Over the Rainbow Quatuor à cordes: 2 violons, alto, violoncelle [Partition + CD] Santorella Publications
(from The Wizard of Oz ). Composed by Harold Arlen. Arranged by Michael Tarro. ...(+)
(from The Wizard of Oz
). Composed by Harold
Arlen. Arranged by
Michael Tarro. For string
quartet. Score and 2
play-along CDs. Published
by Santorella
Publications
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144407270
Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270).
UPC:
680160681891. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
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 No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440727S
Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S).
UPC:
680160681907. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
Drivers License Quatuor à cordes: 2 violons, alto, violoncelle - Facile De Haske Publications
String Quartet - early intermediate SKU: BT.DHP-1216354-070 As perform...(+)
String Quartet - early
intermediate
SKU:
BT.DHP-1216354-070
As performed by Olivia
Rodrigo. Composed by
Olivia Rodrigo, Daniel
Nigro. Arranged by
Anthony Gröger. De
Haske Pops for String
Quartet. Pop and Rock.
Set (Score and Parts).
Composed 2021. De Haske
Publications #DHP
1216354-070. Published by
De Haske Publications
(BT.DHP-1216354-070).
ISBN 9789043162135.
English-German-French-Dut
ch.
Drivers
License is the debut
single by the young
American singer Olivia
Rodrigo. The song, a
power ballad inspired by
heartbreak, received
critical acclaim upon its
release, with reviewers
lauding Rodrigos song
writing skills and
singing voice. Arranger
Anthony Gröger did not
fail to notice this mega
hit, taking the beautiful
ballad and creating an
intense and passionate
arrangement for string
quartet.
Driver
s License is de
debuutsingle van de jonge
Amerikaanse zangeres
Olivia Rodrigo. Het
nummer, een powerballad
ge nspireerd door
liefdesverdriet, kreeg
meteen al bij de release
lovende kritieken, met
name voor Rodrigoâ??s
songwriting en zang. Ook
Anthony Gröger is deze
megahit niet ontgaan. Hij
maakte van deze prachtige
ballad een intens en
passievol arrangement
voor
strijkkwartet.
Drivers License ist
die Debütsingle der
jungen amerikanischen
Sängerin Olivia
Rodrigo. Dieses Lied,
eine von Herzschmerz
inspirierte
Power-Ballade, erhielt
gleich nach der
Veröffentlichung
hervorragende Kritiken,
insbesondere für
Rodrigos
Songwriting-Fähigkeite
n und ihre Singstimme.
Anthony Gröger hat
diesen Megahit sogleich
aufgegriffen. Er schuf
aus der wunderschönen
Ballade ein intensives
und leidenschaftliches
Arrangement für
Streichquartett.
String Quartet (Score) SKU: HL.14043597 Score. Composed by Brian E...(+)
String Quartet (Score)
SKU: HL.14043597
Score. Composed by
Brian Elias. Music Sales
America. Classical,
Contemporary. Score. 46
pages. Chester Music
#CH81103. Published by
Chester Music
(HL.14043597).
8.25x12.0x0.166
inches.
String
Quartet Was Composed By
Mumbai-Born Brian Elias
In 2012, And Was
Commissioned By The
Jerusalem String Quartet.
Lasting Around 20
Minutes, This Is The Full
Score Of The Work
Arranged For Violin I,
Violin Ii, Viola And
Cello. The Work Has Been
Laid Out In The
Conventional Four
Movements, Allegro,
Adagio, Presto,
Adagio-Allegro-Adagio,
But It Is Essentially A
Work In A Single Movement
To Be Performed With No
Breaks. A Set Of Double
Variations Generates The
Thematic And Harmonic
Material For The Entire
Piece In Its First Few
Bars, With A Brilliant
Viola Solo Afterwards.
Throughout The Piece,
Changes In Dynamics And
Tempo Characterise The
Different Movements,
Before Finally EndingWith
A Calming Return To The
Slow Music.&Nbsp; You Can
Purchase The Individual
Instrument&Nbsp; Parts
Here.
Chamber Music String Quartet SKU: PR.114414250 Composed by Lowell Lieberm...(+)
Chamber Music String
Quartet
SKU:
PR.114414250
Composed
by Lowell Liebermann.
Contemporary. Set of
Score and Parts. With
Standard Notation. Op.
103. 28+9+8+9+8 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41425. Published by
Theodore Presser Company
(PR.114414250).
UPC:
680160607846.
Lowel
l Liebermann's 4th String
Quartet was commissioned
by the Canandaigua Lake
Chamber Music Festival
and the Wood Library,
Canandaigua, NY, for the
Orion Quartet in
celebration of their 20th
Anniversary. The quartet
was premiered by the
Orions at the Canandaigua
Lake Chamber Music
Festival in Rochester, NY
on February 9th, 2008. To
quote the writer Mark
Greenberg: It's a
remarkable piece. The
mood is elegiacal and
meditative, the melodic
lines sinuous and
searching, the harmonies
rich and astonishingly
beautiful. Liebermann
works within the
traditions of Western
tonality, but that is a
mansion with many rooms.
Liebermann inhabits all
of them as his expressive
purposes require, and he
doesn't mind knocking
down a wall to create new
harmonic spaces. The
Fourth Quartet doesn't
exactly fit the
neoromantic niche into
which Liebermann is
sometimes placed. Much of
the music, especially
near the beginning, is a
highly advanced and fluid
chromatic expressionism
with modernist
tendencies. Sometimes
this roiling cloudscape
breaks open to allow a
patch of near-classical
harmony and
almost-resolution. Near
the midpoint the clouds
lift in leaping
modulations. Several
chordal passages recall
Russian Orthodox chant.
Suddenly, when you've
begun to think the
somber, deliberate pace
has gone on a bit too
long, Liebermann
introduces a kind of
hobbled, stilted jazz
idiom. The piece dies in
pensive quiet.