Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Subito Music
String Quartet SKU: SU.29120030 For String Quartet. Composed by To...(+)
String Quartet
SKU:
SU.29120030
For
String Quartet.
Composed by Todd Mason.
Score & Parts. Subito
Music Corporation
#29120030. Published by
Subito Music Corporation
(SU.29120030).
String Quartet
No. 2 is in three
movements. The 1st
movement engages from the
opening bar with fast
paced, off kilter 7/8
tutti rhythms and
sharp-edged harmonies.
This is a kind of musical
caffeine living between
tonal and polytonalism
with rich, sliding chords
and a haunting middle
section reminiscent of
Armenian folks tunes. The
2nd movement offers
emotional storytelling
with clear tonality but
with moments of more
complex stacked harmonies
and tension. The 3rd
movement is lively with
raw energy. Voices are
rapidly interchanged in a
dance of weaving motivic
development until the
satisfying rush of notes
to the end.String Quartet
Duration: 15' Composed:
2019 Published by: Todd
Mason String Quartet No.
2 (Youtube):.
String Quartet SKU: HL.14030965 Music Sales America. Classical. Set of Pa...(+)
String Quartet
SKU:
HL.14030965
Music
Sales America. Classical.
Set of Parts. Music Sales
#KP00509. Published by
Music Sales
(HL.14030965).
ISBN
9788759861448.
English.
Version
for String Quartet. Score
available: KP00510 The
composer writes: 'In
February 1987 I saw in
the Tate Gallery in
London a painting by the
Victorian English painter
John William Waterhouse.
The painting kept
haunting my memory, and
as I at the same time
planned to write a piece
for solo viola, my ideas
for the music and the
memory of the painting
fused more and more. I
decided, then, to let my
piece borrow the title of
Waterhouse's paint-ing:
'The Lady of Shalott'.
The picture of a
mad-like, pale, and
perhaps singing woman
alone in a boat without
sculls, which calmly
slips out from the rush
growth of the river is an
illustration for the
ending of Alfred
Tennyson's poem by the
same title, which again
plaits into the old
English legends about
King Arthur. My piece
tries to meander - like
the river at Camelot -
among these sources. As
suggested above the piece
was originally written
for viola solo. The
version for string
quartet is from
1993.'.
String Quartet SKU: HL.14030964 Composed by Bent Sorensen. Music Sales Am...(+)
String Quartet
SKU:
HL.14030964
Composed
by Bent Sorensen. Music
Sales America. Classical.
Score. 10 pages. Music
Sales #KP00510. Published
by Music Sales
(HL.14030964).
ISBN
9788759861455.
English.
The
Composer writes: 'In
February 1987 I saw in
the Tate Gallery in
London a painting by the
Victorian English painter
John William Waterhouse.
The painting kept
haunting my memory, and
as I at the same time
planned to write a piece
for solo Viola, my ideas
for the music and the
memory of the painting
fused more and more. I
decided, then, to let my
piece borrow the title of
Waterhouse's painting:
The Lady Of Shalott. The
picture of a mad-like,
pale, and perhaps singing
woman alone in a boat
without sculls, which
calmly slips out from the
rush growth of the river
is an illustration for
the ending of Alfred
Tennyson's poem by the
same title, which again
plaits into the old
English legends about
King Arthur. My piece
tries to meander - like
the river at Camelot -
among these sources.' As
suggested above the piece
was originally written
for Viola solo. This
version for String
Quartet is from 1993.
String Quartet (Parts) SKU: HL.14037707 Parts. Composed by Kevin V...(+)
String Quartet (Parts)
SKU: HL.14037707
Parts. Composed by
Kevin Volans. Music Sales
America. Contemporary.
Softcover. Composed 2010.
80 pages. Chester Music
#CH7452501. Published by
Chester Music
(HL.14037707).
ISBN
9781849385916. UPC:
884088578626.
8.25x11.75x0.262
inches.
Kevin
Volans' String Quartet
No. 9: Shiva Dances was
commissioned by BBC Radio
3 and first performed by
the Smith Quartet at the
2004 Huddersfield
Contemporary Music
Festival.
Kevin
Volans (the composer)
notes on the
piece: In the past
I have been interested in
trying to go beyond
historicism (1970s),
beyond style(1980s) and
beyond form (1990s) in my
work. Looking back over
the music of the
twentiethcentury I was
struck by the fact the
nearlyall of it is
extremely 'busy', almost
cluttered. Italmost
seemed that composers
felt compelled to look
industrious. In the new
millennium Ithought it
would be interesting to
try and eliminate
content. I also aspired
to movingfrommusic (sound
as art) to art (art as
sound). This, of course,
has already been done by
a numberof composers
(many from New York -
Phil Niblock and La Monte
Young, to name but two),
butit was something I had
never tried.AlthoughI
found it annoying that
the label 'minimalist'
was given to my
African-based work,and
fearing this would make
the label stick, I set
out to write a piece
which reflected my loveof
minimal painting and
architecture. The
Japanesehave a term
'wabi' meaning
'voluntarypoverty' or
'emptiness' to describe
their restrained minimal
aesthetic, an aesthetic
which,however, pays
greatest attention to the
quality of material and
fine detail. I like to
think thatthelack of
excessive pitch material
in this piece reflects a
kind of voluntary
poverty.When Shiva is
portrayed dancing (as
Nataraj) He is depicted
in a circle of flames
crushing asmall figure -
the ego - underfoot.You
get theimpression He
dances on the spot, not
movingaround at all. I
like that. The piece
is dedicated to Pablo
Pascual
Cilleruelo.
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.