Paul Robeson Told Me Quatuor à cordes: 2 violons, alto, violoncelle [Partition + CD] Boosey and Hawkes
String Quartet and Pre-recorded Sound. Composed by Michael Daugherty (1954-). Bo...(+)
String Quartet and
Pre-recorded Sound.
Composed by Michael
Daugherty (1954-). Boosey
and Hawkes Chamber Music.
Classical. Softcover with
CD, Score and Parts. 52
pages. Boosey and Hawkes
#M051105922. Published by
Boosey and Hawkes
String Quartet (2vl,va,vc) SKU: BR.EB-9243 Full Score. Composed by...(+)
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 ...(+)
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.
Drivers License Quatuor à cordes: 2 violons, alto, violoncelle - Facile De Haske Publications
String Quartet - early intermediate SKU: BT.DHP-1216354-070 As perform...(+)
String Quartet - early
intermediate
SKU:
BT.DHP-1216354-070
As performed by Olivia
Rodrigo. Composed by
Olivia Rodrigo, Daniel
Nigro. Arranged by
Anthony Gröger. De
Haske Pops for String
Quartet. Pop and Rock.
Set (Score and Parts).
Composed 2021. De Haske
Publications #DHP
1216354-070. Published by
De Haske Publications
(BT.DHP-1216354-070).
ISBN 9789043162135.
English-German-French-Dut
ch.
Drivers
License is the debut
single by the young
American singer Olivia
Rodrigo. The song, a
power ballad inspired by
heartbreak, received
critical acclaim upon its
release, with reviewers
lauding Rodrigos song
writing skills and
singing voice. Arranger
Anthony Gröger did not
fail to notice this mega
hit, taking the beautiful
ballad and creating an
intense and passionate
arrangement for string
quartet.
Driver
s License is de
debuutsingle van de jonge
Amerikaanse zangeres
Olivia Rodrigo. Het
nummer, een powerballad
ge nspireerd door
liefdesverdriet, kreeg
meteen al bij de release
lovende kritieken, met
name voor Rodrigoâ??s
songwriting en zang. Ook
Anthony Gröger is deze
megahit niet ontgaan. Hij
maakte van deze prachtige
ballad een intens en
passievol arrangement
voor
strijkkwartet.
Drivers License ist
die Debütsingle der
jungen amerikanischen
Sängerin Olivia
Rodrigo. Dieses Lied,
eine von Herzschmerz
inspirierte
Power-Ballade, erhielt
gleich nach der
Veröffentlichung
hervorragende Kritiken,
insbesondere für
Rodrigos
Songwriting-Fähigkeite
n und ihre Singstimme.
Anthony Gröger hat
diesen Megahit sogleich
aufgegriffen. Er schuf
aus der wunderschönen
Ballade ein intensives
und leidenschaftliches
Arrangement für
Streichquartett.
String Quartet SKU: BR.EB-9271 Composed by Christian Mason. Chamber music...(+)
String Quartet
SKU:
BR.EB-9271
Composed
by Christian Mason.
Chamber music. Edition
Breitkopf. New music
(post-2000); Music
post-1945. Sheet Music.
Composed 2018. Duration
21'. Breitkopf and
Haertel #EB 9271.
Published by Breitkopf
and Haertel (BR.EB-9271).
ISBN 9790004185711. 0
x 0 inches.
I fell
in love with the
remarkable singing of the
Tenores di Bitti on
hearing their recordings
as a student. Their
uniquely intense vocal
timbre, their harmony,
which seemed pure and
rough at once, and the
sense that this music
was, at root, not so much
about performance as
simply being together in
the world, in a community
of spirit. At the time, I
had no intention of using
this music to my own
creative ends, but now,
here we are: Sardinian
Songbook is the second in
a cycle of works for the
Ligeti Quartet, all based
on transcriptions of
music from different
throat-singing
traditions. Like string
quartets, the tenores
usually sing in groups of
four voices, but being
free from instruments
they stand very close
together enabling the
resonances of their
voices to blend and
interact in a special
way. The quartet, of
course, can only sit so
close before their bows
clash, so I have chosen
instead to reflect this
physical closeness
inversely, by getting the
players to stand
increasingly far from one
another as the piece
progresses. In so doing,
the initial state of
sonic blend gives way to
hocketing lines, opening
up the sense of
space.Christian Mason,
2018 The four movements
may be played separately
or as a collection. If
played together the
following order should be
observed (see table of
contents).
World
premiere: Sheffield/UK,
Firth Hall, April 14,
2018, Commissioned by
Ligeti Quartet.
String Quartet SKU: BR.EB-9270 Composed by Christian Mason. Chamber music...(+)
String Quartet
SKU:
BR.EB-9270
Composed
by Christian Mason.
Chamber music. Edition
Breitkopf. New music
(post-2000); Music
post-1945. Sheet Music.
Composed 2018. 28 pages.
Duration 21'. Breitkopf
and Haertel #EB 9270.
Published by Breitkopf
and Haertel (BR.EB-9270).
ISBN 9790004185704. 9
x 12 inches.
I fell
in love with the
remarkable singing of the
Tenores di Bitti on
hearing their recordings
as a student. Their
uniquely intense vocal
timbre, their harmony,
which seemed pure and
rough at once, and the
sense that this music
was, at root, not so much
about performance as
simply being together in
the world, in a community
of spirit. At the time, I
had no intention of using
this music to my own
creative ends, but now,
here we are: Sardinian
Songbook is the second in
a cycle of works for the
Ligeti Quartet, all based
on transcriptions of
music from different
throat-singing
traditions. Like string
quartets, the tenores
usually sing in groups of
four voices, but being
free from instruments
they stand very close
together enabling the
resonances of their
voices to blend and
interact in a special
way. The quartet, of
course, can only sit so
close before their bows
clash, so I have chosen
instead to reflect this
physical closeness
inversely, by getting the
players to stand
increasingly far from one
another as the piece
progresses. In so doing,
the initial state of
sonic blend gives way to
hocketing lines, opening
up the sense of
space.Christian Mason,
2018 The four movements
may be played separately
or as a collection. If
played together the
following order should be
observed (see table of
contents).
World
premiere: Sheffield/UK,
Firth Hall, April 14,
2018, Commissioned by
Ligeti Quartet.
Composed
by Peteris Vasks. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Score and
Parts. Composed 2004. 56
pages. Duration 25'.
Schott Music #ED9809.
Published by Schott Music
(HL.49033305).
ISBN
9790001137911. UPC:
884088408053.
9.0x12.0x0.202
inches.
String
Quartet No. 5 consists of
two contrasting
movements. The first
movement, being present,
immediately leads to an
atmosphere of high
emotional tension. The
prevailing atmospheric
elements of the music are
dramatic and passionate,
alternating with each
other like a
kaleidoscope. In contrast
to that, a second theme
is intoned three times -
an invitation, a memory
of the existence of
another world, a
light-house which
illuminates the twilight
in which we live so
often. But this
invitation remains
unheard. The first
movement concludes with
dissonances in the upper
register - a cry of utter
desperation.The second
movement, so distant ...
yet so near, is the calm,
unhurried vocal section
of the quartet. A
forgiving, loving look at
a world tortured by grief
and contradictions.
Gradually, the singing
becomes more personal,
more emotional and more
dramatic. The rhythmic
figure of a funeral march
in the recapitulation of
the second movement is a
gesture of loss.
Eventually, the quartet
loses itself in an
atmosphere of
light-filled grief.
Peteris Vask.