String Quartet - intermediate

SKU: BT.DHP-1115206-070

Composed by Billy Joel. Arranged by Anthony Gröger. De Haske Pops for String Quartet. Pop & Rock. Set (Score & Parts). Composed 2011. 12 pages. De Haske Publications #DHP 1115206-070. Published by De Haske Publications (BT.DHP-1115206-070).

ISBN 9789043149297. 9x12 inches. English-German-French-Dut ch.

De Haske's best-selling Pops for String Quartet series offers excellent arrangements for intermediate string quartets who want to bring some classic pop to their performances.This lyrical ballad was released by Billy Joel in 1977 and has gained popularity recently when it was used for a John Lewis television advert.

Onder de naam Pops for String Quartet heeft de Haske een nieuwe serie ontwikkeld voor strijkkwartetten die zich eens buiten het klassieke pad willen begeven. Een collectie van uitstekende arrangementen in gemiddelde moeilijkheidsgraad!Deze prachtige ballad uit de jaren zeventig van Billy Joel leent zich uitstekend voor een gevoelige interpretatie door strijkkwartet.

Unt er dem Titel Pops for String Quartet hat De Haske eine Notenreihe ins Leben gerufen, die Streichquartette, die sich einmal abseits der ausgetretenen klassischen Pfade bewegen wollen, mit ausgezeichneten Arrangements im leichten bis mittleren Schwierigkeitsgrad versorgt.Die lyrische Ballade von Billy Joel aus dem Jahre 1977 eignet sich vorzüglich für eine gefühlvolle Interpretation im Streichquartett!

La collection Pops for String Quartet des Éditions De Haske présente des arrangements originaux de pièces stupéfiantes, sans jamais dépasser un degré de difficulté élémentaire. Laissez-vous surprendre par ces quatuors d'un genre nouveau !Cette merveilleuse ballade, écrite par Billy Joel en 1977, a été magnifiquement arrangée pour Quatuor Cordes.

Pops for String Quartet: una collana per tutti i violinisti desiderosi di suonare qualcosa di diverso dal repertorio classico.La splendida ballata lirica di Bill Joel del 1977 si presta alla perfezione per essere interpretata da un quartetto di archi.

String Quartet (P/ST) - advanced

SKU: HL.49032923

Composed by Gyorgy Ligeti. Arranged by Jost-H. Hecker. This edition: Saddle stitching. Sheet music. Edition Schott. Score and Parts. 38 pages. Schott Music #ED 9147. Published by Schott Music (HL.49032923).

ISBN 9783795754648. German - English.

String quartet

SKU: M7.DOHR-20172

Composed by George Frideric Handel. Arranged by Wolfgang Birtel. Sheet music. Score and parts. MDS (Music Distribution Services) #DOHR 20172. Published by MDS (Music Distribution Services) (M7.DOHR-20172).

ISBN 9790202041727.

Bei dem Stück handelt es sich um die Sinfonia zum dritten Akt aus Händels Oratorium Solomon HWV 67. Der dritte Akt handelt von dem glänzenden Fest, das König Salomo für die Königin von Saba veranstaltet. Das Vorspiel gleicht einem sprühenden Klangfeuerwerk.

SKU: SU.00220263

Composed by Alexander Glazunov, Antonin Dvorak, and Peter Ilyich Tchaikovsky. Chamber Music, String Trio/Quartet/Quintet. CD (PDF Scores). CD Sheet Music #00220263. Published by CD Sheet Music (SU.00220263).

