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.  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.

From The Greatest Showman. Composed by Ryan Lewis, Benj Pasek, and Justin Paul. Arranged by Anthony Groger. De Haske Pops for String Quartet. TV-Film-Musical- Show. Set (Score and Parts). Composed 2020. 12 pages. De Haske Publications #DHP 1206258-070. Published by De Haske Publications

Accordian & String Quartet

SKU: ST.Y279

Composed by Rhian Samuel. Chamber music. Score and Parts. Score and parts. Stainer & Bell Ltd. #Y279. Published by Stainer & Bell Ltd. (ST.Y279).

ISBN 9790220223068.

Such is the character of the accordion that any work featuring its distinctive voice within an ensemble is likely to be a piece d'occasion. Written for the prizewinning young soloist Milos Milivojevic and performed with the Juritz String Quartet at the 2011 Machynlleth Festival in Wales, Rhian Samuel's Mist on the Hills is no exception. The composer has used the rare opportunity of writing for the instrument in combination with solo strings to exploit its illustrative powers and create a fourteen-minute score inspired by the changing weather over the hills around her Welsh home on the Dyfi Estuary.

In particular, its three movements are suggestive of the appearance of mist in the landscape, 'settling', 'lingering' and 'swirling'. In the first movement, which is a gentle prelude, brief accordion motifs break through the timbre of strings like glints of sunshine through mist. The second movement, more song-like, presents three verses of a lament; in the first half of each verse the accordion sings as if from afar, while in the second half (led by the viola) the music intensifies greatly. In the dance-like and virtuosic last movement a short, constantly changing refrain alternates with two types of material: 'swirling' music and lighter, more rhythmical ideas. Finally, scale passages invade the texture, ceasing only as the accordion ascends to the top of its range in the closing bars.

String Quartet

SKU: HL.14030964

Composed by Bent Sorensen. Music Sales America. Classical. Score. 10 pages. Music Sales #KP00510. Published by Music Sales (HL.14030964).

ISBN 9788759861455. English.

The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory, and as I at the same time planned to write a piece for solo Viola, my ideas for the music and the memory of the painting fused more and more. I decided, then, to let my piece borrow the title of Waterhouse's painting: The Lady Of Shalott. The picture of a mad-like, pale, and perhaps singing woman alone in a boat without sculls, which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson's poem by the same title, which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993.

Composed by Leroy Anderson (1908-1975), arranged by William Zinn, edited by Thom Proctor. String orchestra part for violin 2. Series: Orchestra (Violin). 40 pages. Published by Belwin.

String quartet

SKU: LM.JJ25702

Composed by Manuel Rosenthal. Classical. Parts. 11+12+11+11 pages. Editions Jobert #JJ25702. Published by Editions Jobert (LM.JJ25702).

ISBN 9790230825702.

Le Chalet des Enfants - Kid Much'academicien - Un rossignol - Le pronom haissable - La minoque - Andre ou le pere Noel - Irene, reine des sirenes - Marcel, le pathetique.

String quartet

SKU: LM.JJ05704

Composed by Manuel Rosenthal. Classical. Score. 66 pages. Editions Jobert #JJ05704. Published by Editions Jobert (LM.JJ05704).

ISBN 9790230805704.

Le Chalet des Enfants - Kid Much'academicien - Un rossignol - Le pronom haissable - La minoque - Andre ou le pere Noel - Irene, reine des sirenes - Marcel, le pathetique.

String Quartet (Study Score)

SKU: HL.51487272

Study Score. Composed by Alexander Zemlinsky. Edited by Dominik Rahmer. Henle Music Folios. Classical. Softcover. G. Henle #HN7272. Published by G. Henle (HL.51487272).

UPC: 840126989366. 6.75x9.5x0.245 inches.

Alexander Zemlinsky's music was long unjustly overshadowed by what was regarded as the “more progressive” Second Viennese School. Although Zemlinsky was close friends with its protagonist Arnold Schönberg, he never did take the latter's radical step into dodecaphony. At the same time, he composed works that were no less original or fully fledged. Composed between 1913 and 1915, his Second String Quartet in particular pushed the contemporaneous understanding of form and tonality to its limits. With just one movement but spanning over 1,200 measures, this multi-faceted work numbers among the most significant contributions to the genre of the time and has long merited a critical new edition. The Urtext edition by G. Henle Publishers corrects many errors and inaccuracies in the first edition that came to light after careful comparison with the autograph sources in Vienna and Washington. For the first time, too, the metronome markings that survive only in one of Zemlinsky's letters have been incorporated. Editorial work was kindly supported by the Alexander Zemlinsky Endowment Fund in Vienna.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

String Quartet (Parts)

SKU: HL.51481272

Set of Parts. Composed by Alexander Zemlinsky. Edited by Dominik Rahmer. Henle Music Folios. Classical. Softcover. G. Henle #HN1272. Published by G. Henle (HL.51481272).

UPC: 840126989250. 9.0x12.0x0.348 inches.

Alexander Zemlinsky's music was long unjustly overshadowed by what was regarded as the “more progressive” Second Viennese School. Although Zemlinsky was close friends with its protagonist Arnold Schönberg, he never did take the latter's radical step into dodecaphony. At the same time, he composed works that were no less original or fully fledged. Composed between 1913 and 1915, his Second String Quartet in particular pushed the contemporaneous understanding of form and tonality to its limits. With just one movement but spanning over 1,200 measures, this multi-faceted work numbers among the most significant contributions to the genre of the time and has long merited a critical new edition. The Urtext edition by G. Henle Publishers corrects many errors and inaccuracies in the first edition that came to light after careful comparison with the autograph sources in Vienna and Washington. For the first time, too, the metronome markings that survive only in one of Zemlinsky's letters have been incorporated. Editorial work was kindly supported by the Alexander Zemlinsky Endowment Fund in Vienna.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)