Volume 1. For
String Quartet.
Composed by Gene Milford.
This edition: Latham
Music. Quartet; Solo
Small Ensembles; String -
Quartet. LudwigMasters -
Latham Music. Book.
LudwigMasters
Publications
#36-52703614. Published
by LudwigMasters
Publications
(AP.36-52703614).
ISBN
9781581069761. UPC:
654690687517.
English.
This
collection of folk songs
from Latin America
(Mexico, Costa Rica and
Guatemala) are meant to
expand young player's
knowledge of music from
other cultures or give
them pride in the music
of their own heritage.
The music is mostly in
1st position with only
Violin 1 and Violoncello
wandering briefly into
other positions. Players
will use pizzicato and a
variety of bowing
styles.
Naci en la Cumbre (I
was Born on the Mountain)
is a traditional
Guatemalan folk
song.
Vuela,
suspiro (Fly, My Sighs)
is a traditional Costa
Rican folk song.
Ay! Tituy is a
traditional folk song
from Costa Rica.
La Cucaracha (The
Cockroach) is a
traditional Spanish song,
also trendy in Latin
America. It is about a
cockroach who can't walk.
The song came to
symbolize the Mexican
Revolution (1910-20) and
Pancho
Villa.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Pop Ballads for String Quartet Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1064034-070 Arranged by Gunter ...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1064034-070
Arranged by Gunter Van
Rompaey and Hans Aerts.
Pop & Rock. Set (Score &
Parts). Composed 2006. 40
pages. De Haske
Publications #DHP
1064034-070. Published by
De Haske Publications
(BT.DHP-1064034-070).
ISBN 9789043124720.
9x12 inches.
English-German-French-Dut
ch.
Traditionally a
string quartet will not
readily take on pop
music. But times are
changing and the classic
quartet line-up proves
suitable for beautiful
arrangements of
contemporary songs as
well. This book features
three hits from past
decades, The Rose
(Bette Midler) with its
simple, pure sounds and
underlying harmonies,
La Solitudine
(Laura Pausini) -
compelling and with a
hidden energy and finally
Wonderwall
(Oasis), an unexpected
choice, with its
persistent rhythmic
background. To allow the
string quartet to play
together with optional
guitar or keyboard, chord
symbols have been added
in the score. These songs
- which certainly have a
passionate andromantic
ring to them - are ideal
for receptions, weddings
and other festive
occasions. (Position 1-5)
Drie bekende
songs in geslaagde
bewerkingen voor
strijkkwartet: Pop
Ballads for String
Quartet bewijst dat
het kan. Om het
strijkkwartet de
mogelijkheid te bieden
samen te spelen met
gitaar of keyboards zijn
akkoordsymbolentoegevoegd
in de partituur. Deze
songs vol passie en
romantiek zijn ideaal
voor het opluisteren van
recepties, bruiloften en
andere feestelijke
gelegenheden. (Position
1-5)
Ein Buch
für alle Streicher,
die anstatt der
klassischen Literatur
für Streichquartett
auch einmal etwas ganz
Modernes, Unterhaltsames
spielen wollen. Hans
Aerts und Gunter Van
Rompaey bearbeiteten
für diese Ausgabe drei
bekannte Pop- Titel
für zwei Violinen,
Viola und Cello.
Akkordsymbole für eine
Begleitung von Keyboard
oder Gitarre sind
ebenfalls
enthalten.(Position 1-5)
Questa
pubblicazione permetter
ai giovani musicisti di
cominciare a suonare in
gruppo. Il quartetto
d’archi è da
sempre la formazione per
eccellenza, equilibrata e
potente
nell’espressione.
Anche la musica in stile
pop, arrangiata per
l’occasione da
Hans Aerts, si adatta a
questo tipo di organico.
L’importante è
saper ascoltare la parte
degli altri per inserire
il proprio ritmo
nell’insieme.
(Position 1-5).
Gran Torso Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.KM-2261 Music for String Quartet(+)
String Quartet
(2vl,va,vc)
SKU:
BR.KM-2261
Music
for String Quartet.
