Set
(Score & Parts). 106
pages. Bote & Bock
#BB3474. Published by
Bote & Bock (BT.BB3474).
ISBN
9783793141716.
F
or Isang
Yun, String
Quartet No. 3 from 1959
marked the beginning of
his European creative
phase and of his official
canon of works. Now it is
possible to encounter
Yun's early works from
his Korean period inthe
form of his String
Quartet No. 1
(1955). Three important
10-minute movements
containing references not
only to Asia but also to
Ravel, Bartók and
Eastern European folk
music and having an
idiosyncraticstructure:
Yun lines up forms and
figures, makes them
emerge from each other in
a contrasting manner and
assembles them into a
mosaic-like whole,
seeking for integration,
laying down his material
in layer upon layer and
endingthemovements with a
rhythmic unison.
[…] Even then, he
probably regarded a work
of art as an energetic
stream of sounds and as a
reflection of a world
whose diverging parts
weave into a harmonic
whole.
(Walter-WolfgangSparrer)<
/p>
Perception of Sound Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Subito Music
String Quartet SKU: SU.29030030 For String Quartet. Composed by Me...(+)
String Quartet
SKU:
SU.29030030
For
String Quartet.
Composed by Melissa A.
D'Albora. Chamber Music,
String
Trio/Quartet/Quintet.
Score & Parts. Subito
Music Corporation
#29030030. Published by
Subito Music Corporation
(SU.29030030).
Three short
movements (Tranquil,
Harmonic Dance, and Mass
Sound) explore the
different colors of the
string quartet playing in
settings with high
reverb. Beautiful, fun,
and dramatic for chamber
concerts.String Quartet
Duration: 11' Composed:
2018 Published by:
Melissa D'Albora
Music.
Chamber Music String Quartet SKU: PR.144404550 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144404550
Composed
by Sydney F. Hodkinson.
Set of Score and Parts.
With Standard notation.
Composed 2002.
53+20+16+16+16 pages.
Duration 22 minutes.
Theodore Presser Company
#144-40455. Published by
Theodore Presser Company
(PR.144404550).
UPC:
680160030859.
After
finishing a serious
woodwind quintet in the
fall of 2001 [Tela
Lacerata], I found, in
the ensuing months, that
its cinders/ashes were
still impregnating my
eardrums. Therefore, when
I set out to write the
present string piece, I
realized that the musical
veins of the quartet,
like related cousins,
were sharing the same
blood as the earlier wind
composition. The
resultant Fifth Quartet
evolved into two large,
extended movements, each
one containing seven
parts that are played
without pause. As the
list of the various
sub-sections clearly
indicates, the formal
structure of the
movements appear to be
identical: each with
three main parts
enveloped by interludes,
plus an introduction and
coda. However, the
principal segments of the
first (slow) movement
gradually decrease in
length, while those of
the second (fast)
movement increase. In
addition, there is a
goodly amount of sonic
material stolen from the
first movement which
reappears -- stitched
together in a new guise
-- into the world of the
second. for example, the
bulk of Parts B and C of
Movement II are lifted
bodily, although
elaborately modified,
from their first
appearances in the
Introduction and Part A
of the fist movement.
This offers, I suppose at
least a hint of a
traditional
recapitulation. As was
true in the earlier
woodwind piece -- both
harmonically and
melodically -- the
embryonic growth of the
musical fabric (primarily
the tritone and perfect
fifth) is omnipresent,
almost obsessively,
throughout the course of
the whole work. These two
intervals, not unlike
plasticine, habitually
transform themselves into
the scales, chords, and
melodic lines that
pervade the texture of
the quartet. Owing to the
largely unrelieved
dramatic flow, the
shifting speed, and the
often fervent intensity,
the quartet places
considerable demands on
the dexterity,
virtuosity, and stamina
of the four performers.
String Quartet No. 5 is
approximately 22 minutes
in duration and
affectionately dedicated
to my violinist wife
Elizabeth, as a gift for
our 47 years together. It
was commissioned by the
Corigliano String
Quartet, New York, NY. --
Sydney Hodkinson.
String Quartet No. 1 Quatuor à cordes: 2 violons, alto, violoncelle Bote and Bock
String Quartet (Score & Parts) SKU: HL.48024228 Composed by Isang Yun. Bo...(+)
String Quartet (Score &
Parts)
SKU:
HL.48024228
Composed
by Isang Yun. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 110
pages. Bote & Bock
#M202534748. Published by
Bote & Bock
(HL.48024228).
ISBN
9781540057310. UPC:
888680949266. 9x12
inches.
For Isang
Yun, String Quartet No. 3
from 1959 marked the
beginning of his European
creative phase and of his
official canon of works.
Now it is possible to
encounter Yun's early
works from his Korean
period in the form of his
String Quartet No. 1
(1955). Three important
10-minute movements
containing references not
only to Asia but also to
Ravel, Bartók and
Eastern European folk
musicand having an
idiosyncratic structure:
“Yun lines up forms
and figures, makes them
emerge from each other in
a contrasting manner and
assembles them into a
mosaic-like whole,
seeking for integration,
laying down his material
in layer upon layer and
ending the movements with
a rhythmic unison. []
Even then, he probably
regarded a work of art as
an energetic stream of
sounds and as a
reflection of a world
whose diverging parts
weave into a harmonic
whole.”
(Walter-Wolfgang
Sparrer).
Chamber Music String Quartet SKU: PR.11440902S Composed by Behzad Ranjbar...(+)
Chamber Music String
Quartet
SKU:
PR.11440902S
Composed
by Behzad Ranjbaran. Full
score. With Standard
notation. Composed 1990.
44 pages. Duration 22
minutes. Theodore Presser
Company #114-40902S.
Published by Theodore
Presser Company
(PR.11440902S).
UPC:
680160013708.
The
quartet begins with a
5-note motif, played in
unison that permeates
melodically and
harmonically throughout
the movement. The
energetic and hard-driven
character of the second
musical idea propels the
music forward with fast
moving notes and greater
urgency. It often
alternates with the more
lyrical rendition of the
5-note motif, yielding
contrasting sections.
After a brief coda, the
5-note motif concludes
the movement much the
same way it had begun but
with greater intensity.
The second movement
explores the world of
fantasy. To some extent
the beginning and the
ending of the movement
function as the opening
and closing doors that
separate the reality from
the dream and
subconscious. It is one
continuous movement in an
arch form that gradually
accelerates to an
expansive emotional
climax and returning
steadily to the surface
led by an ethereal solo
cello. The transcendent
ending is similar to the
beginning, though half
step higher. The third
movement begins boldly
with the 5-note motif
transformed into a dance
character in a compound
meter. The asymmetrical
meter of the Persian folk
music influences much of
the rhythmic character of
the movement. The return
of many materials from
earlier movements
interwoven into the
fabric of this movement
reinforces the cyclical
and organic character of
the quarter.
Particularly, a
mysterious passage,
reminiscence of the
second movement leading
to a brief full-blown
ballad is a favorite
moment of Ranjbaran's in
the quartet. A blazingly
virtuosic viola leads the
quartet to an uplifting
conclusion.
String Quartet No. 1 Quatuor à cordes: 2 violons, alto, violoncelle [Set de Parties séparées] Fennica Gehrman
String quartet SKU: FG.042-08253-9 Composed by Eero Hameenniemi. Parts. P...(+)
String quartet
SKU:
FG.042-08253-9
Composed by Eero
Hameenniemi. Parts.
Published by Fennica
Gehrman (FG.042-08253-9).
ISBN
979-0-042-08253-9.
Hameenniemi's quartet
(1989) is in four
independent movements.
Although harmonic and
melodic elements bind the
movements together, each
one is infused with its
own internal energy, and
the composer has
interposed slow
contrasting material into
the faster and livelier
parts. The multiple
layers of psychological
meaning in this work make
it a demanding and
worthwhile challenge.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.11441345S Prelude to Contrapunctu...(+)
Chamber Music String
Quartet
SKU:
PR.11441345S
Prelude to
Contrapunctus X from the
Art of the Fugue.
Composed by Shulamit Ran.
Full score. With Standard
notation. Duration 4
minutes. Theodore Presser
Company #114-41345S.
Published by Theodore
Presser Company
(PR.11441345S).
UPC:
680160608829. 8.5 x 11
inches.
BACH-SHARDS
was commissioned by the
Brentano String Quartet
as part of their Art of
the Fugue companion-piece
project. Ran deliberately
stays within the realm of
Bach-like vocabulary,
altering syntax in ways
that add up to something
slightly different from
the anticipated sum of
the parts. The work
builds up to a climax
that makes the entry
point into Bach’s
Contrapunctus X seem
thoroughly
natural. While
composing Bach-Shards I
found myself gravitating,
intuitively and
gradually, toward a dual
goal. First, though
the tension and
dissonance inherent in
certain moments of
Bach’s own
maze-likeÂ
contrapuntal structures
could quite easily and
naturally lead one into a
pungent contemporary
terrain, I opted not to
stray outside the realm
of Bach-like materials
and harmonic
language. Instead, it
was my hope to alter
their relationships and
context in ways that add
up to a something
that’s slightly
different than the
anticipated sum of the
parts. A mildly
deconstructed Bach, if
you will. The other
important challenge I set
for myself was building
up the latter,
toccata-like portion of
Bach-Shards in a way that
would make the entry
point of the fugue which
it precedes,
Contrapunctus X, seem
thoroughly natural.Â
It was my intent to have
the first fugal entrance
feel like a huge and much
welcome release of the
energy created by my
Prelude’s
penultimate stretch, with
its bravura figurations
elaborating on an
insistent dominant pedal
point.
