String Quartet - Grade 5 SKU: HL.14042989 Composed by Pelle Gudmundsen-ho...(+)
String Quartet - Grade 5
SKU: HL.14042989
Composed by Pelle
Gudmundsen-holmgreen.
Music Sales America.
Classical. Softcover.
Composed 2014. Edition
Wilhelm Hansen #WH31937.
Published by Edition
Wilhelm Hansen
(HL.14042989).
ISBN
9788759829240.
English.
All In One for
3 String Quartets was
composed by Pelle
Gudmundsen-Holmgreen
in 2013 (String Quartet
No.12,13 and 14 played
simultaneously).
Gudmundsen
-Holmgreen has written a
collection of three new
string quartets: String
Quartet no. 12,
‘Each in
Each’; String
Quartet no. 13,
‘Mutual
Ordering’, and
String Quartet no. 14,
‘Well-Tuned
Sounds’. Each
quartet can be played on
its own; they can also
played simultaneously in
any combination. When all
three quartets are played
together, as they are
tonight, the combined
work is titled All in
One. About this
collection,
Gudmundsen-Holmgreenwrite
s:
'Some
years ago Kronos and the
vocal group Theatre of
Voices performed three
new pieces, which I had
written for the two
groups: one for Theatre
of Voices (Green), and
two for Kronos (New
Ground and No Ground).
They were played and sung
by each group
independently – but
also both groups together
concurrently, on top of
each other, as a final
gesture. The combined
pieces were called New
Ground Green and No
Ground
Green.
'David liked the idea
(and the result) of pairs
of quartets that could be
played both independently
and simultaneously, and
asked me if the vocal
quartet could be
transformed into a string
quartet. It could not. He
then asked me to repeat
the whole set-up with a
new pair of quartets,
adding also some
percussion instruments,
as was the case with
Green for Theatre of
Voices. Of course this
was tempting. Furthermore
David asked me to make
one of the two new
quartets a little easier
to play. 'I began to
work. The Kronos part of
the pair of quartets
turned out to be tough to
play, as David puts it.
Unfortunately the
‘easier’ one
was tough to play also!
So I had to write one
more, which was then a
little easier still (but
still not easy).
'The three new works can
be played separately and
on top of each other in
many different
combinations, resulting
in different kinds
of.
Composer's notes: This piece came about in a rather unusual way. I had a dream i...(+)
Composer's notes: This
piece came about in a
rather unusual way. I had
a dream in which a string
quartet were playing some
very beautiful music. I
was exhorting them to
'play it like late
Beethoven' When I woke
up, I could not remember
any themes or details of
what they had been
playing, but had an
intense memory of the
'feeling' of the music,
which was soft, sensual
and muted, and I
immediately sat down to
write a string quartet.
What began to emerge was
nothing like Beethoven at
all, and very early into
the writing I had a
strong vision of some
people dancing a formal
and intense series of
dances in a village in a
very dry and hot
landscape - the
Australian outback or
Africa maybe. The dances
were very moving, with an
inward, ritualistic
quality and they
obviously had great
meaning for the people
performing them. Geoffrey
Burgon
Mere Droplets Quatuor à cordes: 2 violons, alto, violoncelle Schott
Score and Parts String Quartet (Score & Parts) SKU: HL.49047250 Very S...(+)
Score and Parts String
Quartet (Score & Parts)
SKU: HL.49047250
Very Small Pieces for
String Quartet Score and
Parts. Composed by
Theodor Kirchner. Edited
by Wolfgang Birtel.
String Ensemble.
Classical. Softcover. 48
pages. Schott Music
#SE1059. Published by
Schott Music
(HL.49047250).
UPC:
196288175179.
The
composer Theodor Kirchner
(1823-1903), a friend of
Johannes Brahms, devoted
his work almost
exclusively to piano and
chamber music as well as
lieder. Among his
numerous works are also
collections pieces of
easy difficulty or with
easy educational demands.
They include the
“very small pieces
for string quartetâ€
(without opus number).
These pieces are seven
miniatures of varying
character, from cantabile
to lively. Since they
are, for the most part,
technically easy to
master, they offer the
opportunity to practise
chamber music ensemble
playing: listening to
each other, responding,
coming in together,
taking over and other
challenges of the string
quartet. Quartet sound
itself can also be
trained with the pieces -
the ideal preparation for
auditions and
competitions.
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String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
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.
String Quartet SKU: HL.14008374 Composed by Sir Peter Maxwell Davies. Mus...(+)
String Quartet
SKU:
HL.14008374
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical.
Score. Composed 2006. 24
pages. Chester Music
#CH68629. Published by
Chester Music
(HL.14008374).
ISBN
9781846096150. UPC:
884088435202.
8.25x11.75x0.105
inches.
The Full
Score for Peter Maxwell
Davies' fourth in a
series of ten string
quartets commissioned by
the Naxos Recording
company, first performed
by the Maggini Quartet on
20th August 2004 at the
Chapel of the Royal
Palace, Oslo, Norway, as
part of the Olso Chamber
Music Festival. Composer
Note: The fourth Naxos
quartet was written in
January and February of
2004, with the intention
of producing something
lighter and much less
fierce than its
predecessor, an
unpremeditated and
spontaneous reaction to
the illegal invasion of
Iraq. I returned to the
well-known Brueghel
picture of children's
games (1560, now in
Vienna), which had been
the inspiration for my
sixth Strathclyde
Concerto, for flute and
orchestra. These
illustrations liberated
my musical imagination,
but I feel it would limit
the listener's perception
to be too specific about
which game relates to
exactly which section of
the work. Suffice it to
say that there is
vigorous play -
leap-frog, bind the devil
with a cord, truss,
wrestling - alongside
quieter pastimes - masks,
guess whom I shall
choose, courting, odds
and evens. The single
movement juxtaposes these
activities as abruptly
and intimately as they
occur in Brueghel. Rather
as the eye is taken into
different perspectives
and proportions of scale
within the picture,
taking liberties which
would never be present
in, for instance,
Brunelleschi
architectural drawings,
so here, with a constant
sequence of
transformation processes,
I have distorted the
neat, precise
implications of modal
progression, expressed in
the unison opening phrase
(from F to B through A
sharp/B flat), so that
the ear is led, en route,
into the sound
equivalents of strange
passageways and closed
rooms: sicut exposition
ludus. As work on the
quartet progressed I
became aware that I was
reading into, and behind
the games, adult motives
and implications,
concerning aggression and
war, with their
consequences. It was
impossible to escape into
innocent childhood
fantasy. The nature of
the F to B progression
underlying the whole
construction derives from
a passage in the
development of the first
movement of Mahler's
Third Symphony, and the
opening of Schoenberg's
Second String Quartet.
However, unlike in these
models, here a real - if
temporary - sense of
resolution occurs at the
close of the quartet: as
when the curtain falls on
the reconciled Count and
Countess in 'Figaro' one
wonders how long the F/B
truce will hold, and
games break out again.
The quartet is dedicated
to Giuseppe Rebecchini,
Roman architect, and
friend since the
nineteen-fifties.
3rd
string quartet.
Composed by Joerg
Widmann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Score and parts. Composed
2003. 112 pages. Duration
12'. Schott Music
#ED9749. Published by
Schott Music
(HL.49033270).
ISBN
9790001136860.
9.25x12.0x0.3
inches.
The
Jagdquartett (Hunt
Quartet), which Jorg
Widmann wrote as his
third string quartet in
2003, following the
Choralquartett, also
begins with a visible
gesture. After a short
signal cry from the
performers, the piece
starts by quoting Robert
Schumann's Papillons op.
2, and for its full
duration retains this
gesture, these starting
sounds. The degrees of
recognizability do change
continuously, to be sure,
in the furious, racing
organism of the score.
The contours change into
forms on another level,
yet now and then the
begining material returns
clearly to the fore,
initiated anew by a cry
from the performers, and
is then digested or
mutated as a rhythmic
study into a field of
harmonic experimentation.
On rare occasions, there
are moments of pause - as
though the musicians were
testing the atmosphere,
as though they were
sensing the weather, so
as ultimately to continue
playing the quartet
across the fields an
forests of notes. A hunt
after joyful performance,
a chase, the whip
cracking, after the thing
to be shot, the sound,
its performer, perhaps
the composer himself? - A
last shout, morendo, dal
niente... - The victim is
not the audience, at any
rate.When comparing the
output of string quartets
from the 18th century to
thetime of Schumann, it
appears to have dropped
considerably. Schumann
composed only three
complete quartets, all of
them in the so-called
'chamber music year'
1842. Jorg Widmann, who
counts Robert Schumann
among his greatest
inspirations, finished a
series of five string
quartets in 2005, at the
same age as Schumann. The
quartets in the cycle
form in themselves the
characters of the
movements of the
classical quartet.
Jagdquartett represents
the fast middle movement,
the scherzo. Widmann's
work appears rough and
wild in the style of
Schumann's alter ego
Florestan. His hunt
begins in the tempo of
'allegro vivace assai'
with the final theme of
Schumann's Papillons
which often appears or is
cited in many of
Schumann's compositions.
Widmann eventually
dismantles the thematic
material of his fierce
quartet, thus
skeletonising his
prey.