Composed by Helmut
Lachenmann. This edition:
2 Violins, Viola, Cello.
Chamber music; Folder.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere: Bremen
(pro musica nova), May 6,
1972Have a look into KM
2261. Music post-1945;
New music (post-2000).
Set of parts. Composed
1971/78/88. 112 pages.
Duration 23'. Breitkopf
and Haertel #KM 2261.
Published by Breitkopf
and Haertel (BR.KM-2261).
ISBN 9790004501658.
16.5 x 11.5
inches.
Gran Torso,
for string quartet, was
composed in 1971 and
revised in 1978. It
belongs to a series of
works, including Air,
Kontrakadenz, Pression
and Klangschatten, whose
concept of material
attempts to free itself
from convention. That is,
instead of using the
sound itself as a point
of departure, structural
and formal hierarchies
are derived from the
mechanical and physical
conditions present during
the process of sound
production. It is clear
that such a radical break
with tradition is not
easily achieved: the
instrument, the given
means, the resonating
body itself (as the
embodiment of convention)
all work against such
attempts (with the
extended performance
techniques representing
only the tip of the
iceberg of deep-seated
contradictions where the
bourgeois artist is
concerned). Implicit in
such a challenge,
however, is a claim to
aesthetic pregnance: an
offer, if one would have
it, of uncomprosing
beauty.(Helmut
Lachenmann,
1978)CDs/LPs:Berner
StreichquartettCD col
legno 0647 277Berner
StreichquartettLP col
legno 5504Societa
Cameristica ItalianaLP
ABT ERZ 1003Arditti
String QuartetCD KAIROS,
0012662KAIstadler
quartettCD NEOS 10806The
JACK QuartetCD mode
267Stadler Quartett, Rg.
Caroline SiegersDVD NEOS
51001Bibliography:Alberma
n, David: Abnormal
Playing Techniques in the
String Quartets of Helmut
Lachenmann, in: Helmut
Lachenmann Music with
matches, hrsg. von Dan
Albertson, Contemporary
Music Review 24 (2005),
Vol. 1, pp.
39-51.Dulaney, Maxwell:
Continuing the Tradition
Untraditionally: Helmut
Lachenmann's
Restructuring of Musical
Dialectic through an
Analysis of his Three
String Quartets, and an
Original Composition,
Harmonic Concerto, Diss.
Brandeis University, MI
2013.Egger, Elisabeth:
Kontinuitat, Verdichtung,
Synchronizitat. Zu den
grossformalen Funktionen
des gepressten
Bogenstrichs in Helmut
Lachenmanns
Streichquartetten, in:
Musik als
Wahrnehmungskunst.
Untersuchungen zu
Kompositionsmethodik und
Horasthetik bei Helmut
Lachenmann, hrsg. von
Christian Utz und Clemens
Gadenstatter (=
musik.theorien der
gegenwart 2),
Saarbrucken: Pfau 2008,
pp. 155-171.Hermann,
Matthias: Helmut
Lachenmann - Gran Torso,
in: Analyse Musik XX.
Jahrhundert (2).
Postserielle Konzepte
Klangflachen Aleatorik (=
Materialien zur
Musiktheorie 4),
Saarbrucken: Pfau 2002,
pp. 134-152.Hiekel, Jorn
Peter: Die
Streichquartett Gran
Torso und Grido von
Helmut Lachenmann, in:
Lucerne Festival, Sommer
2005 Neuland,
Konzertprogramm 6, pp.
65-69.Houben, Eva-Maria:
Helmut Lachenmann: Gran
Torso ..., in: dies.,
Musikalische Praxis als
Lebensform (= Musik und
Klangkultur 27),
Bielefeld: Transcript
2018, S. 208-212Lehmann,
Harry: Erhabenheit -
Ereignis - Ambivalenz.
Zur Asthetik der Neuen
Musik, in: Neue
Zeitschrift fur Musik 176
(2015), Heft 5, pp.
22-27.Mosch, Ulrich:
Kunst als Medium der
Ungeborgenheit.
Streichquartette und
soziale Funktion des
Komponierens bei Helmut
Lachenmann, in:
Positionen 81 (November
2009), pp. 37-39.ders.:
Was heisst Interpretation
bei Helmut Lachenmanns
Streichquartett ,,Gran
Torso?, in: Wessen
Klange? Uber Autorschaft
in neue Musik, hrsg. Von
Hermann Danuser und
Matthias Kassel (=
Veroffentlichungen der
Paul Sacher Stiftung 12),
Mainz u.a.: Schott 2017,
S. 163-186Nonnenmann,
Rainer: Werke als
Schlussel zu Werken? Zur
umstrittenen Kategorie
,,Schlusselwerke der
neuen Musik, in:
MusikTexte, Heft 147
(November 2015), pp.
35-46.Stork, Astrid:
Materialbegriff und
Strukturdenken.
Untersuchungen zu den
Streichquartetten von
Helmut Lachenmann,
Magisterarbeit
Ruhr-Universitat Bochum
1992Tsao, Ming: Helmut
Lachenmann's Sound Types,
in: Perspectives of New
Music 52 (2014), Heft 1,
pp. 217-238.Velazquez,
Rossana Lara: Composicion
y escucha burguesa:
Principios de continuidad
y ruptura en el cuarteto
Gran Torso de Helmut
Lachenmann, Diss.
Universidad Nacional
Autonoma de Mexico
2011.Zenck, Martin: Die
mehrfache Codierung der
Figur: Ihr defigurativer
und torsohafter Modus bei
Johann Sebastian Bach,
Helmut Lachenmann und
Auguste Rodin, in: de
figura. Rhetorik Bewegung
Gestalt, Text und Bild,
hrsg. von Gabriele
Brandstetter und Sibylle
Peters, Munchen 2003, pp.
265-288.
World
premiere: Bremen (pro
musica nova), May 6,
1972.
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.
What Child Is This? Quatuor à cordes: 2 violons, alto, violoncelle Advance Music
SKU: AP.1-ADV6402 For String Quartet. Arranged by Dennis C. Anders...(+)
SKU: AP.1-ADV6402
For String
Quartet. Arranged by
Dennis C. Anderson.
Quartet; Solo Small
Ensembles; String
Quartet. Advance Music:
Holiday Celebration
Series. Christmas;
Sacred; Secular;
Traditional; Winter.
Score and Part(s).
Advance Music
#01-ADV6402. Published by
Advance Music
(AP.1-ADV6402).
UPC:
805095064025. English.
Traditional.
Deligh
tful setting is based
upon the traditional
Christmas song, What
Child Is This?. This
arrangement by Dennis C.
Anderson utilizes common
string quartet techniques
coupled with lush
harmonies and contrasting
styles.
Vistas. Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation. 42 +
112 pages. Duration 25
minutes. Theodore Presser
Company #114-40698.
Published by Theodore
Presser Company
(PR.114406980).
UPC:
680160010806.
Shula
mit Ran’s second
string quartet, subtitled
“Vistas,â€
occupies a large canvas
that is cast in a
traditional fourmovement
mold, where the outer
movements present,
explore, and later return
to the work’s
principal musical
materials, surrounding a
slow movement and
scherzo-type third
movement with a trio. In
addition to tempo-based
titles, the individual
movements have subtitles
that are evocative of
each movement’s
character, as follows: I.
Concentric: from the
inside out II. Stasis
III. Flashes IV.
Vistas. My second
string quartet,
“Vistasâ€, is
a work cast in a
traditional four-movement
formal mold, with the
outer movements,
presenting and later
returning to the
work’s principal
musical materials,
surrounding a slow
movement and a
scherzo-type third
movement.While the four
movements’
“properâ€
names -- Maestoso con
forza, Lento, Scherzo
impetuoso, and
Introduzione; Maestoso e
grande – give some
indication of the general
character of the
individual movements, I
have also subtitled, less
formally, each movement
as follows:Â 1)
Concentric:Â from the
inside out 2)Â
Stasis 3) FlashesÂ
4) Vista. The images
evoked by these titles
tell one, I think, a bit
more about the inner
workings of the
quartet.In the first
movement, a prominently
presented opening pitch
(E) reveals itself, as
the movement unfolds, to
be a center of gravity
from which ever-growing
cycles of activity
gradually evolve.Â
While various important
themes come into being as
the movement progresses,
their impact on the
listener has, I believe,
a great deal to do with
their juxtaposition and
relationship to the
initial central point of
gravity.Stasis is, as the
name implies, a movement
where activity seems, at
times, almost
suspended. Being
also, as Webster’s
Dictionary reminds us,
“a state of static
balance and equilibrium
among opposing tendencies
or forces,†it
develops various
materials, including ones
from the first movement,
without bringing them to
points of
resolution.Flashes is
short and very fast,
evoking in my mind the
quick shimmer of
fireflies, a
“sudden burst of
lightâ€, but also a
“brief
timeâ€. Perhaps,
even, a
“smile�Final
ly, the last movement,
Vista, is not only
“a view or
outlookâ€, but also
“a comprehensive
mental view of a series
of remembered or
anticipated
events.â€Â After
a brief recall of the
opening of the second
movement, this movement
brings back all the
important themes of the
first movement in their
original order. But
just as going back can
never really mean going
back in time, the
movement is much more
than recapitulatory.Â
By cutting through
previously transitory
passages and presenting
the main ideas in a
fashion more direct yet
more evolved, it also
sheds new light on
earlier events, offering
a retrospective, synoptic
view of the first
movement as it brings to
culmination the work as a
whole. “Vistasâ
€ was commissioned by
C. Geraldine Freund for
the Taneyev String
Quartet of what was then
Leningrad. It was the
first commission given in
this country to a Soviet
chamber ensemble since
the 1985 cultural
exchange accord between
the Soviet Union and the
United States.
String quartet SKU: BO.B.3519 Composed by Roger Julia Satorra. Published ...(+)
String quartet
SKU:
BO.B.3519
Composed by
Roger Julia Satorra.
Published by Editorial de
Musica Boileau
(BO.B.3519).
This type of
piece is traditionally
formed by a slow movement
and a fas movement joined
together. In this case
the lento is light in
feeling with a degree of
dynamism. Its form is
similar to an arch: the
music begins and ends in
silence.
The
Allegro con brio,
however, is ferocious,
fast and energetic. It
performance it is
important to create an
overall sensation of
agility. The entire
movement is based on a
short two-measure motive
which is developed and
passes from one
instrument to the other
throughout the rest of
the piece.
Rakes of Mallow Quatuor à cordes: 2 violons, alto, violoncelle - Facile Hal Leonard
For String Quartet. Composed by Traditional. Arranged by Larry Moore. Music fo...(+)
For String Quartet.
Composed
by Traditional. Arranged
by
Larry Moore. Music for
String
Quartet. Irish,
Traditional.
Softcover. Duration 120
seconds. Published by Hal
Leonard
The Fruit of Silence Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire Schott
Score and Parts String Quartet (Score & Parts) - intermediate SKU: HL.4904601...(+)
Score and Parts String
Quartet (Score & Parts) -
intermediate
SKU:
HL.49046017
Version for String
Quartet Score and
Parts. Composed by
Peteris Vasks. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Classical. Softcover.
Composed 2013/2016. 16
pages. Duration 360
seconds. Schott Music
#ED22723. Published by
Schott Music
(HL.49046017).
ISBN
9790001164726. UPC:
840126929102.
9.0x12.0x0.063
inches.
Mother
Teresa was happy to
surprise her
interlocutors by handing
them a small card instead
of a traditional business
card, on which a short
text was to be read,
beginning with the line
“The fruit of
silence is prayer.â€
In 2013, Peteris Vasks
set this peace prayer of
Mother Teresa on behalf
of the Schleswig-Holstein
Music Festival for mixed
choir a cappella in the
form of a dense elegiac
sound stream. The
versions for piano
quintet and string
quartet now make this
musical expression of
Mother Teresa's words
accessible to two
traditional genres of
chamber music without the
help of a choir.
Score and Parts SKU: HL.367877 Score and Parts. Composed by Reza V...(+)
Score and Parts
SKU:
HL.367877
Score
and Parts. Composed
by Reza Vali. LKM Music.
