String Quartet

SKU: HL.49004160

Study Score. Composed by Paul Hindemith. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1943. 46 pages. Duration 26'. Schott Music #ED 3537. Published by Schott Music (HL.49004160).

ISBN 9790001043236. UPC: 884088075590. 8.25x11.75x0.2 inches.

1. Very quiet and expressive * 2. Lively and very energetic * 3. Quiet Variations * 4. Broad and energetic.

SKU: AP.12-057153970X

Composed by Anders Hillborg. Masterworks; Quartet; Solo Small Ensembles; String Quartet. Faber Edition. 20th Century; Masterwork. Score. Faber Music #12-057153970X. Published by Faber Music (AP.12-057153970X).

ISBN 9780571539703. English.

In his Kongsgaard Variations (2006), Swedish composer Anders Hillborg takes the Arietta theme from Beethoven's last piano-sonata, No. 32 in C Minor, Op. 111 as the basis for an evocative 16-minute string quartet. Beethoven's sublime music drifts strangely through the centuries and is warped, vaporised, and refashioned as if, in the words of Hillborg, the Arietta is dreaming yet another variation on itself.

(String Quartet)

SKU: HL.48186254

Composed by Nicolas Bacri. Leduc. Softcover. Alphonse Leduc #AL30415. Published by Alphonse Leduc (HL.48186254).

Bacri Variations Serieuses Op.101 14' String Quartet Book.

Variations on Happy Birthday for String Quartet (Score and Parts). Arranged by Peter Heidrich. Special Import. 64 pages. Sikorski #SIK1529. Published by Sikorski

String Quartet (2vl,va,vc)

SKU: BR.DV-8475B

Set of parts. Composed by Hans-Christian Bartel. Chamber music; Softcover. Deutscher Verlag. Variations; Music post-1945. Set of parts. Composed 1953/93. 44 pages. Duration 13'. Deutscher Verlag fur Musik #DV 8475b. Published by Deutscher Verlag fur Musik (BR.DV-8475B).

ISBN 9790200482614. 9 x 12 inches.

CD:
Karl Suske und Yuka Kobayashi (violin), Hans-Christian Bartel (viola), Christian Giger (violoncello)
Accent Music 91197

String Quartet

SKU: SU.27120030

For String Quartet. Composed by Peter Scott Lewis. Score & Parts. Subito Music Corporation #27120030. Published by Subito Music Corporation (SU.27120030).

A set of passionate variations on this classic American folk song by John Jacab Niles. Dedicated to Odetta, an old family friend. String Quartet Duration: 4' Composed: 1989 Published by: Lapis Island Press.

For String Quartet Score and Parts. Composed by Nico Muhly. String. Softcover. Chester Music #SRO100187. Published by Chester Music

Chamber Music String Quartet

SKU: PR.114410380

Composed by Lowell Liebermann. Saddle, Tape Junction. Set of Score and Parts. With Standard notation. Composed 1998. Opus 60. 48 + 92 pages. Duration 30 minutes. Theodore Presser Company #114-41038. Published by Theodore Presser Company (PR.114410380).

UPC: 680160015160. 9.5 x 13 inches.

My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
My second String Quartet was written twenty years after the first, Opus 4 from 1978.  The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond.  I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements:  Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work.  While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact.  The quartet is pervaded by a sense of seriousness, even mournfulness.  The second movement’s scherzo is an aggressively animated piece of musical machinery.  The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts.  The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.

String quartet

SKU: HL.49045639

Chaconne. Composed by Fred Lerdahl. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 2016. 108 pages. Duration 990 seconds. Schott Music #ED 30174. Published by Schott Music (HL.49045639).

ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches.

Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl.