(Streichquartett nr. 14 / Quatuor A Cordes No. 14). By Antonin Dvorak (1841-1904...(+)
(Streichquartett nr. 14 /
Quatuor A Cordes No. 14).
By Antonin Dvorak
(1841-1904). For 2
violins, viola, cello. In
a folder. The Complete
Works of Antonin Dvorak
IV/7 - B 193. Czech
title: Smy covy kvartet
14 As dur op. 105. Set of
parts. Opus 105, No. 14.
16/16/16/16 pages.
Published by Editio
Baerenreiter Praha
Study Score. Composed by Franz Schubert (1797-1828). Edited by Egon Voss. Henl...(+)
Study Score. Composed by
Franz Schubert
(1797-1828).
Edited by Egon Voss.
Henle
Study Scores. Classical.
Softcover. 28 pages. G.
Henle
#HN7317. Published by G.
Henle
I Don't Want to Miss a Thing Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Originally Performed by Aerosmith). Composed by Diane Warren. Arranged by fo...(+)
(Originally Performed by
Aerosmith). Composed by
Diane Warren. Arranged by
for Vitamin String
Quartet
by Jim McMillen.
Orchestra.
Part(s); Score; String
Orchestra. Pop Concert
String Orchestra. Form:
Ballade. Pop/Rock. Grade
3.5. 124 pages. Published
by
Alfred Music
Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet
SKU:
PR.16400222S
Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S).
UPC:
680160037841.
This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher.
Score
and Parts. Composed
by Lucio Franco Amanti.
String Ensemble.
Classical. Softcover. 56
pages. Duration 840
seconds. Schott Music
#ED22674. Published by
Schott Music
(HL.49046188).
ISBN
9781540051684. UPC:
888680938703. 9.0x12.0
inches.
When
Cuarteto Casals
approached me with the
idea of illuminating
Beethovens quartets anew,
you can imagine the many
thoughts and feelings
that where going through
my mind: what a joy, what
a great honor What an
intriguing
head-scratcher! How can
you possibly shine a new
light on something that
is already perfect?
Weeks, months went by in
search of a common ground
between the Master and
myself until I finally
found it in the
realization that a word
lays hidden in the St.
Johns hymn that gave
musical notes their
original name: Re, Sol,
Ut, Io (D, G, C, B in
English music notation)
Perfect!
“Resolutioâ€
in Latin means both the
resolution of aproblem
and the re-solution: a
re-blend of many elements
that will eventually
coagulate to make
something new. There was
finally themelodic and a
rhythmical canvas for my
piece. On this canvas I
wrote the story of a
funny little contest,
played on a sunny
Mediterranean square,
between street musicians
and Cuarteto Casals just
minutes before they are
about to go on stage to
perform Beethovens Harp
Quartet. After all the
characters, each in his
own way, had the chance
to tell their story, a
gentle rain starts to
fall, dissolving
(Re-solving) again the
music sheet to eventually
leave us with just a
white piece of paper for
somebody else to continue
the Work. (Lucio Franco
Amanti).