Softcover. Lauren Keiser
Music Publishing
#X504103. Published by
Lauren Keiser Music
Publishing (HL.367877).
ISBN 9781705140338.
UPC: 840126966695.
9.0x12.0x0.522
inches.
Like much
of Reza Vali's music,
this string quartet can
either be played with
traditional Persian
tuning or with a mixture
of traditional Persian
tuning and the European
Equal Temperament Tuning.
Performance instructions
to help with unique
notation and details on
the tuning options are
included with the
music.
SKU: AP.1-ADV6403 For String Quartet. Arranged by Dennis C. Anders...(+)
SKU: AP.1-ADV6403
For String
Quartet. Arranged by
Dennis C. Anderson.
Quartet; Solo Small
Ensembles; String
Quartet. Advance Music:
Holiday Celebration
Series. Form: Medley.
Christmas; Sacred;
Secular; Traditional;
Winter. Score and
Part(s). Advance Music
#01-ADV6403. Published by
Advance Music
(AP.1-ADV6403).
UPC:
805095064032. English.
Traditional 18th Century
Carols.
Featuring
God Rest Ye Merry
Gentlemen, and Deck the
Halls with Bows of Holly,
this well-crafted
coupling of two popular
Christmas carols has been
arranged for string
quartet. Ideal for
holiday programming or as
an encore piece.
Borsa Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] SonArt Edition
String quartet SKU: M7.SAE-8-04 Suite from Maramures. Composed by ...(+)
String quartet
SKU:
M7.SAE-8-04
Suite
from Maramures.
Composed by Lucian
Moraru. Sheet music.
Score and parts. SonArt
Edition #SAE 8-04.
Published by SonArt
Edition (M7.SAE-8-04).
ISBN
9790707651629.
This
is a unique masterpiece
for string quartet, which
preserves the flavor of
original music from
Transylvania, carefully
designed to suit the
technical needs of the
string quartet
instruments. A sample of
traditional Romanian
music through which
instrumentalists can show
their virtuosity. This
score is a smart choice
for string quartets that
want to be successful
with the public. A short
piece of 6 minutes, in a
single movement, full of
life in traditional
rhythm from Transylvania,
which is both pleasant to
perform and to listen to.
It is a perfect encore to
be played after a
successful concert.
Arranged
by Lucian Moraru. Sheet
music. Score and parts.
SonArt Edition #SAE
11-01. Published by
SonArt Edition
(M7.SAE-11-01).
ISBN
9790707651636.
This
is an overflowing
arrangement for string
quartet. The piece
preserves the beauty of
the original work, an
icon of Romanian
traditional music, but at
the same time differs in
essence, due to the new
musical themes that were
introduced in the sound
material of this work. A
sample of the Romanian
traditional music which
exploit all four
instruments on equal
terms through which they
can show their
virtuosity. A pleasure
for the members of the
string quartets who like
to show their technical
skills, with which,
surely, they will delight
the audience. This score
is a smart choice for the
string quartets that want
to achieve the acclaim
from the audience. It is
a perfect encore to be
performed after a
successful concert.
Hora staccato Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] SonArt Edition
String quartet SKU: M7.SAE-20-01 Composed by Gregorias Dinicu. Arranged b...(+)
String quartet
SKU:
M7.SAE-20-01
Composed
by Gregorias Dinicu.
Arranged by Lucian
Moraru. Sheet music.
Score and parts. SonArt
Edition #SAE 20-01.
Published by SonArt
Edition (M7.SAE-20-01).
ISBN
9790707651643.
This
is an overflowing
arrangement for string
quartet. The piece
preserves the beauty of
the original work, an
icon of Romanian
traditional music, but at
the same time differs in
essence, due to the new
musical themes that were
introduced in the sound
material of this work. A
sample of the Romanian
traditional music which
exploit all four
instruments on equal
terms through which they
can show their
virtuosity. A pleasure
for the members of the
string quartets who like
to show their technical
skills, with which,
surely, they will delight
the audience. This score
is a smart choice for the
string quartets that want
to achieve the acclaim
from the audience. It is
a perfect encore to be
performed after a
successful concert.