String Quartet (Parts) SKU: HL.4492994 Set of Parts. By Brods...(+)
String Quartet
(Parts)
SKU:
HL.4492994
Set of
Parts. By Brodsky
Quartet and Elvis
Costello. Edited by
Jacqueline Thomas and
Paul Cassidy. Music for
String Quartet.
Classical. Softcover.
Published by Hal Leonard
(HL.4492994).
ISBN
9781705186466. UPC:
196288119203. 9.0x12.0
inches.
Elvis
Costello was inspired to
create this song sequence
for string quartet and
voice after discovering
that a Veronese academic
had been replying to
letters addressed to
â??Juliet Capulet.â?
The delicate and personal
nature of the
correspondence inspired a
wonderful and poignant
set of songs, written,
arranged and originally
performed by Elvis
Costello and the Brodsky
Quartet. Released in
1993, the album was met
with critical acclaim for
its creative mix of rock
and classical style
influences and
intelligent sense of
melody. Hal Leonard is
proud to publish this
30th Anniversary Edition
of the work, edited by
Brodsky Quartet members
Jacqueline Thomas and
Paul Cassidy.
30th
Anniversary Edition
Score. By Brodsky
Quartet and Elvis
Costello. Edited by
Jacqueline Thomas and
Paul Cassidy. Music for
String Quartet.
Classical. Softcover.
Published by Hal Leonard
(HL.4492993).
ISBN
9781705186459. UPC:
196288119197. 9.0x12.0
inches.
Elvis
Costello was inspired to
create this song sequence
for string quartet and
voice after discovering
that a Veronese academic
had been replying to
letters addressed to
â??Juliet Capulet.â?
The delicate and personal
nature of the
correspondence inspired a
wonderful and poignant
set of songs, written,
arranged and originally
performed by Elvis
Costello and the Brodsky
Quartet. Released in
1993, the album was met
with critical acclaim for
its creative mix of rock
and classical style
influences and
intelligent sense of
melody. Hal Leonard is
proud to publish this
30th Anniversary Edition
of the work, edited by
Brodsky Quartet members
Jacqueline Thomas and
Paul Cassidy.
String Quartet SKU: BT.EMBZ14386 Composed by Balázs Horváth. EMB Co...(+)
String Quartet
SKU:
BT.EMBZ14386
Composed
by Balázs Horváth.
EMB Contemporary Music.
Contemporary Music. Book
Only. Composed 2014. 40
pages. Editio Musica
Budapest #EMBZ14386.
Published by Editio
Musica Budapest
(BT.EMBZ14386).
''The four
parts of the piece
originate from the piano
cycles of Johannes
Brahms. The identical
nature of the themes is
implied in their
descending direction,
while their differences
lie in their distinct
meters, key signatures
and tempo. I further
developed the differences
through the use of
different musical
alterations (of melody,
rhythm and timbre) while
the melodic contours are
always constant.
Depending on the
listener's attention, the
melody lines written
above one another will be
audible separately or
appear to be in unison.''
(Balázs
Horváth)
''Der
Stoff der vier Stimmen
des Stückes stammt aus
den Klavierzyklen von
Johannes Brahms. Die
Ãœbereinstimmung liegt
in ihrer abwärts
tendierenden Richtung,
ihr Unterschied hingegen
in abweichender Metrik,
Tonart und Tempi. Die
Unterschiede habe ich mit
Hilfe unterschiedlicher
musikalischer
(melodischer,
rhythmischer und tonaler)
Veränderungen
weitergewoben, während
die Struktur der Melodien
immer konstant bleibt.
Die übereinander
gelegten Melodienbögen
erklingen abhängig von
der Aufmerksamkeit des
Hörers teils jede
für sich, teils eine
Einheit bildend.''
(Balázs
Horváth).
Harp, Flute, Clarinet, String Quartet SKU: HL.14023298 Composed by Per No...(+)
Harp, Flute, Clarinet,
String Quartet
SKU:
HL.14023298
Composed
by Per Norgard. Music
Sales America. Score.
Music Sales #KP01431.
Published by Music Sales
(HL.14023298).
ISBN
9788759871591.
English.
