String Quartet SKU: HL.49047454 Score and Parts. Composed by Julia...(+)
String Quartet
SKU:
HL.49047454
Score
and Parts. Composed
by Julian Anderson.
String Ensemble. Chamber,
Classical. Softcover. 148
pages. Duration 1380
seconds. Schott Music
#ED13989. Published by
Schott Music
(HL.49047454).
UPC:
842819101086.
9.0x12.0x0.358
inches.
My 3rd
String Quartet is in six
contrasted movements.
Certain musical figures
recur across the work,
but there are few themes
as such. The main
emphasis is on contrast
of mood, texture,
harmony, pacing and
timing. Unlike many of my
works this quartet had no
extra-musical
inspiration, and in
principle should have no
subtitle. Certain
features already present
in my music became more
prominent in this new
work: modes (limited
collections of pitches)
have always helped me to
focus musical character,
but here a sense of key
note for each mode became
much more pronounced, as
did the difference
between modes for each
section of the work. A
sort of hybrid key-system
emerged (even with
equivalents of major and
minor) which is not
normal tonality, nor does
it aim to imitate it.
Unlike tonality this
key-system includes
noises, extended
performance techniques
and intervals outside
Western tuning as
available resources. What
I hope it does is to
focus the listening
experience onto different
musical areas, to
encourage a sense of both
modulation from one area
to another and to give
the music a sense of
goal. No conscious
knowledge of this is
needed when listening:
the music should
communicate directly on
its own. Here, then, is
this collection of six
musical colours, related
and unrelated, different
yet belonging together,
variable yet in a set
order. Hence the
subtitle, chosen both for
both its sound and its
sense: 'hana no hanataba'
meaning, in Japanese,
'bouquet of flowers'. A
brief description: 1)
Moderately fast. Short
droplets of sounds gather
increasing momentum. 2)
Very fast. Canons and
bells at different
speeds. 3) Very slow -
fast - very slow - very
fast - very slow. The
main slow movement and
its main scherzo. An
emphasis on non-tempered
tunings and on inhaling
and exhaling waves of
sound. The slow sections
feature florid melodic
writing. In the exuberant
scherzo competing duos
and trios create
imaginary folk music. 4)
Extremely fast/extremely
slow. Open strings and
harmonics fuse into a
single string instrument
- like a sort of large
resonating Medieval
tromba marina. 5) Very
fast. A variation on
movement 2). Variation,
Schoenberg told Cage, is
just a sort of repetition
'with some things changed
and others not.' 6) Slow
- Very Fast - Fast -
Slow. The opening calm
harmonies and florid
melodies evoke movement
3) in different music.
The fast part features
one overt theme: a
fanfare-like call to
attention which is
subject to extensive
development. There is
much use of non-Western
tuning. At its climax the
music freezes into a
frieze - a wall of sound
standing in front of the
audience with increasing
obstinacy and certainty
as the work grinds
towards its cadence.
String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144402180 After Zurbarán. ...(+)
Chamber Music String
Quartet
SKU:
PR.144402180
After
Zurbarán. Composed
by James Primosch. Set of
Score and Parts. With
Standard notation.
20+8+8+8+8 pages.
Duration 18 minutes.
Merion Music #144-40218.
Published by Merion Music
(PR.144402180).
UPC:
680160027156. 9.5 x 13
inches.
