String Quartet (String Quartet) SKU: HL.14042752 Composed by Various. Mus...(+)
String Quartet (String
Quartet)
SKU:
HL.14042752
Composed
by Various. Music Sales
America.
TV-Film-Musical-Show.
Softcover. Composed 1993.
Chester Music #CH61369.
Published by Chester
Music (HL.14042752).
ISBN 9780711965454.
9.0x12.0x0.403
inches.
A series of
popular music for working
string quartets. Light
enjoyable repertoire
pieces and entertaining
encores. Each folio
contains five pieces.
Contents: 'Empty Chairs
at Empty Tables', 'I
Don't Know To Love Him',
'If I Were ARich Man',
'Somewhere',
'Tonight'.
Chamber Music String Quartet SKU: PR.144404550 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144404550
Composed
by Sydney F. Hodkinson.
Set of Score and Parts.
With Standard notation.
Composed 2002.
53+20+16+16+16 pages.
Duration 22 minutes.
Theodore Presser Company
#144-40455. Published by
Theodore Presser Company
(PR.144404550).
UPC:
680160030859.
After
finishing a serious
woodwind quintet in the
fall of 2001 [Tela
Lacerata], I found, in
the ensuing months, that
its cinders/ashes were
still impregnating my
eardrums. Therefore, when
I set out to write the
present string piece, I
realized that the musical
veins of the quartet,
like related cousins,
were sharing the same
blood as the earlier wind
composition. The
resultant Fifth Quartet
evolved into two large,
extended movements, each
one containing seven
parts that are played
without pause. As the
list of the various
sub-sections clearly
indicates, the formal
structure of the
movements appear to be
identical: each with
three main parts
enveloped by interludes,
plus an introduction and
coda. However, the
principal segments of the
first (slow) movement
gradually decrease in
length, while those of
the second (fast)
movement increase. In
addition, there is a
goodly amount of sonic
material stolen from the
first movement which
reappears -- stitched
together in a new guise
-- into the world of the
second. for example, the
bulk of Parts B and C of
Movement II are lifted
bodily, although
elaborately modified,
from their first
appearances in the
Introduction and Part A
of the fist movement.
This offers, I suppose at
least a hint of a
traditional
recapitulation. As was
true in the earlier
woodwind piece -- both
harmonically and
melodically -- the
embryonic growth of the
musical fabric (primarily
the tritone and perfect
fifth) is omnipresent,
almost obsessively,
throughout the course of
the whole work. These two
intervals, not unlike
plasticine, habitually
transform themselves into
the scales, chords, and
melodic lines that
pervade the texture of
the quartet. Owing to the
largely unrelieved
dramatic flow, the
shifting speed, and the
often fervent intensity,
the quartet places
considerable demands on
the dexterity,
virtuosity, and stamina
of the four performers.
String Quartet No. 5 is
approximately 22 minutes
in duration and
affectionately dedicated
to my violinist wife
Elizabeth, as a gift for
our 47 years together. It
was commissioned by the
Corigliano String
Quartet, New York, NY. --
Sydney Hodkinson.
Chamber Music String Quartet SKU: PR.14440455S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440455S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation. 53
pages. Duration 22
minutes. Theodore Presser
Company #144-40455S.
Published by Theodore
Presser Company
(PR.14440455S).
UPC:
680160030873.
After
finishing a serious
woodwind quintet in the
fall of 2001 [Tela
Lacerata], I found, in
the ensuing months, that
its cinders/ashes were
still impregnating my
eardrums. Therefore, when
I set out to write the
present string piece, I
realized that the musical
veins of the quartet,
like related cousins,
were sharing the same
blood as the earlier wind
composition. The
resultant Fifth Quartet
evolved into two large,
extended movements, each
one containing seven
parts that are played
without pause. As the
list of the various
sub-sections clearly
indicates, the formal
structure of the
movements appear to be
identical: each with
three main parts
enveloped by interludes,
plus an introduction and
coda. However, the
principal segments of the
first (slow) movement
gradually decrease in
length, while those of
the second (fast)
movement increase. In
addition, there is a
goodly amount of sonic
material stolen from the
first movement which
reappears -- stitched
together in a new guise
-- into the world of the
second. for example, the
bulk of Parts B and C of
Movement II are lifted
bodily, although
elaborately modified,
from their first
appearances in the
Introduction and Part A
of the fist movement.
This offers, I suppose at
least a hint of a
traditional
recapitulation. As was
true in the earlier
woodwind piece -- both
harmonically and
melodically -- the
embryonic growth of the
musical fabric (primarily
the tritone and perfect
fifth) is omnipresent,
almost obsessively,
throughout the course of
the whole work. These two
intervals, not unlike
plasticine, habitually
transform themselves into
the scales, chords, and
melodic lines that
pervade the texture of
the quartet. Owing to the
largely unrelieved
dramatic flow, the
shifting speed, and the
often fervent intensity,
the quartet places
considerable demands on
the dexterity,
virtuosity, and stamina
of the four performers.
String Quartet No. 5 is
approximately 22 minutes
in duration and
affectionately dedicated
to my violinist wife
Elizabeth, as a gift for
our 47 years together. It
was commissioned by the
Corigliano String
Quartet, New York, NY. --
Sydney Hodkinson.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
First violin,second violin,viola,cello,Perc. adlib (1. Violin, 2. Violin, Viola,...(+)
First violin,second
violin,viola,cello,Perc.
adlib (1. Violin, 2.
Violin, Viola,
Violoncello, Drums ad
libitum) - Level 4
SKU: BA.BA11525
Composed by Pavel Haas.