Per
Norgard 's Gennem Torne /
Through Thorns (2003)
Harp Concerto No. 2 -
Passage for Harp Solo
with Flute, Clarinet and
String Quartet. Premiered
by Tine Rehling (Harp)
and the Esbjerg Ensemble,
conducted by Kaisa Roose
at the Concert Hall of
the Western Jutland
Academy of Music,
Esbjerg, 28th January
2004. Programme Note
THROUGH THORNS has a
duration of about 20
minutes, in one
continuous movement, thus
the subtitle passage. The
work is scored for harp
solo, flute, clarinet and
string quartet. The title
is borrowed from the
lines from an old Virgin
Mary Hymn: Mary wanders
through thorns, a hymn
which ends with the
following line: then
roses grew forth amongst
thethorns. I only came
across the poem after
finishing the
composition, the passage
of which is a journey of
sometimes dramatic
events, concluding with a
rose-blooming, as does
the hymn. For
THROUGH THORNS to borrow
its title from a Virgin
Mary Hymn has to do with
the musical material and
current of the piece,
which brings motives from
an earlier choral piece
of mine, FLOS UT ROSA
(Latin for a flower like
a rose), and the rose in
question is of course the
one which grew forth when
the Virgin Mary gave
birth to the Infant Jesus
in a hitherto unheard-of
fashion, a NOVA GENITURA
(new birth), which is the
title of another work of
mine that also derives
its material from my
original rose-melody from
1975. THROUGH
THORNS is dedicated to
Tine Rehling, and
together with her I have
tried to expand the
sonorities of the harp,
by exploring existing
techniques and their more
remote regions, in order
to gain access to new
territory and new
soundscaoes, as realised
by the constantly
experimentally-minded and
virtuoso player.
Per Norgard, 2004.
 .
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144407270
Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270).
UPC:
680160681891. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440727S
Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S).
UPC:
680160681907. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
Critical Edition
Hardcover. Composed
by Karol Szymanowski.
PWM. Classical.
Hardcover. 60 pages.
Polskie Wydawnictwo
Muzyczne #9267030.
Published by Polskie
Wydawnictwo Muzyczne
(HL.370494).
ISBN
9781705147009. UPC:
840126994025.
The
First String Quartet in C
major, Op. 37, was
written in the autumn of
1917 and earned
Szymanowski the first
prize in a competition
organized by the Ministry
of Religious and in a
competition organized by
the Ministry of Religious
and Educational Affairs
in January 1922. The
First String Quartet is
notable for its clar and
simple construction. The
first movement is in the
formof a sonata allegro;
the Andantino semplice
(in modo iuna canzone) in
the middle is a cross
between ternary and
variation form. The final
Scherzando alla burlesca
also keeps to the form of
a sonata allegro. The
combinations and
proportions of formal
factors and the treatment
of thematic material
betray a fairly
conventional adoption of
classical models.
Similarly, the expressive
and structural use of
melodic material shows a
respect for traditional
norms. Szymanowski
created, in other works
from the same period, his
own individual type of
melodic line, which was
strongly expressive and
achieved its effect
chiefly by its tonal
qualieties; nevertheless
in this Quartet he
returns to a fluid,
cantilena-like,
symmetrically shaped
melodic line, which runs
along in broad phrases of
a concentrated,
reflective character.
Melody becomes the chief
factor in the development
of the form, both in
thematic usage and in the
application of a more
polyphonic texture.
Harmonic and tonal means
are considerably
simplified in the Quartet
[]. Most of the writing
is linear, or horizontal,
with individual treatment
of each part, the
parallel continuation of
the four sound planes,
almost a matter of
principle. The functions
of the particular
instruments in realizing
these planes are
constantly changing,which
accounts for the even
greater variedy of
tone-colour. The decision
to forego experiment with
forms and sonorities is
reflectedin the overall
approach to musical
expression. The
predominant atmosphere of
restrained emotion, quiet
lyricism and serenity is
strongly suggestive of
classical aestetic
models. (Based on Zofia
Helman Commentary on
Szymanowski Complete
Edition, Vol. B6) (II)
The ''Second String
Quartet'' represents an
interesting attempt to
revert to classical form
coupled with the new
harmonic and tonal
vocabulary worked out
previously in the
''Slopiewnie'', ''Stabat
Mater'' and ''Mazurkas''.