The
concerts and exhibits of
the Cleveland Museum of
Art were an important
formative influence for
me during my student
days. So when the
invitation came to create
a new work celebrating
this institution on its
seventy-fifth
anniversary, I was not
only happy to accept, but
knew immediately that I
wanted to write a piece
that would somehow relate
specifically to the
museum. I decided to make
the work a reflection on
a painting in the
museum's collection:
Zurbaran's The Holy House
of Nazareth. My quartet
is not program music in a
narrative sense, but
rather a kind of
meditation that takes its
tone from this painting's
remarkable integration of
intense affect,
mysterious repose and
secret geometry. Besides
Zurbaran's painting, the
piece is occupied with a
purely musical object of
contemplation: the hymn
tune Picardy, best known
with the text Let All
Mortal Flesh Keep
Silence. This tune
permeates the harmonic
and melodic life of the
quartet, sometimes
appearing in a very
simple, straightforward
fashion, but often hidden
amidst more complex
structures. I was
attracted to the melody
for its musical
qualities, but later
realized that the hymn's
text also resonates with
the mood of the painting;
the words speak of a
reverent awe, of cherubim
with sleepless eye, and
of the mystery of the
Incarnate Word who must
suffer: King of kings,
yet born of Mary...
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Chamber Music String Quartet SKU: PR.11441387S Composed by Stacy Garrop. ...(+)
Chamber Music String
Quartet
SKU:
PR.11441387S
Composed
by Stacy Garrop.
Classical. Full score.
With Standard notation.
Composed Summer 2008. 56
pages. Duration 31
minutes. Theodore Presser
Company #114-41387S.
Published by Theodore
Presser Company
(PR.11441387S).
UPC:
680160585694.
Havin
g performed Garrop's
String Quartet No. 2:
Demons and Angels with
much success, it is only
natural that the Biava
Quartet would handle the
premiere of String
Quartet No.3: Gaia. In an
email interview with
Pittsburgh New Music Net,
Biava violist Mary Persin
says, in part, We
received many very
enthusiastic responses
from audience members who
were struck by the
interesting form, as well
as the sonorities created
by using a good deal of
dissonance as well as
harmonics. Watch for a
recording by the Biava
Quartet to be made
available soon. For
advanced performers.
Duration: 32' 30.
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.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440218S After Zurbarán. ...(+)
Chamber Music String
Quartet
SKU:
PR.14440218S
After
Zurbarán. Composed
by James Primosch. Full
score. With Standard
notation. Duration 18
minutes. Merion Music
#144-40218S. Published by
Merion Music
(PR.14440218S).
UPC:
680160027170. 9.5 x 13
inches.
The
concerts and exhibits of
the Cleveland Museum of
Art were an important
formative influence for
me during my student
days. So when the
invitation came to create
a new work celebrating
this institution on its
seventy-fifth
anniversary, I was not
only happy to accept, but
knew immediately that I
wanted to write a piece
that would somehow relate
specifically to the
museum. I decided to make
the work a reflection on
a painting in the
museum's collection:
Zurbaran's The Holy House
of Nazareth. My quartet
is not program music in a
narrative sense, but
rather a kind of
meditation that takes its
tone from this painting's
remarkable integration of
intense affect,
mysterious repose and
secret geometry. Besides
Zurbaran's painting, the
piece is occupied with a
purely musical object of
contemplation: the hymn
tune Picardy, best known
with the text Let All
Mortal Flesh Keep
Silence. This tune
permeates the harmonic
and melodic life of the
quartet, sometimes
appearing in a very
simple, straightforward
fashion, but often hidden
amidst more complex
structures. I was
attracted to the melody
for its musical
qualities, but later
realized that the hymn's
text also resonates with
the mood of the painting;
the words speak of a
reverent awe, of cherubim
with sleepless eye, and
of the mystery of the
Incarnate Word who must
suffer: King of kings,
yet born of Mary...
Composed by Emilie Mayer.
Edited by Heinz-Mathias
Neuwirth. Score and
parts. Furore Verlag #FUE
10057. Published by
Furore Verlag
(FV.FUE-10057).
ISBN
979-0-50182-057-3.
String Quartet B flat
major The first
movement (Allegro, 4/4
time) is distinguished by
a clear recurring
structure characterized
by a differentiation in
compositional technique
and tonal detail. The
energetic / lyrical
contrast manifests itself
in a sequence of
contrasting episodes -
both within and outside
the themes. In its
technical development the
first movement is
modelled on the first
movement of Beethoven's
String Quartet op. 18/1.
