with a calmness that is shrouded in mystery. The second movement, Preludiando, retains the same lively spirit as the original, but explores different moods. Moments of calm, vigour and even some dramatic points give it a new dimension thanks to the fact that it is written for a quartet and to Cervello's original treatment of harmony and counterpoint.

Co mentarios del Espanol:
A Bach para cuarteto de cuerda es otra evocacion del pasado, en este caso de la obra para violin de J.S. Bach. Escrita el ano 2004, se trata de una recreacion de dos de los movimientos mas importantes de la serie de Sonatas y Partitas: El Adagio de la tercera Sonata y el Preludio de la tercera Partita (BWV 1005 y 1006 respectivamente). Jordi Cervello fue violinista y, como tal, no debe sorprender que una vez mas se sirva de material compositivo procedente de su instrumento. El Adagio, aqui en compas de cuatro (el original de Bach es de tres) conserva en todo el movimiento la constante figura ritmica de corchea con puntillo y semicorchea, dentro de un clima sereno pero rodeado de misterio. El segundo movimiento, Preludiando, conserva el mismo espiritu vivo del original, pero recorriendo diferentes estados de animo. Momentos de calma, de vigor e incluso dramaticos dan nueva dimension gracias a la escritura cuartetistica y al original tratamiento armonico y contrapuntistico de Cervello. A Bach se estreno en La Pedrera de Barcelona dentro del ciclo Celebracions de la Fundacio Caixa de Catalunya en el ano 2006 con el Quarteto Prometeo.