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.
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.
Quartet Sant Petersburg Quatuor à cordes: 2 violons, alto, violoncelle Editorial de Musica Boileau
String quartet SKU: BO.B.3664 Composed by Jordi Cervello. Published by Ed...(+)
String quartet
SKU:
BO.B.3664
Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3664).
Cuarteto San
Petersburgo (The Saint
Petersburg Quartet) was
written between January
and March 2011. It owes
its name to the fact that
Saint Petersburg has been
a very significant city
for me. I was invited
there in 1988 to take
part in a big
contemporary music
festival, but my
uninterrupted bond with
the city started on 2002,
thanks to the
negotiations of my friend
and pupil Albert Barbeta.
Since then, I have
constantly travelled
there in order to record
a considerable part of my
repertoire: seventeen
pieces. In addition to
the concerts we went to,
I took the opportunity
during my trips to visit
the well-known
conservatoire where so
many great personalities
from the world of music
composition once taught,
and the place that
launched the most
important violin school
in the whole of Russia:
the school of Leopoldo
Auer. Spending a long
time in Auer's classroom
writing my concert for
violin and orchestra was
an unforgettable
experience for me. His
large portrait motivated
me even
further.
Cuartet
o San Petersburgo evokes
many of the most
cherished and moving
moments that I have had
in this city. It is
structured in four
movements. The first one,
Allegretto-Allegro, opens
with an introduction that
sets forth the two main
themes, amid a soft and
elastic atmosphere. The
Allegro starts vigorously
and in it we find changes
in the tempo and moments
of mystery, as well as
certain seclusion,
returning then to the
emphatic theme where the
counterpoint finds its
place. The movement ends
placidly.
The
Scherzo-marcato that
follows is marked by a
persistent rhythm of
triplets that carries on
from beginning to end.
The tempo does not
change, but brief and
decided themes are
introduced, as well as
passages of counterpoint.
Brief and dissonant
chords are heard
throughout the movement,
which ends
vigorously.
The
third movement, Ut, is a
very special one. For a
while already I had been
playing with the idea of
writing a movement that
was to have the tonality
C as a leitmotiv. This
one is made up by two
slow and static parts. In
the first one, the first
violin plays
pizzicatti-glissandi. In
the second, the first
violin and particularly
the violoncello settle on
C while the other two
instruments produce
descending chromatic
harmonies.
Final
ly, the
Introduccion-Presto (the
Introduction-Presto). It
starts with some bucolic
passages which remind us
of the introduction to
the first movement. A
fast and energetic Presto
suddenly erupts. A kind
of moto perpetuo which
alternates with two
expressive passages and,
towards the end, a viola
and violoncello tremolo,
all of great mystery and
expectation, make way for
a resounding finale
marcato.
By Bedrich Smetana. Edited by Frantisek Bartos; Josef Plavec; Karel Solc. For Vi...(+)
By Bedrich Smetana.
Edited by Frantisek
Bartos; Josef Plavec;
Karel Solc. For Violin
(2), Viola, Violoncello.
Published by
Baerenreiter-Ausgaben
(German import).
Composed
by Leos Janacek. Edited
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek E/4.
Complete edition, Score,
Set of parts. Composed
1928. No. 2. Duration 26
minutes. Baerenreiter
Verlag #BA06857_00.
Published by Baerenreiter
Verlag (BA.BA06857).
ISBN 9790260100503.
34.3 x 27 cm
inches.
Janácek
€™s 2nd String
Quartet, “Intimate
Lettersâ€, is
regarded as a highlight
of the modern string
quartet literature. It
was written during the
composer’s last
year of life, between 29
January and 19 February
1928, inspired by the
ageing
Janácek’s
exceptional love for
Kamila Stösslová.
The Moravian Quartet
devoted themselves to
this impressive work;
Janácek attended a
total of three of their
rehearsals in May and
June 1928. This had
several consequences,
including his abandoning
his original idea of
using a viola
d’amore.
Af
ter Janácek’s
unexpected death (12
August 1928) the
uncertain genesis of the
work became the greatest
problem of the
“Intimate
Lettersâ€: the
surviving copies were not
definitively
authorised.
The
editors of this new
edition have reverted to
Janácek’s
autograph sketches as the
main, most reliable
source and using these as
a basis, have
reconstructed the work as
it stood at the point of
Janácek’s
death.
The musical
text therefore contains
clear differences in
comparison with older
editions.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Chamber Music String Quartet SKU: PR.14440385S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440385S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation.
Duration 20 minutes.
Theodore Presser Company
#144-40385S. Published by
Theodore Presser Company
(PR.14440385S).
UPC:
680160029907.
A
shorter and less
stringent work than my
two previous quartets
(1992 and 1994), the
Fourth Quartet is
comprised, almost
obsessively, of the
interplay between two
thematic kernels: (1) a
5-note motto, announced
at the outset, derived
from pitches in my own
name; and (2) a brief
legato line of expressive
sevenths (minor/major),
which is itself born out
of the first cell. Both
of these fragments
constantly pervade the
entire work, albeit in
ever-changing raiment.
The piece is extremely
classical in design: four
movements played without
interruption -
slow/fast/slow/fast -
with the first and third
sections alternating
declamatory and calmer
gestures, and the second
and fourth being, in
effect, almost variants
of each other. Quartet
No. 4 is approximately 20
minutes in duration and
each movement, as noted,
was written in memory of
dear friends who passed
away during late 1995 and
early 1996. The work was
completed in April of
1996 in Ormond, Florida
and Fairport, New York.
--Sydney Hodkinson. A
shorter and less
stringent work than my
two previous quartets
(1992 and 1994), the
Fourth Quartet is
comprised, almost
obsessively, of the
interplay between two
thematic kernels: (1) a
5-note motto, announced
at the outset, derived
from pitches in my own
name; and (2) a brief
legato line of expressive
sevenths (minor/major),
which is itself born out
of the first cell.Â
Both of these fragments
constantly pervade the
entire work, albeit in
ever-changing raiment.The
piece is extremely
classical in design: four
movements played without
interruption –
slow/fast/slow/fast
– with the first
and third sections
alternating declamatory
and calmer gestures, and
the second and fourth
being, in effect, almost
variants of each
other.Quartet No. 4 is
approximately 20 minutes
in duration and each
movement, as noted, was
written in memory of dear
friends who passed away
during late 1995 and
early 1996. The work
was completed in April of
1996 in Ormond, Florida
and Fairport, New
York.—Sydney
Hodkinson.
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.
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.
String Quartet SKU: HL.14036341 Composed by Hugh Wood. Music Sales Americ...(+)
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.