String Quartet or String Orchestra - easy SKU: BT.DHP-1135315-070 Arrange...(+)
String Quartet or String
Orchestra - easy
SKU:
BT.DHP-1135315-070
Arranged by Nico Dezaire.
De Haske String Orchestra
Series. Set (Score and
Parts). De Haske
Publications #DHP
1135315-070. Published by
De Haske Publications
(BT.DHP-1135315-070).
ISBN 9789043146814.
9x12 inches.
English-German-French-Dut
ch.
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.
String Quartet SKU: HL.14041525 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet
SKU:
HL.14041525
Composed
by Per Norgard. Music
Sales America.
Contemporary Music. Set
of Parts. Edition Wilhelm
Hansen #KP01585A.
Published by Edition
Wilhelm Hansen
(HL.14041525).
ISBN
9788759871829. UPC:
196288071020.
9.5x14.25x0.167 inches.
Danish-English.
Pro
gramme Note During the
composition of my tenth
string quartet a
flower-name, host-tidlos,
came to my mind - and it
would not me leave again.
[hosttidlos is actually
autumn crocus in English,
but the composer prefers
harvest-timeless, to
maintain some of the
associations of the
Danish flower-name, red.]
The paradoxical union of
a seasonal time (harvest)
and no-time-at-all was a
good fit to the sections
of the work that I had
composed at that time,
and I decided to
tentatively stick to that
title for the
work-in-progress, and
now, having finished the
piece, I can say that is
is still a fitting title
- and it stands. Enough
about the title, I will
go on to describe
themusic, a somewhat more
precarious project. My
tenth string quartet is
probably the most basic
string quartet that I
have composed:
melodically - and in
sound - it employs the
naturally based overtones
and undertones (perceived
at major and minor,
respectively), and
rhythmically it is based
on growth, on the
principles of the Golden
Section, and the
structure itself
contrasts abundance and
exuberance with sections
of immobility and
contemplation. However,
Melos, melody, is
definitely the dominating
aspect of my STRING
QUARTET NO. 10: behind
even the most
rhythmically complex or
pure sonoric sections
lies a firm - if hidden -
basis of melodic or
polyphonic ideas. The
work was composed in
2004-2005 for the Kroger
Quartet.
String Quartet SKU: HL.14041524 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet
SKU:
HL.14041524
Composed
by Per Norgard. Music
Sales America.
Contemporary Music.
Score. Edition Wilhelm
Hansen #KP01585.
Published by Edition
Wilhelm Hansen
(HL.14041524).
ISBN
9788759871812.
Danish-English.
Pro
gramme Note During the
composition of my tenth
string quartet a
flower-name, host-tidlos,
came to my mind - and it
would not me leave again.
[hosttidlos is actually
autumn crocus in English,
but the composer prefers
harvest-timeless, to
maintain some of the
associations of the
Danish flower-name, red.]
The paradoxical union of
a seasonal time (harvest)
and no-time-at-all was a
good fit to the sections
of the work that I had
composed at that time,
and I decided to
tentatively stick to that
title for the
work-in-progress, and
now, having finished the
piece, I can say that is
is still a fitting title
- and it stands. Enough
about the title, I will
go on to describe
themusic, a somewhat more
precarious project. My
tenth string quartet is
probably the most basic
string quartet that I
have composed:
melodically - and in
sound - it employs the
naturally based overtones
and undertones (perceived
at major and minor,
respectively), and
rhythmically it is based
on growth, on the
principles of the Golden
Section, and the
structure itself
contrasts abundance and
exuberance with sections
of immobility and
contemplation. However,
Melos, melody, is
definitely the dominating
aspect of my STRING
QUARTET NO. 10: behind
even the most
rhythmically complex or
pure sonoric sections
lies a firm - if hidden -
basis of melodic or
polyphonic ideas. The
work was composed in
2004-2005 for the Kroger
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.
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. 2 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.14440265S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440265S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation.
Duration 25 minutes.
Merion Music #144-40265S.
