(23 Arrangements of Gems from the Baroque Period). By Various. Arranged by Joel ...(+)
(23 Arrangements of Gems
from the Baroque Period).
By Various. Arranged by
Joel Lish. String
quartet. For 2 Violins,
Viola and Cello.
Quartets. Baroque.
Advanced. Set of 4 parts.
Published by Middle
Fiddle Music
Critical Edition
Hardcover. Composed
by Karol Szymanowski.
PWM. Classical.
Hardcover. 60 pages.
Polskie Wydawnictwo
Muzyczne #9267030.
Published by Polskie
Wydawnictwo Muzyczne
(HL.370494).
ISBN
9781705147009. UPC:
840126994025.
The
First String Quartet in C
major, Op. 37, was
written in the autumn of
1917 and earned
Szymanowski the first
prize in a competition
organized by the Ministry
of Religious and in a
competition organized by
the Ministry of Religious
and Educational Affairs
in January 1922. The
First String Quartet is
notable for its clar and
simple construction. The
first movement is in the
formof a sonata allegro;
the Andantino semplice
(in modo iuna canzone) in
the middle is a cross
between ternary and
variation form. The final
Scherzando alla burlesca
also keeps to the form of
a sonata allegro. The
combinations and
proportions of formal
factors and the treatment
of thematic material
betray a fairly
conventional adoption of
classical models.
Similarly, the expressive
and structural use of
melodic material shows a
respect for traditional
norms. Szymanowski
created, in other works
from the same period, his
own individual type of
melodic line, which was
strongly expressive and
achieved its effect
chiefly by its tonal
qualieties; nevertheless
in this Quartet he
returns to a fluid,
cantilena-like,
symmetrically shaped
melodic line, which runs
along in broad phrases of
a concentrated,
reflective character.
Melody becomes the chief
factor in the development
of the form, both in
thematic usage and in the
application of a more
polyphonic texture.
Harmonic and tonal means
are considerably
simplified in the Quartet
[]. Most of the writing
is linear, or horizontal,
with individual treatment
of each part, the
parallel continuation of
the four sound planes,
almost a matter of
principle. The functions
of the particular
instruments in realizing
these planes are
constantly changing,which
accounts for the even
greater variedy of
tone-colour. The decision
to forego experiment with
forms and sonorities is
reflectedin the overall
approach to musical
expression. The
predominant atmosphere of
restrained emotion, quiet
lyricism and serenity is
strongly suggestive of
classical aestetic
models. (Based on Zofia
Helman Commentary on
Szymanowski Complete
Edition, Vol. B6) (II)
The ''Second String
Quartet'' represents an
interesting attempt to
revert to classical form
coupled with the new
harmonic and tonal
vocabulary worked out
previously in the
''Slopiewnie'', ''Stabat
Mater'' and ''Mazurkas''.
It was also the first
time the composer had
used folk elements in the
framework of a major
classical form. The
''Second String Quartet''
is in a special category
among Szymanowski's
works. Though it dates
from the composer was
still occupied with folk
music, it nevertheless
shows him returning to
classical models, but at
the same time using an
aesthetic of subjective
expression, which gives
the work its own
individual stamp. The
''Second String Quartet''
synthesis of the various
directions in which
Szymanowski was
attempting to develop.
The sonority and texture
used in the first.
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.
String Quartet SKU: BR.PB-5708 Urtext. Composed by Joachim Raff. E...(+)
String Quartet
SKU:
BR.PB-5708
Urtext. Composed
by Joachim Raff. Edited
by Stefan Konig. Chamber
music; Softbound.
Partitur-Bibliothek
(Score Library). Romantic
period. Study Score.
Breitkopf and Haertel #PB
5708. Published by
Breitkopf and Haertel
(BR.PB-5708).
ISBN
9790004216453. 6.5 x 9
inches.
When his
musical triad op. 192 was
created in the winter of
1873/74, Raff was one of
Germany's most successful
composers and the central
artistic authority in the
Hessian spa, royal
residence and imperial
city of Wiesbaden. With
op. 192, Raff cultivated
his reputation as an
erudite composer who was
a master of contrapuntal
forms. By the time the
string quartets were
composed, he had already
established himself as
one of the most prolific
and versatile suite
composers of the 19th
century, as is evident
here in the various suite
conceptions: Opus 192 No.
1 (in C minor), as Suite
in the ancient style, has
with Baroque labels
stylized dance movements
follow one another. Die
schone Mullerin [The Fair
Maid of the Mill] op. 192
No. 2 (in D major), on
the other hand,
interprets the suite as a
sequence of chapters in a
musical narrative and
thus becomes probably the
first tone poem in string
quartet scoring. In the
third quartet (in C
major), of which Raff the
artist was proudest,
other genre designations
mix in among the dance
movements, and with its
free succession of
different movement types,
not usual for a sonata,
it preserves structural
openness. In
collaboration with the
Joachim-Raff-Archiv
Lachen (CH)
Some
eighteen years elapsed
between Raff's first
counted String Quartet
op. 77 and his Quartets
Nos. 6-8 op. 192,
combined as one work. As
such, Raff parted with
the weighty single opus
in quartet composition -
without, however,
sacrificing musical
quality.
Study score SKU: BR.PB-5708-07 Urtext. Composed by Joachim Raff. E...(+)
Study score
SKU:
BR.PB-5708-07
Urtext. Composed
by Joachim Raff. Edited
by Stefan Konig. Chamber
music.
Partitur-Bibliothek
(Score Library). Romantic
period. Study Score.
Breitkopf and Haertel #PB
5708-07. Published by
Breitkopf and Haertel
(BR.PB-5708-07).
ISBN
9790004216453. 6.5 x 9
inches.
When his
musical triad op. 192 was
created in the winter of
1873/74, Raff was one of
Germany's most successful
composers and the central
artistic authority in the
Hessian spa, royal
residence and imperial
city of Wiesbaden. With
op. 192, Raff cultivated
his reputation as an
erudite composer who was
a master of contrapuntal
forms. By the time the
string quartets were
composed, he had already
established himself as
one of the most prolific
and versatile suite
composers of the 19th
century, as is evident
here in the various suite
conceptions: Opus 192 No.
1 (in C minor), as Suite
in the ancient style, has
with Baroque labels
stylized dance movements
follow one another. Die
schone Mullerin [The Fair
Maid of the Mill] op. 192
No. 2 (in D major), on
the other hand,
interprets the suite as a
sequence of chapters in a
musical narrative and
thus becomes probably the
first tone poem in string
quartet scoring. In the
third quartet (in C
major), of which Raff the
artist was proudest,
other genre designations
mix in among the dance
movements, and with its
free succession of
different movement types,
not usual for a sonata,
it preserves structural
openness. In
collaboration with the
Joachim-Raff-Archiv
Lachen (CH)
Some
eighteen years elapsed
between Raff's first
counted String Quartet
op. 77 and his Quartets
Nos. 6-8 op. 192,
combined as one work. As
such, Raff parted with
the weighty single opus
in quartet composition -
without, however,
sacrificing musical
quality.