String quartet SKU: FG.042-08402-1 Composed by Paavo Heininen. Score. Pub...(+)
String quartet
SKU:
FG.042-08402-1
Composed by Paavo
Heininen. Score.
Published by Fennica
Gehrman (FG.042-08402-1).
ISBN
979-0-042-08402-1.
This quartet forms part
of a major opus whose
different works make use
of the same tone row
matrix characterised by
the harmonic interval of
a third. Contrasting with
the aggressive, expansive
piano sonata which also
belongs to the opus, its
nostalgic tone is a mark
of respect for the
traditional ethos of
string music. Erkki
Salmenhaara compared the
work to a prism: As the
composer turns it, one
and the same shaft of
light gives birth over
and again to new patterns
and combinations of
colours.
Deploration Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Subito Music
String Quartet SKU: SU.27040020 For String Quartet. Composed by Gr...(+)
String Quartet
SKU:
SU.27040020
For
String Quartet.
Composed by Gregory J.
Hutter. Chamber Music,
String
Trio/Quartet/Quintet.
Score & Parts. Subito
Music Corporation
#27040020. Published by
Subito Music Corporation
(SU.27040020).
Three segued
movements (prelude, fugue
and chorale). Tonal
harmonic vocabulary but
highly chormatic.String
Quartet Duration: 11'
Composed: 2005 Published
by: Hutter Music.
String quartet SKU: FG.042-08403-8 Composed by Paavo Heininen. Parts. Pub...(+)
String quartet
SKU:
FG.042-08403-8
Composed by Paavo
Heininen. Parts.
Published by Fennica
Gehrman (FG.042-08403-8).
ISBN
979-0-042-08403-8.
This quartet forms part
of a major opus whose
different works make use
of the same tone row
matrix characterised by
the harmonic interval of
a third. Contrasting with
the aggressive, expansive
piano sonata which also
belongs to the opus, its
nostalgic tone is a mark
of respect for the
traditional ethos of
string music. Erkki
Salmenhaara compared the
work to a prism: As the
composer turns it, one
and the same shaft of
light gives birth over
and again to new patterns
and combinations of
colours.
String Quartet SKU: HL.14031851 Composed by Vagn Holmboe. Music Sales Ame...(+)
String Quartet
SKU:
HL.14031851
Composed
by Vagn Holmboe. Music
Sales America. Classical.
Book [Softcover]. 24
pages. Music Sales
#KP00797. Published by
Music Sales
(HL.14031851).
ISBN
9788759880661.
Danish.
Holmboe'
s last quartet work,
which is
unofficially also
String Quartet No.
21, was the last
work he ever composed,
and was unfinished on his
death in 1996. His pupil
Per
Nørgård
has finished the quartet,
and himself characterizes
his contribution by
saying that the score
existed “in an only
partly completed form,
which could however be
written out with only a
few cases of
doubt”. With only
two movements and a
playing time of
about nine minutes it is
at its existing
length the shortest of
Holmboe's string
quartets. The first
movement takes the form
of one long arch in a
rocking triple time which
constantly shiftsamong
different tempo and pulse
sensations. At the same
time the rhythmic
energy increases
until the movement, in a
faster Con moto
tempo accelerates to
a more flowing 12/8 time,
coloured both
rhythmically by
cross-rhythms in
duple time and timbrally
by harmonics in the
viola. In its middle
section, Con fuoco,
the movement
culminates in both tempo
and expression until it
falls calm in brief
recapitulations in
reverse order of the
first two sections. The
rocking feeling continues
in the second movement,
but now at a more
extroverted level from
the outset, Allegro
and pizzicato. The
energy builds up
further as the mood
intensifies to Con
fuoco, while all
instruments go over to
bowed playing, but like
the first movement, this
movement ends Adagio
here however not as
a gradual attenuation but
through a sudden shift in
tempo to a calm,
imitative passage before
the movement slowly thins
out to the almost
inaudible through a last,
dense, open sounding
chord with a brief violin
solo above it.
