| Marche Turque (Rondo alla
turca) Quatuor à cordes: 2 violons,
alto, violoncelle [Conducteur et Parties séparées] - Facile Soldano
Rondo Alla Turca Extrait De La Sonate N°11. Par MOZART WOLFGANG AMADEUS. Rondo ...(+)
Rondo Alla Turca Extrait De La Sonate N°11. Par MOZART WOLFGANG AMADEUS. Rondo Alla Turca Extrait De La Sonate N°11 / Niveau : 2ème Cycle / Répertoire / 2 Violons, Alto et Violoncelle
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| Variations On An Unknown
Theme For String Quartet Quatuor à cordes: 2 violons,
alto, violoncelle Barenreiter
Lubo? Fi?er (1935-1999) était l'une des figures les plus caractéristiques de l...(+)
Lubo? Fi?er (1935-1999) était l'une des figures les plus caractéristiques de la musique tchèque du 20e siècle et a composé les Variations sur un thème inconnu en 1976.Le 'thème inconnu' a été un thème de huit mesures prankish de sa vie d'étudiant de FI?ER. Dans l'exaltation après la victoire à domicile sur l'équipe Canada le 15 Mars 1959, il a fait un pari avec son collègue Kalach de composer une pièce de concert pour violon et orchestre avec le titre de travail 'Canada-Rondo'. Le concours lunatique a été abandonné, mais Fi?er n'a pas oublié le thème et il a ensuite créé des variations sur elle pour sa nouvelle composition pour le Quatuor Talich.Les Variations sur un thème inconnu ont été publiés pour la première fois. Cette édition est basée sur l'autographe de la partition qui est logé dans le Musée tchèque de la musique à Prague.- La première édition imprimée- Avant-propos en trois langues (Cz / Ger / Eng) / 2 Violons, Alto Et Violoncelle
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| Quatuor (BACEWICZ
GRAZYNA) Quatuor à cordes: 2 violons,
alto, violoncelle PWM (Polskie Wydawnictwo Muzyczne)
Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers...(+)
Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance.
The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords.
Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work.
Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes
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| Sogni, Ombre Et Fumi
(MURAIL TRISTAN) En Français Quatuor à cordes: 2 violons,
alto, violoncelle Lemoine, Henry
Par MURAIL TRISTAN. Songes, ombres et fumées : le titre est emprunté à un ver...(+)
Par MURAIL TRISTAN. Songes, ombres et fumées : le titre est emprunté à un vers du Sonnet 123 de Pétrarque (l'un des sonnets qui ont inspiré à Liszt trois pièces de ses Années de Pélerinage). Ces mots figurent aussi dans La Vallée Close, sur des sonnets de Pétrarque, pour voix, clarinette et trio à cordes, écrite cette même année 2016.
Il s'agit avant tout d'un travail sur la 'grande forme' - une vaste trajectoire, qui passe par de nombreux territoires, revient sur ses pas, anticipe... Allusions aux formes traditionnelles : adagio central, rondo final - mais tout s'entremêle, et les différentes textures et idées musicales luttent entre elles sans cesse.
Sont refusés tous les petits expédients qui permettent d'esquiver la grande question - la question posée par une forme musicale aussi chargée d'histoire que le quatuor à cordes - sont donc évités tous ces sons écrasés, divers petits bruits, gloussements d'harmoniques, qui prolifèrent dans tant de quatuors contemporains. Evitée aussi la segmentation en une succession de mouvements courts, au profit de la continuité du discours.
Le thème est, comme le suggère le titre, la mélancolie - une mélancolie profonde et persistante. Une idée fixe (battements réguliers de pizzicati) jalonne la partition, s'affronte aux autres éléments musicaux, finira par triompher. Au long de cette trajectoire jailliront des visions, des hallucinations, des phases de dépression et d'excitation, de renoncement, d'espoir, de colère, de révolte... 'sogni, ombre et fumi...' / Contemporain / Répertoire / Quatuor à Cordes
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| String quartet No. 3 op.
46 (ULLMANN VIKTOR) Quatuor à cordes: 2 violons,
alto, violoncelle [Conducteur et Parties séparées] Schott
Par ULLMANN VIKTOR. [Einsätzig; Ullmann beschreibt auf der Titelseite des Autog...(+)
Par ULLMANN VIKTOR. [Einsätzig; Ullmann beschreibt auf der Titelseite des Autographen folgende Unterteilung:]
I Exposition (soll wiederholt werden) • II Scherzo mit Trio und verkürzter Wiederholung • III Durchführung des Hauptsatzes • IV Largo (quasi Fuge, mit Durchführung des Seitensatzes als Episode) • V Rondo-Finale mit Coda (Haupt-Thema)/ Répertoire / Quatuor à Cordes
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| Fiser Lubos - Variations
On An Unknown Theme - For
String Quartet Quatuor à cordes: 2 violons,
alto, violoncelle Barenreiter
Lubo? Fi?er (1935?1999) was one of the most distinctive figures of Czech music i...(+)
Lubo? Fi?er (1935?1999) was one of the most distinctive figures of Czech music in the 20th century and composed the Variations on an Unknown Theme in 1976.
The ?unknown theme? was a prankish eight-bar theme from Fi?er?s student days. In the elation following the home-team win over Canada on 15 March 1959, he made a bet with his colleague Kalach to compose a concert piece for violin and orchestra with the working title ?Canada-Rondo?. The whimsical contest was abandoned, but Fi?er did not forget the theme and he later created variations on it for his new composition for the Talich Quartet.
The Variations on an Unknown Theme have now been published for the first time ever. This edition is based on the autograph of the score which is housed in the Czech Museum of Music in Prague.
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| John McCabe: String
Quartet No.7 - Summer
Eves: String Quartet:
Score Quatuor à cordes: 2 violons,
alto, violoncelle [Partition] Novello & Co Ltd.
Commissioned by the Presteigne Festival of Music and the Arts Limited with fund...(+)
Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'
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| Cyril Scott: String
Quartet No.1: String
Quartet: Score Quatuor à cordes: 2 violons,
alto, violoncelle [Partition] Novello & Co Ltd.
The String Quartet No.1 was composed in 1919 actually making it his fourth quar...(+)
The String Quartet No.1 was composed in 1919 actually making it his fourth quartet but it was the first to be published. It is scored in five movements: Prelude- Pastorale- Scherzo- Elegy- Rondo Retrospectivo.Cyril Scott (1879-1970) was a British composer pianist and poet. His most popular works by which he is largely remembered today were written in the years preceding the Second World War however he continued to compose prolifically in the face of indifference from the outside world right up until his death at the age of 91. His music is predominantly in the Romantic style and serves as a tasteful reminder of abygone age.
15.99 GBP - vendu par Musicroom GB | |
| John McCabe: String
Quartet No.7 - Summer
Eves (Parts): String
Quartet: Parts Quatuor à cordes: 2 violons,
alto, violoncelle [Partition] Novello & Co Ltd.
Commissioned by the Presteigne Festival of Music and the Arts Limited with fund...(+)
Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'
29.99 GBP - vendu par Musicroom GB | |
| Arnold Schönberg: String
Quartet No. 4 Op. 37:
String Quartet: Score Quatuor à cordes: 2 violons,
alto, violoncelle Schirmer
Study Score No. 21-Schoenberg composed his Fourth String Quartet Op. 37 on a c...(+)
Study Score No. 21-Schoenberg composed his Fourth String Quartet Op. 37 on a commission from Elizabeth Sprague Coolidge. The four movements of the quartet are based on a single twelve-note row although this is fairly free. The first movement is in an abstract sonata form. Transitions are generally built around a hesitant chromatically sighing theme that first appears in the first violin. Marked Comodo (leisurely) the second movement is an intermezzo in A-B-A form. The recitative-like main theme of the third movement first appears in unison after which individual instruments begin to break away with their own lines. Variation technique is prominent in the rondo finale marked Allegro -transformations of the main theme are so great that it is occasionally difficult to recognize its return. This is the Schirmer edition of the Score to this work.
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| Edward Gregson: String
Quartet No. 1: String
Quartet: Score and Parts Quatuor à cordes: 2 violons,
alto, violoncelle [Partition] Novello & Co Ltd.
Edward Gregson's String Quartet was commissioned by The Manchester Mid-day Conce...(+)
Edward Gregson's String Quartet was commissioned by The Manchester Mid-day Concerts Society in celebration of its 100th year. The premier performance took place on the 14th of January 2015 performed by the Navarra Quartet at the Bridgewater Hall in Manchester. The piece is divided into three distinct movements each developing and changing what has come before. When commenting on his compositional process for String Quartet Gregson noted that he desired to return to the classical principles of Beethoven and Bartok deciding to include extended sonata variation and rondo forms.
39.99 GBP - vendu par Musicroom GB | |
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