Besides thematic,
harmonic and figural
echoes and similarities
such as the time
signature and the use of
characteristic
accentuation, the
reduction of the
movement's motifs to one
central theme is of
particular
note.
String Quartet (Score) SKU: HL.14023668 Composed by Michael Nyman. Music ...(+)
String Quartet (Score)
SKU: HL.14023668
Composed by Michael
Nyman. Music Sales
America. Classical.
Score. Composed 1993. 22
pages. Chester Music
#CH60865. Published by
Chester Music
(HL.14023668).
ISBN
9780711932975.
9.0x12.0x0.095
inches.
String
Quartet No.3 was written
for, and first performed
by the Balanescu Quartet,
February 1990 at the
Queen Elizabeth Hall,
London. Duration 16
minutes. Instrumental
parts are available on
sale. Quoting composer:
In the summer of 1989 I
composed a choral work,
Out of the Ruins, for
Agnieszka Piotrowska's
BBC2 documentary which
dealt with the physical
and emotional responses
of some inhabitants of
Leninakhan to the
earthquake which
devastated Armenia the
previous December. When
he heard the recording of
the work that I made with
the Holy Echmiadzin
Chorus under the fervent
conducting of Khoren
Meykhanejian, Alex
Balanescu suggested
turning Out of the Ruins
into a string quartet.
There seemed no reason or
opportunity to do this
until I felt the need to
add to the intensity of
my experiences in Armenia
the no less profound
experience of witnessing
the images of the
Romanian revolution on
television during the
later part of December
1989. The compositional
procedure was as follows:
to take Out of the Ruins
as a template on which
the Romanian vocal or
instrumental music would
be superimposed, quite
often stretched into new
intervallic shapes though
the demands of the
completely performed
harmonic structure.
Chamber Music String Quartet - Advanced SKU: PR.114414200 For String Q...(+)
Chamber Music String
Quartet - Advanced
SKU: PR.114414200
For String
Quartet. Composed by
James Matheson. Sws each.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed February 10
1998. 24+8+8+8+8 pages.
Duration 13 minutes.
Theodore Presser Company
#114-41420. Published by
Theodore Presser Company
(PR.114414200).
ISBN
9781491111284. UPC:
680160594719. 9x12
inches.
Composed
for violinist Baird
Dodge, James Matheson's
SPIN is a three-movement
study in various meanings
of the word spin. I. Gyre
has the character of a
whimsically spinning
object in a sort of
arena. II. Web is
essentially a slow
movement. It explores a
nearly static, sinewy
texture comprised of
slowly undulating chords
in which snippets of
melody emerge from the
notes held while the
chords disappear. Similar
to the first movement,
III. Spiral explores a
kinetic notion of
spinning, this time in
the form of rapidly
rising scales. SPIN
was composed in early
1998. Each of the
work’s three
movements assumes the
task of exploring a
different meaning of the
title.The first movement,
Gyre (as in gyroscope),
has the character of a
whimsically spinning
object in a sort of arena
– spinning and
bouncing off the walls
(like a spinning penny,
which bounces off of an
object unpredictably and
with somewhat explosive
force). The primary
musical idea consists of
high harmonics in the
violins set against a
rocking pulse in the
lower strings. This basic
texture is explored in
various guises as the
movement progresses.Web
is essentially a slow
movement. It explores a
nearly static, sinewy
texture comprised of
slowly undulating chords.
Snippets of melody emerge
from the notes held while
the chords disappear. The
music intensifies,
leading to an expected
climax (or anti-climax)
of pizzicatos, before
returning to the opening
material and winding
gently to a close.Like
Gyre, the third movement,
Spiral, explores a
kinetic notion of
spinning, this time in
the form of rapidly
rising scales. The formal
idea of this movement,
however, has the
character of a spiral,
with its tendency toward
implosion.SPIN was
written for violinist
Baird Dodge.