The
quartet is dedicated to
Holmboe's wife MeLa May
Holmboe, and was given
its first performance by
the Kontra Quartet on
22nd March 1997 at the
Carl Nielsen Academy of
Music in Odense,
Denmark.
Composed
by Joerg Widmann. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Score and
parts. Composed 1997. 62
pages. Duration 14'.
Schott Music #ED 9747.
Published by Schott Music
(HL.49033268).
ISBN
9790001136846.
9.25x12.0x0.175
inches.
The five
strings quartets by Jorg
Widmann are compact
studies, like those of
his teacher Wolfgang
Rihm. Performed
individually, the focus
is on the respective
central technical and
aesthetic idea. Performed
as a cycle, however, they
get closer to the
well-known classical
multi-movement form.The
theme of the first string
quartet is the
quintessential beginning:
in an introduction, it
takes some time for the
strained sounds to turn
into harmonics. Then it
is the viola, the 'poor
cousin' in the string
quartet literature, which
takes up and defines the
musical work. The
workconcludes with a
demanding eight-part
double-stopping polyphony
of all instruments.
The Four Quarters Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Faber Music Limited
Composed by Thomas Ades (1971-). Masterworks; Quartet; Solo Small Ensembles; Str...(+)
Composed by Thomas Ades
(1971-). Masterworks;
Quartet; Solo Small
Ensembles; String
Quartet. Faber Edition.
20th Century; Masterwork.
Score. Faber Music
#12-0571540112. Published
by Faber Music
(AP.12-0571540112).
String Quartet SKU: HL.14023641 Composed by Michael Nyman. Music Sales Am...(+)
String Quartet
SKU:
HL.14023641
Composed
by Michael Nyman. Music
Sales America. 20th
Century. Score. Composed
1993. 80 pages. Chester
Music #CH61116. Published
by Chester Music
(HL.14023641).
ISBN
9780711964082.
9.0x12.0x0.219
inches.
String
Quartet No.4 was written
for the Camilli Quartet
who gave the first
performance at the Queen
Elizabeth Hall, London,
April 1995. It is
dedicated to the memory
of Nyman's composition
teacher, Alan Bush. This
quartet is a narrative
made up of a chain of
twelve complete but often
cross-related movements,
each quite simple in
design. For instance, the
Scottish melody first
heard in the second half
of I is hinted at in the
2nd violin/viola in the
second fast section of II
and is directly quoted
again during III and XII.
The theme of the fast
section of IV is taken up
again in VIII; IX reverts
to the mood of the
opening of I, while the
rising scale/syncopated
themes of II, IX and the
bass of X and XII are
related. X also
reintroduces the slow
harmonics theme from VII.
XII is (apparently) cast
in the form of a baroque
French rondeau. The main
theme of VI was plucked
out of the Quartet and
used in my score for
Christopher Hampton's
film Carrington. Duration
40 minutes. A set of
parts is available for
sale.
String Quartet SKU: HL.14036341 Composed by Hugh Wood. Music Sales Americ...(+)
String Quartet
SKU:
HL.14036341
Composed
by Hugh Wood. Music Sales
America. Classical. Set.
Composed 2001. Chester
Music #CH60931. Published
by Chester Music
(HL.14036341).
ISBN
9780711955080.
Comm
issioned by the BBC and
premiered by the
Chilingirian String
Quartet. Quoting Wood: In
my Second and Third
Quartets I attempted
sectional, agglutinative
forms: in my Fourth I
return to the
conventional four
movement form of my First
Quartet of 1962. Both
works build up (as in the
19th century symphony) to
the Finale, thus making
it the most substantial
movement, which provides
a climax to the work. The
First Movement has, in
both works, only the
status of an
Introduction. But there
the consciously willed
resemblances end. This
Introduction follows the
Second Quartet to a
certain extent, in that
it provides a sort of
'cauldron', from which
elements to be used later
can all be plucked. Its
opening will reappear at
various points throughout
the work, most completely
at a climatic point of
the Finale (bar 110).
Subsequent material will
be more fully worked out
in the second movement, a
large Scherzo. The
Introduction concludes
with an unusually placed
violin cadenza (itself a
rare feature in a string
quartet, the idea lifted
from Elliott Carter's
First Quartet) of which
the opening is to
reappear halfway through
the Finale. The Scherzo
(which follows attacca)
does not have at its
centre a discretely
characterized Trio: a
figure in double-stops
like a distant fanfare
supplies the necessary
contrast of a second
idea. The Slow Movement
has a secondary idea
first heard on the cello
and marked appassionato:
an agitato middle section
recalls the opening of
the work, but in a
formulation which will be
found closely to
anticipate its
reappearance in the
Finale. The Finale is
planned on a broad scale.
