9 Classical Pieces Arranged for String Quartet Score and Parts. By Various. Arranged by John Kember. Schott. Softcover. Size 9x12 inches. 68 pages. Published by Schott.

String quartet, Contrabass (ad libitum)

SKU: VD.ED16421

Composed by Ambroise Thomas. Arranged by Wolfgang Birtel. Der Musikalische Salon Vol. 101. Classical. Score, parts. 6 S. Part. + 7 S. Stimmen pages. Verlag Dohr #ED16421. Published by Verlag Dohr (VD.ED16421).

ISBN 9790202034217. 12 x 9 inches.

11 Romantic String Quartets Score and Parts. By John Kember, Various. Arranged by John Kember. Schott. Book only. Size 9x12 inches. 70 pages. Published by Schott.

String Quartet with ad lib Double Bass

SKU: M7.DOHR-16421

Composed by Ambroise Thomas. Arranged by Wolfgang Birtel. 16 pages. MDS (Music Distribution Services) #DOHR 16421. Published by MDS (Music Distribution Services) (M7.DOHR-16421).

ISBN 9790202034217.

By Jordi Cervello. For String Quartet. Instrumental Sets. Published by Editorial de Musica Boileau

String Quartet

SKU: HL.14036341

Composed by Hugh Wood. Music Sales America. Classical. Set. Composed 2001. Chester Music #CH60931. Published by Chester Music (HL.14036341).

ISBN 9780711955080.

Comm issioned by the BBC and premiered by the Chilingirian String Quartet. Quoting Wood: In my Second and Third Quartets I attempted sectional, agglutinative forms: in my Fourth I return to the conventional four movement form of my First Quartet of 1962. Both works build up (as in the 19th century symphony) to the Finale, thus making it the most substantial movement, which provides a climax to the work. The First Movement has, in both works, only the status of an Introduction. But there the consciously willed resemblances end. This Introduction follows the Second Quartet to a certain extent, in that it provides a sort of 'cauldron', from which elements to be used later can all be plucked. Its opening will reappear at various points throughout the work, most completely at a climatic point of the Finale (bar 110). Subsequent material will be more fully worked out in the second movement, a large Scherzo. The Introduction concludes with an unusually placed violin cadenza (itself a rare feature in a string quartet, the idea lifted from Elliott Carter's First Quartet) of which the opening is to reappear halfway through the Finale. The Scherzo (which follows attacca) does not have at its centre a discretely characterized Trio: a figure in double-stops like a distant fanfare supplies the necessary contrast of a second idea. The Slow Movement has a secondary idea first heard on the cello and marked appassionato: an agitato middle section recalls the opening of the work, but in a formulation which will be found closely to anticipate its reappearance in the Finale. The Finale is planned on a broad scale. Only after a fully worked exposition of both primary and secondary material does the opening of the whole work return, now in a greatly extended form. Then, at bar 140, the tune of the violin cadenza is first harmonized in fanfare style on the upper instruments, then presented as a chorale on the lower ones, with a rushing semiquaver accompaniment above. This climatic activity mounts to the very end. The work is dedicated to the Chilingirian Quartet, old friends over many years. Score available separately: SOS04044.

String quartet

SKU: HH.HH279-FSP

Composed by Timothy Raymond. String Quartet. Full score and parts. Duration 18 minutes. Edition HH Music Publishers #HH279-FSP. Published by Edition HH Music Publishers (HH.HH279-FSP).

ISBN 9790708092292.

A mysterious quality lies at the heart of Timothy Raymond's acclaimed String Quartet, first performed in 2007. Niggling motifs emerge from a dreamlike continuum of harmonic glissandos, sparking a succession of adventurous and unpredictable developments that are by turn tentative, unsettling, determined, energetic, emphatic, furious and lyrical, and characterized by highly varied, idiomatic string writing. The piece pursues a latter day expressionist path towards, and away from, a sustained and intimately poised centre, the whole reflecting the composer's own colourful synthesis, distillation and development of contemporary composition.

String quartet (vl. 1 & 2, va, vc) - Level 3

SKU: FV.FUE-10057

Composed by Emilie Mayer. Edited by Heinz-Mathias Neuwirth. Score and parts. Furore Verlag #FUE 10057. Published by Furore Verlag (FV.FUE-10057).

ISBN 979-0-50182-057-3.

String Quartet B flat major
The first movement (Allegro, 4/4 time) is distinguished by a clear recurring structure characterized by a differentiation in compositional technique and tonal detail. The energetic / lyrical contrast manifests itself in a sequence of contrasting episodes - both within and outside the themes.
In its technical development the first movement is modelled on the first movement of Beethoven's String Quartet op. 18/1. Besides thematic, harmonic and figural echoes and similarities such as the time signature and the use of characteristic accentuation, the reduction of the movement's motifs to one central theme is of particular note.

Erstveroffen tlichung.

