| The Gift of Love Quatuor à cordes: 2 violons, alto, violoncelle [Set de Parties séparées] Hope Publishing Company
(Keys of A and G). Arranged by Hal H. Hopson. For violin I and II, viola and cel...(+)
(Keys of A and G).
Arranged by Hal H.
Hopson. For violin I and
II, viola and cello.
Hope's All-Time Best
Selling Choral Series.
Wedding, Love, Hymntune,
Children, General,
Sacred. String Quartet
Parts (Keys of A and G).
Published by Hope
Publishing Company
$22.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Renaissance String Quartets - Parts Quatuor à cordes: 2 violons, alto, violoncelle Greenblatt and Seay
Arranged by Deborah Greenblatt. String Quartet. For violin 1, violin 2, viola, c...(+)
Arranged by Deborah
Greenblatt. String
Quartet. For violin 1,
violin 2, viola, cello.
This edition:
spiral-bound. Tunebook.
26 pages (violin 1), 26
pages (violin 2), 26
pages (viola), 26 pages
(cello). Published by
Greenblatt & Seay
$30.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Renaissance String Quartets - Score Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Greenblatt and Seay
Arranged by Deborah Greenblatt. String Quartet. For violin 1, violin 2, viola, c...(+)
Arranged by Deborah
Greenblatt. String
Quartet. For violin 1,
violin 2, viola, cello.
This edition:
spiral-bound. Tunebook.
63 pages. Published by
Greenblatt & Seay
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Pieces Op. 11 from Shakespeare's 'Much Ado About Nothing' Quatuor à cordes: 2 violons, alto, violoncelle Schott
String Quartet Score and Parts. Composed by Erich Wolfgang Korngold (1897- ...(+)
String Quartet Score and
Parts. Composed by Erich
Wolfgang Korngold (1897-
1957). String Ensemble.
Classical. Softcover. 20
pages. Schott Music
#ED21570.
Published by Schott Music
$49.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Can You Feel the Love Tonight Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
From THE LION KING. Composed by Elton John. Arranged by Nico Dezaire. De Haske...(+)
From THE LION KING.
Composed
by Elton John. Arranged
by
Nico Dezaire. De Haske
Pops
for String Quartet. Pop
and
Rock. Set (Score and
Parts).
Composed 2020. 6 pages.
De
Haske Publications #DHP
1206264-070. Published by
De
Haske Publications
$26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 4 Score And Parts Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet (String Quartet) - difficult SKU: HL.49018856 [COPYRIGH...(+)
String quartet (String
Quartet) - difficult
SKU: HL.49018856
[COPYRIGHT RETURNED TO
COMPOSER]. Composed
by Edward Cowie. This
edition: Saddle
stitching. Sheet music.
String. Softcover. 76
pages. Duration 15'.
Schott Music #ED13391.
Published by Schott Music
(HL.49018856). ISBN
9790220133244. UPC:
884088675028.
9.0x12.0x0.204
inches. Although
this is technically
Cowie's seventh string
quartet, it replaces his
earlier fourth quartet,
which he came to feel no
longer fit with his
compositional voice. The
quartet fluctuates
between a slow, luminous
sound and fast, agitated
music. Unlike much of
Cowie's work, this music
is abstracted from his
usual preoccupation with
the natural world,
turning instead to look
at an inner landscape.
The composer describes
the emotional force
behind his quartet: The
year 2009 was a terrible
year in which I lost
three close friends to
cancer and an elder
brother to Alzheimer's
disease. It was also a
year in which my wife was
diagnosed with breast
cancer; something from
which she has thankfully
made a great recovery. At
times like these,
emotions are sorely
tested and highlighted.
Four people I loved have
gone, so this music must
remain as testament not
to death, but to the
magnificent fragility and
loveliness of life. It
closes with a gentle and
almost vaporising
'benediction' a kind of
'amen' if you like. $73.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
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. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
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. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Smyccovy kvartet c. 2 "Listy duverne" - String Quartet Nr. 2 "Intime Briefe" Quatuor à cordes: 2 violons, alto, violoncelle Barenreiter
2 violins, viola, cello (Violins (2), Viola, Violoncello) SKU: BA.BA06857 ...(+)
2 violins, viola, cello
(Violins (2), Viola,
Violoncello) SKU:
BA.BA06857 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
$235.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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