String Quartet - Grade 3

SKU: AP.36-52703617

Composed by Alan Shulman. This edition: Latham Music. Quartet; Solo Small Ensembles; String - Quartet. LudwigMasters - Latham Music. Book. LudwigMasters Publications #36-52703617. Published by LudwigMasters Publications (AP.36-52703617).

UPC: 735816385521. English.

This humorous little vignette for string quartet was composed in 1979 and was originally intended to be published by Piedmont Music, the ASCAP division of EB Marks Classical. For reasons unknown, however, it remained in manuscript form until 2021, when a copy of the composer's autograph parts was discovered in the archives of a completely different Alan Shulman piece. This newly engraved Latham Music edition therefore represents the first publication of Shulman's delightful work, as well as the first full score. As the title suggests, this is a medium-slow rag, or cakewalk in a loose AABA form. The bluesy and graceful main melody is introduced by the first violin in a call and response exchange with the rest of the ensemble. The restatement of the primary theme is led by the second violin, with the entire ensemble playing pizzicato, having the effect of playful mockery. In the B section, the first violin earnestly reasserts the stately grace from the opening however, the cello is clearly becoming restless and decides to take over the lead just before the final reprise. The lighthearted ending again has the first violin doing its best to bring the tune to a refined conclusion, but the rest of the group still has mischief in mind. After a couple moments of seeming confusion, the ensemble regroups at last and plays the final riff with resolute emphasis. If you're looking to add a light moment to a recital program, or looking for a short, medium level contest piece that players and audiences alike will enjoy, this little miniature is an ideal choice!

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.

String Quartet. By Johann Sebastian Bach. Arranged by Des Mcnutty. Fentone Play Along Books. Play Along. Published by Fentone Music.

String Quartet No.4 was composed by Hans Abrahamsen in 2012. Commissioned by Westdeutscher Rundfunk and Wigmore Hall For the ArdittiQuartet. Programme note: The basic idea for my Fourth String Quartet was very clear to me: It should be quiet and soft music or to put it in a german term: hoch im Himmel gesungen ... (High singing in heaven). Each of the four movements has a different scordatura/pitch. The first movement begins - like my work 'Schnee' - sky-high with an airy and soft melody by the first violin. The second movement is fast and movement and joy-like. It consists of two duets and a reverse style counterpoint. While the sections were progressively longer in the first movement they are getting shorter and shorter in the second. Dark, heavy and earthy is the third movement and its pizzicato recalls big black raindrops falling to the ground. It is the dark and grainy counterpart to the first movement whereas the fourth movement corresponds to the second. The fourth movement was planned as a dark and heavy counterpart but it turned out to be like babbling music of a child. My Fourth String Quartet has become in its way a serene and cool piece. So the Quartet has been finished luckiyly after twenty years - it was already in 1990 that I was commissioned by Wittener Tage fur Neue Musik to write the piece for Arditti Quartet. Hans Abrahamsen

Arranged by Deborah Greenblatt. String Quartet. For 2 violins, viola, and cello. Irish Folk. Set of parts. Standard Notation. 25 (violin 1), 25 (violin 2), 29 (viola), 25 (cello) pages

Arranged by Deborah Greenblatt. String Quartet. For 2 violins, viola, and cello. Irish Folk. Score. Standard Notation. 40 pages

String Quartet

SKU: HL.14030964

Composed by Bent Sorensen. Music Sales America. Classical. Score. 10 pages. Music Sales #KP00510. Published by Music Sales (HL.14030964).

ISBN 9788759861455. English.

The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory, and as I at the same time planned to write a piece for solo Viola, my ideas for the music and the memory of the painting fused more and more. I decided, then, to let my piece borrow the title of Waterhouse's painting: The Lady Of Shalott. The picture of a mad-like, pale, and perhaps singing woman alone in a boat without sculls, which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson's poem by the same title, which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993.

(Violin 2). Strings. For Violin 2. Festival; Solo Small Ensembles. Alfred Publishing Co., Inc.. Form: Movie. Violin; Wedding. Part(s); Quartet. Published by Alfred Music Publishing

As performed by Billy Joel. Composed by Billy Joel. Arranged by Nico Dezaire. De Haske Pops for String Quartet. Pop and Rock. Set (Score and Parts). Composed 2020. De Haske Publications #DHP 1206256-070. Published by De Haske Publications

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.'.