String Quartet (2vl,va,vc)

SKU: BR.EB-9243

Full Score. Composed by Christian Mason. Chamber music; stapled. Edition Breitkopf. World premiere of the original version: London, May 10, 2016World premiere of the string orchestra version: Clermont-Ferrand, October 8, 2020. New music (post-2000). Full score. Composed 2016/2020. 40 pages. Duration 19'. Breitkopf and Haertel #EB 9243. Published by Breitkopf and Haertel (BR.EB-9243).

ISBN 9790004185438. 9 x 12 inches.

It was the practice of Khoomii (throat singing) - following several workshops with Michael Ormiston - that first attracted me to Tuvan music. Composing this Songbook, the first in a series commissioned by the Ligeti Quartet, I took the chance to reflect on compositional questions around transcription and arrangement of existing music, and frequently found myself asking: where is the boundary between the source material and the new substance? Of course the relationship varies from piece to piece, and moment to moment: sometimes we seem to glimpse the pure source, but most of the time there are differing degrees of distance, working towards or away from it. This new version for string orchestra corresponds closely to the original quartet version, with an additional part for double basses.The traditional Tuvan songs that I have transcribed and recomposed are all known to me from the Ay Kherel CD The Music of Tuva: Throat Singing and Instruments from Central Asia (2004, Arc Music). According to the notes from that CD, this is what the songs are about:1. Dyngylday: If you have come on a horse in blue, it doesn't mean that you are the best. My heart tells me something else: my sweetheart doesn't have such a beautiful horse, but he is my darling.An alternative interpretation from Alash Ensemble (alashensemble.com): The word dyngylday is a nonsense term with no translation. The song makes good-humored fun of somebody for being a good-for-nothing.2. Eki Attar (The Best Steeds): The horse is the basis of our life. It is a magic creature. Even its step is full of music and rhythm. You may not be a horse rider, but when you hear this song you will always remember horses.3. Kuda Yry: This wedding song glorifies the strength of the groom and the beauty of his Horse.4. Ezir-Kara ('Black Eagle'): This was the name of a horse, who became a legend through his remarkable strength and speed.It is not just overtones that abound here: there are galloping rhythms aplenty, and though I am no horse rider I tried to keep the horses galloping in my imagination while composing these pieces.Christian Mason (with quotes from Ay Kherel and Alash Ensemble)

World premiere of the original version: London/UK, May 10, 2016, World premiere of the string orchestra version: Clermont-Ferrand/France, October 8, 2020.

String Quartet (2vl,va,vc)

SKU: BR.EB-9244

Set of Parts. Composed by Christian Mason. Chamber music; stapled. Edition Breitkopf. World premiere of the original version: London, May 10, 2016World premiere of the string orchestra version: Clermont-Ferrand, October 8, 2020. New music (post-2000). Set of parts. Composed 2016/2020. 92 pages. Duration 19'. Breitkopf and Haertel #EB 9244. Published by Breitkopf and Haertel (BR.EB-9244).

ISBN 9790004185445. 9 x 12 inches.

It was the practice of Khoomii (throat singing) - following several workshops with Michael Ormiston - that first attracted me to Tuvan music. Composing this Songbook, the first in a series commissioned by the Ligeti Quartet, I took the chance to reflect on compositional questions around transcription and arrangement of existing music, and frequently found myself asking: where is the boundary between the source material and the new substance? Of course the relationship varies from piece to piece, and moment to moment: sometimes we seem to glimpse the pure source, but most of the time there are differing degrees of distance, working towards or away from it. This new version for string orchestra corresponds closely to the original quartet version, with an additional part for double basses.The traditional Tuvan songs that I have transcribed and recomposed are all known to me from the Ay Kherel CD The Music of Tuva: Throat Singing and Instruments from Central Asia (2004, Arc Music). According to the notes from that CD, this is what the songs are about:1. Dyngylday: If you have come on a horse in blue, it doesn't mean that you are the best. My heart tells me something else: my sweetheart doesn't have such a beautiful horse, but he is my darling.An alternative interpretation from Alash Ensemble (alashensemble.com): The word dyngylday is a nonsense term with no translation. The song makes good-humored fun of somebody for being a good-for-nothing.2. Eki Attar (The Best Steeds): The horse is the basis of our life. It is a magic creature. Even its step is full of music and rhythm. You may not be a horse rider, but when you hear this song you will always remember horses.3. Kuda Yry: This wedding song glorifies the strength of the groom and the beauty of his Horse.4. Ezir-Kara ('Black Eagle'): This was the name of a horse, who became a legend through his remarkable strength and speed.It is not just overtones that abound here: there are galloping rhythms aplenty, and though I am no horse rider I tried to keep the horses galloping in my imagination while composing these pieces.Christian Mason (with quotes from Ay Kherel and Alash Ensemble)

World premiere of the original version: London/UK, May 10, 2016, World premiere of the string orchestra version: Clermont-Ferrand/France, October 8, 2020.