Only after a fully worked
exposition of both
primary and secondary
material does the opening
of the whole work return,
now in a greatly extended
form. Then, at bar 140,
the tune of the violin
cadenza is first
harmonized in fanfare
style on the upper
instruments, then
presented as a chorale on
the lower ones, with a
rushing semiquaver
accompaniment above. This
climatic activity mounts
to the very end. The work
is dedicated to the
Chilingirian Quartet, old
friends over many years.
Score available
separately: SOS04044.
The Reel Collection Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] - Intermédiaire LudwigMasters Publications
String Quartet - Grade 3.5 SKU: AP.36-52703439 Composed by Tony Kime. Per...(+)
String Quartet - Grade
3.5
SKU:
AP.36-52703439
Composed by Tony Kime.
Performance Music
Ensemble; String Quartet.
Latham Music. Score.
LudwigMasters
Publications
#36-52703439. Published
by LudwigMasters
Publications
(AP.36-52703439).
ISBN
9781628760170. UPC:
660355073267.
English.
Here are
some of the best Scottish
fiddle tunes, along with
a few original
compositions, with
contemporary harmonic
twists and melodies for
all. Traditional tunes
are arranged in sets,
including: Flowers of
Edinburgh with Roxburgh
Castle; Lady Madelina
Palmer with Lassie Look
Before You, Soldier's
Joy, Miss Annie MacKinnon
and Mrs. Linley); Mrs.
Roy of Nenthorn's
Favorite with Teviot
Bridge and Lady Nelly
Wemyes's Jig; Skye Boat
Song; My Love Is Like a
Red, Red Rose; Kate
Dalrymple with The Old
Grey Cat, Staten Island,
Rachel Rae and De'il
Among the Tailors.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Chamber Music String Quartet SKU: PR.11441626S Composed by Samuel Adler. ...(+)
Chamber Music String
Quartet
SKU:
PR.11441626S
Composed
by Samuel Adler.
Contemporary. Full score.
With Standard notation.
Composed August 19 2013.
36 pages. Duration 15
minutes. Theodore Presser
Company #114-41626S.
Published by Theodore
Presser Company
(PR.11441626S).
UPC:
680160620067. 9 x 12
inches.
The String
Quartet No. 10 was
written in 2013 for the
50th anniversary of the
Bowdoin International
Summer Music Festival and
is dedicated to the
Cassatt Quartet who
premiered the work during
the 50th anniversary
celebration in July 2014.
 The work was written
with a generous grant
from the Fromm Music
Foundation.The 10th
String Quartet is in one
continuous movement but
divided into four
sections. Â The first
section is a slow
introduction which
presents the basic
harmonic material of the
entire work. Â This is
suddenly interrupted by a
very agitated movement
forming a great contrast
to the calm of the
beginning. Â This
rhythmic drive comes to a
stop and is relieved by
the third section which
is a variation of the
beginning, but is a bit
longer and more
developed. Â This is
followed by the final
section which again
captures the agitation of
the second section and
brings the work to a wild
and most aggressive
end.—Samuel
Adler.
Parts. Composed by Giuseppe Verdi (1813-1901). Edited by Anselm Gerhard. Henle...(+)
Parts. Composed by
Giuseppe
Verdi (1813-1901). Edited
by
Anselm Gerhard. Henle
Music
Folios. Classical.
Softcover.
69 pages. G. Henle
#HN1588.
Published by G. Henle
Composed by Tony Kime.
Performance Music
Ensemble; Quartet; String
Quartet. Latham Music.
Folk. Score. Latham Music
Enterprises #36-52703438.
Published by Latham Music
Enterprises
(AP.36-52703438).
ISBN
9781628760163. UPC:
746241222176.
English.
Here are
some of the best Scottish
fiddle tunes, along with
a few original
compositions, with
contemporary harmonic
twists and melodies for
all. Traditional tunes
are arranged in sets,
including: Flowers of
Edinburgh with Roxburgh
Castle; Lady Madelina
Palmer with Lassie Look
Before You, Soldier's
Joy, Miss Annie MacKinnon
and Mrs. Linley); Mrs.
Roy of Nenthorn's
Favorite with Teviot
Bridge and Lady Nelly
Wemyes's Jig; Skye Boat
Song; My Love Is Like a
Red, Red Rose; Kate
Dalrymple with The Old
Grey Cat, Staten Island,
Rachel Rae and De'il
Among the Tailors.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.