Sing Sing: J. Edgar Hoover Quatuor à cordes: 2 violons, alto, violoncelle [Partition + CD] Boosey and Hawkes
String Quartet and Pre-recorded Sound Score and Parts with CD. Composed b...(+)
String Quartet and
Pre-recorded Sound Score
and Parts with CD.
Composed by Michael
Daugherty (1954-). Boosey
and Hawkes Chamber Music.
Softcover with CD. Boosey
and Hawkes #M051105991.
Published by Boosey and
Hawkes (HL.48022599).
String Quartet SKU: HL.14008374 Composed by Sir Peter Maxwell Davies. Mus...(+)
String Quartet
SKU:
HL.14008374
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical.
Score. Composed 2006. 24
pages. Chester Music
#CH68629. Published by
Chester Music
(HL.14008374).
ISBN
9781846096150. UPC:
884088435202.
8.25x11.75x0.105
inches.
The Full
Score for Peter Maxwell
Davies' fourth in a
series of ten string
quartets commissioned by
the Naxos Recording
company, first performed
by the Maggini Quartet on
20th August 2004 at the
Chapel of the Royal
Palace, Oslo, Norway, as
part of the Olso Chamber
Music Festival. Composer
Note: The fourth Naxos
quartet was written in
January and February of
2004, with the intention
of producing something
lighter and much less
fierce than its
predecessor, an
unpremeditated and
spontaneous reaction to
the illegal invasion of
Iraq. I returned to the
well-known Brueghel
picture of children's
games (1560, now in
Vienna), which had been
the inspiration for my
sixth Strathclyde
Concerto, for flute and
orchestra. These
illustrations liberated
my musical imagination,
but I feel it would limit
the listener's perception
to be too specific about
which game relates to
exactly which section of
the work. Suffice it to
say that there is
vigorous play -
leap-frog, bind the devil
with a cord, truss,
wrestling - alongside
quieter pastimes - masks,
guess whom I shall
choose, courting, odds
and evens. The single
movement juxtaposes these
activities as abruptly
and intimately as they
occur in Brueghel. Rather
as the eye is taken into
different perspectives
and proportions of scale
within the picture,
taking liberties which
would never be present
in, for instance,
Brunelleschi
architectural drawings,
so here, with a constant
sequence of
transformation processes,
I have distorted the
neat, precise
implications of modal
progression, expressed in
the unison opening phrase
(from F to B through A
sharp/B flat), so that
the ear is led, en route,
into the sound
equivalents of strange
passageways and closed
rooms: sicut exposition
ludus. As work on the
quartet progressed I
became aware that I was
reading into, and behind
the games, adult motives
and implications,
concerning aggression and
war, with their
consequences. It was
impossible to escape into
innocent childhood
fantasy. The nature of
the F to B progression
underlying the whole
construction derives from
a passage in the
development of the first
movement of Mahler's
Third Symphony, and the
opening of Schoenberg's
Second String Quartet.
However, unlike in these
models, here a real - if
temporary - sense of
resolution occurs at the
close of the quartet: as
when the curtain falls on
the reconciled Count and
Countess in 'Figaro' one
wonders how long the F/B
truce will hold, and
games break out again.
The quartet is dedicated
to Giuseppe Rebecchini,
Roman architect, and
friend since the
nineteen-fifties.
(23 Arrangements of Gems from the Baroque Period). By Various. Arranged by Joel ...(+)
(23 Arrangements of Gems
from the Baroque Period).
By Various. Arranged by
Joel Lish. String
quartet. For 2 Violins,
Viola and Cello.
Quartets. Baroque.
Advanced. Set of 4 parts.
Published by Middle
Fiddle Music
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet
SKU:
HL.49045639
Chaconne. Composed
by Fred Lerdahl. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2016.
108 pages. Duration 990
seconds. Schott Music #ED
30174. Published by
Schott Music
(HL.49045639).
ISBN
9781540004796. UPC:
888680710774.
9.5x12.0x0.37
inches.
Chaconne
(2016), for string
quartet, was commissioned
by the Daedalus Quartet
to celebrate its 15th
anniversary. The
commission was supported
by New Music USA, made
possible by annual
program support and/or
endowment gifts from
Pennsylvania Council on
the Arts, Helen F.
Whitaker Fund, and Aaron
Copland Fund for Music.My
music has a substantial
history with Daedalus. I
composed the Third String
Quartet (2008) for them,
and subsequently they
performed my three string
quartets on several
occasions and recorded
them brilliantly on
Bridge Records (Bridge
9352: Music of Fred
Lerdahl, vol. 3).
Chaconne is in one
movement lasting 19
minutes. It is
effectively my fourth
string quartet. Quartets
1-3 form a unified cycle
lasting 70 minutes. When
I finished the cycle, I
thought I would never
write again for the
medium; yet I could not
resist the opportunity of
working again with
Daedalus. The issue was
how to compose another
string quartet unrelated
to the earlier cycle. The
solution came from my
solo cello piece There
and Back Again (2010),
which was based on a
four-bar variation
pattern from a
17th-century chaconne.
Unlike the asymmetrical
phrases and expanding
variations of much of my
music, the chaconne form
requires symmetrical
phrases and strictly
periodic variations. I
wished to work again with
these symmetries but on a
larger scale. Chaconne
also differs in character
and expression from the
three-quartet cycle. The
cycle is inward and
intense, a kind of
psychological excavation.
Chaconne is, for the most
part, transparent and
playful. Many of its
textures emerge from
little canons, not
completely unlike the
rounds that children
sing. Any composer who
writes in chaconne form
(one thinks above all of
the last movement of
Bach's D minor violin
partita and the finale of
Brahms's Fourth Symphony)
is confronted with the
challenge of how to
create a larger form out
of a constantly repeating
pattern.My Chaconne grows
from paired
antecedent-consequent
phrases, each variation
lasting eight bars. The
50 variations group into
three large rotations,
forming three arcs of
tension and relaxation,
with subtle parallel
connections across the
rotations.
Notwithstanding my
attraction to chaconne
form, I purposefully
disguised its symmetries
and periodicities in
order to build an overall
dramatic shape. Fred
Lerdahl.