It was also the first
time the composer had
used folk elements in the
framework of a major
classical form. The
''Second String Quartet''
is in a special category
among Szymanowski's
works. Though it dates
from the composer was
still occupied with folk
music, it nevertheless
shows him returning to
classical models, but at
the same time using an
aesthetic of subjective
expression, which gives
the work its own
individual stamp. The
''Second String Quartet''
synthesis of the various
directions in which
Szymanowski was
attempting to develop.
The sonority and texture
used in the first.
What Child Is This? Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Facile David E. Smith Publications
String quartet - Grade 3 SKU: DS.169424 Composed by Willaim C. Dix. Arran...(+)
String quartet - Grade 3
SKU: DS.169424
Composed by Willaim C.
Dix. Arranged by Dana F.
Everson. Christmas. Sheet
Music. Sacred
instrumental music. Score
and parts. David E. Smith
#169424. Published by
David E. Smith
(DS.169424).
A
string quartet with
optional third violin for
viola. After a brief
introduction the theme is
presented in a straight
forward ensemble
harmonization with some
altered pitches. The next
section places the melody
in the viola line with
opposing lines in the
violins. The ensuing
section now gives the
tune to the second violin
with contrapuntal action
in the other voices. A
chorus section is now
more articulated and
active until the tune is
handed to the first
violin with ever more
moving counterpoint in
the other voices. The
piece then ends in a
strong
statement.
String Quartet No.2 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Promethean Editions
Chamber Music String Quartet SKU: PO.PME06 Composed by David Farquhar. Sw...(+)
Chamber Music String
Quartet
SKU:
PO.PME06
Composed by
David Farquhar. Sws.
Score and parts. Composed
2003. Promethean Editions
#PME06. Published by
Promethean Editions
(PO.PME06).
ISBN
9780958242844.
In
six inter-related
movements, exhibiting
throughout great
concision and economy,
devotees of the
composer's style will
find much to admire in
the second of Farquhar's
four string quartets.The
composer writes: The
quartet is in six
movements which are
played without a break.
The odd-numbered
movements are quick, and
are all based on the same
material?an unsettled
chord with B as the
melody note, followed by
a downward arpeggio
flourish and a rising
stepwise melody. The
tempo in movements 3 and
5 gets progressively
faster, and the
atmosphere increasingly
scherzando in character.
The first two
even-numbered movements
(2 and 4) are slow
expressive intermezzi;
both feature an up-beat
of three repeated Bs
leading into chromatic
lines. The final movement
serves as an epilogue and
resolution; the
instruments are now muted
and the three repeated Bs
are now on the beat,
while off-beat
accompaniment figures
provide a gentle swaying
dance around them..
Parts for String Quartet No.3 'Angel's Music' by Bent Sorensen (1988) Premiered ...(+)
Parts for String Quartet
No.3 'Angel's Music' by
Bent Sorensen (1988)
Premiered by the Arditti
String Quartet at the
Danish Radio Concert Hall
16 November 1988. Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angels Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on Angels
Music was started in
Rome, where I spent the
autumn of 1987 staying at
The Danish Academy.
Whether this stay has
influenced the quartet or
not is impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part ofthe
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of Angels
Music is divided into
three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the small
cells into the general
pattern.'
String Quartet SKU: HL.14030980 Parts. Composed by Bent Sorensen. ...(+)
String Quartet
SKU:
HL.14030980
Parts. Composed by
Bent Sorensen. Music
Sales America. Classical.
Set of Parts. Edition
Wilhelm Hansen #KP00249.
Published by Edition
Wilhelm Hansen
(HL.14030980).
ISBN
9788759871973.
12.0x16.0x0.285
inches.
Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angel's Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on
Angel's Music was started
in Rome, where I spent
the autumn of 1987
staying at The Danish
Academy. Whether this
stay has influenced the
quartet or not is
impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part of the
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of
Angel's Music is divided
into three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the general
pattern almost
fractionally into the
smallest cells of the
music, or more correctly;
crawl from the small
cells into the general
pattern.'.