Edited by Ondrej Pivoda.
This edition: urtext
edition. In a folder.
Barenreiter Urtext. With
percussion ad libitum.
Set of parts. Opus 7.
16/15/13/12/3 pages.
Baerenreiter Verlag
#BA11525_00. Published by
Baerenreiter Verlag
(BA.BA11525).
ISBN
9790260108868. 31 x 24.3
cm inches.
Pavel
Haas was one of Leoš
Janácek’s most
gifted students. His
String Quartet No. 2
“From the Monkey
Mountains†is
considered to be one of
the first high points of
his oeuvre.
In
this work, Haas combined
elements of
Janácek’s
compositional technique
with jazz, particularly
in the fourth
movement’s
instrumentation for
string quartet and
percussion ad libitum.
This version was
premiered in Brno in
1926; later, the work was
revised for string
quartet only. For this
edition Ondrej Pivoda has
reconstructed the
original version,
bringing to light
passages that were never
published until
now.
This is the
first critical edition of
the work. It is based on
all relevant sources,
taking sketches of the
final version of the
score and contemporary
performance material into
account. It includes an
extensive Foreword
(Cz/Eng/Ger) as well as a
Critical Commentary
(Eng).
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
Boids again Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9383 Composed by Misato Mochizuki. ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9383
Composed
by Misato Mochizuki.
Chamber music; stapled.
Edition Breitkopf. New
music (post-2000). Full
score. Composed
2019/2020. 12 pages.
Duration 7'. Breitkopf
and Haertel #EB 9383.
Published by Breitkopf
and Haertel (BR.EB-9383).
ISBN 9790004188538. 9
x 12 inches.
Two
years ago in Rome, I
encountered a murmuration
of starlings and I was
amazed with its
overwhelming beauty,
changing shape as it
moved. Moving of a fish
school that you can watch
in an aquarium, has the
same beauty and the
energy. According to the
scientists, their fine
movement in a flock is
based on the following
three simple rules: -
steer to avoid crowding
local flockmates - steer
towards the average
heading of local
flockmates - steer to
move towards the average
position (center of mass)
of local flockmates The
word Boids refers to
bird-like objects
(bird-oids), representing
the beauty of their
movements in a flock
which is a result of
balancing out with each
other, following the
principle of least
effort. I wonder if these
rules can be applied to
the way a string quartet
is shaped. Boids again
has been written as a
sequel to the piece Boids
(2017), a 4 minute study
for string quartet in the
frame of the Kronos
Quartet's educational
project 50 for the
Future. (Misato
Mochizuki)
World
premiere: Osaka,
International Chamber
Music Competition,
February 12, 2021
Commissioned by Osaka
International Chamber
Music Competition and
Festa Commission.
Boids again Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9384 Composed by Misato Mochizuki. ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9384
Composed
by Misato Mochizuki.
Chamber music; stapled.
Edition Breitkopf. New
music (post-2000). Set of
parts. Composed
2019/2020. 36 pages.
Duration 7'. Breitkopf
and Haertel #EB 9384.
Published by Breitkopf
and Haertel (BR.EB-9384).
ISBN 9790004188545. 9
x 12 inches.
Two
years ago in Rome, I
encountered a murmuration
of starlings and I was
amazed with its
overwhelming beauty,
changing shape as it
moved. Moving of a fish
school that you can watch
in an aquarium, has the
same beauty and the
energy. According to the
scientists, their fine
movement in a flock is
based on the following
three simple rules: -
steer to avoid crowding
local flockmates - steer
towards the average
heading of local
flockmates - steer to
move towards the average
position (center of mass)
of local flockmates The
word Boids refers to
bird-like objects
(bird-oids), representing
the beauty of their
movements in a flock
which is a result of
balancing out with each
other, following the
principle of least
effort. I wonder if these
rules can be applied to
the way a string quartet
is shaped. Boids again
has been written as a
sequel to the piece Boids
(2017), a 4 minute study
for string quartet in the
frame of the Kronos
Quartet's educational
project 50 for the
Future. (Misato
Mochizuki)
World
premiere: Osaka,
International Chamber
Music Competition,
February 12, 2021
Commissioned by Osaka
International Chamber
Music Competition and
Festa Commission.
'In Flight Music'.
Composed by Edward Cowie.
This edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed
1982-1983. 122 pages.
Duration 15'. Schott
Music #ED13390. Published
by Schott Music
(HL.49043938).
ISBN
9790220133923.
9.25x12.0x0.494
inches.
The 3rd
String Quartet was
originally composed in
1982-3 to a commission
from The Adelaide
Festival, and premiered
by The Petra Quartet in
1983. Subsequent to this
quartet, I have composed
two more; No. 4 in 1986
and No. 5 in 2002.The
offer to re-publish this
work, led me to begin by
a process of amendment,
but ended in the
composition of a
virtually new quartet!
Only parts of the
original quartet have
been retained. I also
chose to 'frame' (in my
case this means an
inspirational focus and
filter), the quartet in a
new way too.In Flight
Music keeps the
4-movement format of the
original quartet, but is
now directly linked to a
life-long interest in
flight. The first two
movements are concerned
with aspects of humans in
flight, whilst the last
two deal with insects and
birds respectively.Since
all my music is these
days preceded by
visualisations in the
form of drawings,
wherever possible, this
quartet might be
performed with the four
drawings, one for each
movement, back-projected
behind the
players.Digital copies of
these drawings may be
obtained from Schott
Music.Edward
Cowie.Maurens. France.
August, 2010.