String Quartet - early intermediate

SKU: BT.DHP-1125308-070

Composed by Billy Joel. Arranged by Anthony Gröger. De Haske Pops for String Quartet. Set (Score & Parts). Composed 2012. 12 pages. De Haske Publications #DHP 1125308-070. Published by De Haske Publications (BT.DHP-1125308-070).

ISBN 9789043150293. 9x12 inches. English-German-French-Dut ch.

De Haske's best-selling Pops for String Quartet series offers excellent arrangements for intermediate string quartets who want to add some classic pop to their performances.

The Stranger is het vijfde studio album van Billy Joel, uitgebracht in 1977. Dit album betekende zijn doorbraak naar het grote publiek en is dan ook zijn bestverkochte reguliere plaat. De meest succesvolle single van het albumis het prachtige Just the way you are.Onder de naam Pops for String Quartet heeft de Haske een nieuwe serie ontwikkeld voor strijkkwartetten die zich eens buiten het klassieke pad willen begeven. Een collectie vanuitstekende arrangementen in gemiddelde moeilijkheidsgraad!
Die romantische Ballade, die Billy Joel 1977 für seine Frau schrieb, umgesetzt in eine sehr gefühlvolle Bearbeitung für Streichquartett.Unter dem Titel Pops for String Quartet hat De Haske eine Notenreihe ins Leben gerufen, die Streichquartette, die sich einmal abseits der ausgetretenen klassischen Pfade bewegen wollen, mit ausgezeichneten Arrangements im leichten bis mittleren Schwierigkeitsgrad versorgt.

La collection Pops for String Quartet des Éditions De Haske présente des arrangements originaux de pièces stupéfiantes, sans jamais dépasser un degré de difficulté élémentaire. Laissez-vous surprendre par ces quatuors d'un genre nouveau !

Pops for String Quartet: una collana per tutti i violinisti desiderosi di suonare qualcosa di diverso dal repertorio classico.

Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

SKU: HL.50603994

Score and Parts. Composed by Daniel D'Adamo. String. Softcover. 88 pages. Duration 600 seconds. Chant Du Monde #CDMMC5013. Published by Chant Du Monde (HL.50603994).

ISBN 9781705164679. UPC: 196288068310. 9.0x12.0 inches.

Quatuor No 2 was first performed by the Tana string quartet on April 14, 2013, at Radio France, Paris. I conceived a piece whose principal subject was going to consist in the description of a minuscule sonic element. The description of this tiny initial material would be so precise, so detailed that, deployed on a much larger scale than its original one, it would occupy the entire duration of the piece. At that point, I just had to choose a sound model as the starting point of the piece, the sound that would best characterize the string instruments themselves: the noisy sound produced by the bow barely coming in contact with one of the strings, getting ready to acquire speed, weight, acceleration, and producing a full sound of a violin, a viola or a cello... -Daniel D'Adamo.

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String Quartet (Study Score)

SKU: HL.51487272

Study Score. Composed by Alexander Zemlinsky. Edited by Dominik Rahmer. Henle Music Folios. Classical. Softcover. G. Henle #HN7272. Published by G. Henle (HL.51487272).

UPC: 840126989366. 6.75x9.5x0.245 inches.

Alexander Zemlinsky's music was long unjustly overshadowed by what was regarded as the “more progressive” Second Viennese School. Although Zemlinsky was close friends with its protagonist Arnold Schönberg, he never did take the latter's radical step into dodecaphony. At the same time, he composed works that were no less original or fully fledged. Composed between 1913 and 1915, his Second String Quartet in particular pushed the contemporaneous understanding of form and tonality to its limits. With just one movement but spanning over 1,200 measures, this multi-faceted work numbers among the most significant contributions to the genre of the time and has long merited a critical new edition. The Urtext edition by G. Henle Publishers corrects many errors and inaccuracies in the first edition that came to light after careful comparison with the autograph sources in Vienna and Washington. For the first time, too, the metronome markings that survive only in one of Zemlinsky's letters have been incorporated. Editorial work was kindly supported by the Alexander Zemlinsky Endowment Fund in Vienna.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

String Quartet (Parts)

SKU: HL.51481272

Set of Parts. Composed by Alexander Zemlinsky. Edited by Dominik Rahmer. Henle Music Folios. Classical. Softcover. G. Henle #HN1272. Published by G. Henle (HL.51481272).

UPC: 840126989250. 9.0x12.0x0.348 inches.

Alexander Zemlinsky's music was long unjustly overshadowed by what was regarded as the “more progressive” Second Viennese School. Although Zemlinsky was close friends with its protagonist Arnold Schönberg, he never did take the latter's radical step into dodecaphony. At the same time, he composed works that were no less original or fully fledged. Composed between 1913 and 1915, his Second String Quartet in particular pushed the contemporaneous understanding of form and tonality to its limits. With just one movement but spanning over 1,200 measures, this multi-faceted work numbers among the most significant contributions to the genre of the time and has long merited a critical new edition. The Urtext edition by G. Henle Publishers corrects many errors and inaccuracies in the first edition that came to light after careful comparison with the autograph sources in Vienna and Washington. For the first time, too, the metronome markings that survive only in one of Zemlinsky's letters have been incorporated. Editorial work was kindly supported by the Alexander Zemlinsky Endowment Fund in Vienna.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

2 Violins, Viola and Cello, with optional Violin 3 (for Viola) & Arco Bass Parts - Moderate

SKU: LP.9780834178168

Traditional Carols with a Popular Twist. Composed by Ed Hogan. This edition: Paperback. Instrumental Collections & Church Orchestras. Preludes, offertories, recitals, talent contests, personal worship, and instruction. Multicultural and Sacred. Published by Lillenas Publishing Company (LP.9780834178168).

ISBN 9780834178168.

Look ing for an innovative way to incorporate your instrumentalists into your Christmas worship services? Our Creative Carols Series is just for you! We've arranged five of your favorite Christmas carols for three different small ensemble.

String Quartet (Score & Parts)

SKU: HL.49046188

Score and Parts. Composed by Lucio Franco Amanti. String Ensemble. Classical. Softcover. 56 pages. Duration 840 seconds. Schott Music #ED22674. Published by Schott Music (HL.49046188).

ISBN 9781540051684. UPC: 888680938703. 9.0x12.0 inches.

When Cuarteto Casals approached me with the idea of illuminating Beethovens quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays hidden in the St. Johns hymn that gave musical notes their original name: Re, Sol, Ut, Io (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of aproblem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally themelodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethovens Harp Quartet. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti).

String quartet String Quartet

SKU: PR.16400272S

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 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.

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.