Published by Merion Music
(PR.14440265S).
UPC:
680160027910.
The
Second and Third Quartets
were conceived at the
same time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed. Accordingly,
they share similar
material but, like the
intertwining blood of
cousins, their natures
differ: No. 2 being
somewhat acerbic and
declamatory, No. 3 more
lyric and gentler. An
annunicatory 'leaping
motive' (derived from a
motto generated by my
name) opens Quartet No. 2
and inhabits the course
of the piece as a
cyclical binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
'grammar' spoken tends to
recall the jazz world of
my youth. To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms. The
first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The second
movement is a set of
strophic variants and an
epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
'call-and-response.' It
is dedicated to the
memory of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto. All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For example,
the climax of movement
III's Rondo throws the
first movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda. The Second and
Third Quartets were
conceived at the same
time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed.Â
Accordingly, they share
similar material but,
like the intertwining
blood of cousins, their
natures differ: No. 2
being somewhat acerbic
and declamatory, No. 3
more lyric and gentler.An
annunicatory
‘leaping
motive’ (derived
from a motto generated by
my name) opens Quartet
No. 2 and inhabits the
course of the piece as a
cyclical
binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
‘grammar’
spoken tends to recall
the jazz world of my
youth.To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms.Â
The first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The
second movement is a set
of strophic variants and
an epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
‘call-and-response.
’ It is
dedicated to the memory
of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto.All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For
example, the climax of
movement III’s
Rondo throws the first
movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda.
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
Violin & string quartet SKU: NR.25289 For violin and strings, 2010...(+)
Violin & string quartet
SKU: NR.25289
For violin and
strings, 2010.
Composed by Rodrigo
Gonzalez Prieto.
Orchestra (10 and more
instruments). Score.
Noten Roehr #25289.
Published by Noten Roehr
(NR.25289).
Harp, Flute, Clarinet, String Quartet SKU: HL.14023298 Composed by Per No...(+)
Harp, Flute, Clarinet,
String Quartet
SKU:
HL.14023298
Composed
by Per Norgard. Music
Sales America. Score.
Music Sales #KP01431.
Published by Music Sales
(HL.14023298).
ISBN
9788759871591.
English.
Per
Norgard 's Gennem Torne /
Through Thorns (2003)
Harp Concerto No. 2 -
Passage for Harp Solo
with Flute, Clarinet and
String Quartet. Premiered
by Tine Rehling (Harp)
and the Esbjerg Ensemble,
conducted by Kaisa Roose
at the Concert Hall of
the Western Jutland
Academy of Music,
Esbjerg, 28th January
2004. Programme Note
THROUGH THORNS has a
duration of about 20
minutes, in one
continuous movement, thus
the subtitle passage. The
work is scored for harp
solo, flute, clarinet and
string quartet. The title
is borrowed from the
lines from an old Virgin
Mary Hymn: Mary wanders
through thorns, a hymn
which ends with the
following line: then
roses grew forth amongst
thethorns. I only came
across the poem after
finishing the
composition, the passage
of which is a journey of
sometimes dramatic
events, concluding with a
rose-blooming, as does
the hymn. For
THROUGH THORNS to borrow
its title from a Virgin
Mary Hymn has to do with
the musical material and
current of the piece,
which brings motives from
an earlier choral piece
of mine, FLOS UT ROSA
(Latin for a flower like
a rose), and the rose in
question is of course the
one which grew forth when
the Virgin Mary gave
birth to the Infant Jesus
in a hitherto unheard-of
fashion, a NOVA GENITURA
(new birth), which is the
title of another work of
mine that also derives
its material from my
original rose-melody from
1975. THROUGH
THORNS is dedicated to
Tine Rehling, and
together with her I have
tried to expand the
sonorities of the harp,
by exploring existing
techniques and their more
remote regions, in order
to gain access to new
territory and new
soundscaoes, as realised
by the constantly
experimentally-minded and
virtuoso player.
Per Norgard, 2004.
 .