This CD Sheet Music™ collection makes available full scores and parts for string quartets by 19th C Slavic masters Dvorák, Glazunov and Tchaikovsky. DVORÁK: String Quartets No. 2 in B-flat major (parts only); No. 5 in F minor, Op. 9 (parts only); No. 7 in A minor, Op. 16 (parts only); No. 8 in E major, Op. 80; No. 9, Op. 34; No. 10 in E-flat major, Op. 51 Slavonic; No. 11 in C major, Op. 61; No. 12 in F major, Op. 96 American; No. 13 in G major, Op. 106; No. 14 in A-flat major, Op. 105 GLAZUNOV: String Quartets No. 1 in D Major, Op. 1; No. 2 in F Major, Op. 10; No. 3 in G major, Op. 26, Quartet Slave; No. 4 in A Minor, Op. 64; No. 5 in D Minor, Op. 70; No. 6 in Bb Major, Op. 106; Suite in C Major for String Quartet, Op. 35; 5 Novelettes for String Quartet, Op. 15 TCHAIKOVSKY: String Quartet, No 1 in D major; Op. 11; No. 2 in F major, Op. 22; No. 3 in E-flat minor, Op. 30 Also includes composer bios and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2000+ pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: SU.00220259

Composed by Mendelssohn/Schubert. Chamber Music, String Trio/Quartet/Quintet. CD (PDF Scores). CD Sheet Music #00220259. Published by CD Sheet Music (SU.00220259).

This CD Sheet Musicâ„¢ collection makes available full scores and parts for string quartets by Mendelssohn and Schubert. MENDELSSOHN: String Quartets Op. 12; Op. 13; Op. 44 Nos. 1, 2, 3; Op. 80; Four Pieces for String Quartet, Op. 81 SCHUBERT: String Quartets No. 1-15, including Quartettsatz, Rosamunde, Death and the Maiden Also includes composer bios and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1180+ pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: SU.00220545

Composed by Wolfgang Amadeus Mozart. Chamber Music, String Trio/Quartet/Quintet. CD (PDF Scores). CD Sheet Music #00220545. Published by CD Sheet Music (SU.00220545).

This CD Sheet Music™ collection features the numerous, varied works for solo and duo piano by Claude Deubssy and Gabriel Fauré. DEBUSSY: Children's Corner, Deux Arabesques, Estemps, Etudes (Books I & II), Images (Books I & II), L'isle Joyeuse, Preludes (Books I & II), Pour le Piano, Suite Bergamasque, and more FAURÉ: Ballade, Barcarolles, Impromptus, Nocturnes, Preludes, Valses-Caprices, Dolly, plus more Also includes composer biographies and relevant articles from the 1911 edition of Grove’s Dictionary of Music and Musicians 1200+ pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: SU.00220547

Composed by Franz Joseph Haydn. Chamber Music, String Trio/Quartet/Quintet. CD (PDF Scores). CD Sheet Music #00220547. Published by CD Sheet Music (SU.00220547).

A comprehensive and unparalleled collection that brings together both familiar and lesser-known vocal and rhythmic exercises, vocalizes, and methods from the 18th, 19th and early 20th century by 19 pedagogical masters, including: Abt, Concone, Dannhauser, Lablache, Lamperti, Marchesi, Rossini, Sieber, Vaccai, and Viardot. Configured in alternate keys for all voice types; suitable for all technical levels Also includes: composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 3000+ pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: SU.00114330

Chamber Music, String Trio/Quartet/Quintet. CD (PDF Scores). CD Sheet Music #00114330. Published by CD Sheet Music (SU.00114330).

This disk contains performance materials for an enormous collection of string quartets from master composers. Included are works of Bartók, Borodin, Cherubini, Chopin, Debussy, Fuchs, Hindemith, Schoenberg, Schumann, Smetana, Verdi, Wolf and many more, for an offering of 4,000 pages of music. Included also are articles on the lives of the composers and other relevant entries from the 1911 edition of Grove’s Dictionary of Music and Musicians

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

2 violins, viola, violoncello

SKU: FG.55011-853-9

Composed by Lara Poe. Classical, contemporary. Score & parts. Fennica Gehrman #55011-853-9. Published by Fennica Gehrman (FG.55011-853-9).

Lara Poe's (b. 1993) energetic Divergence (2015-2016) for string quartet was conceived cyclically: the four movements explore drifting in and out of focus between different materials. A light ditty of the second movement diverges to the third movement's overtone derived chords.

Duration: c. 25'

This product includes a set of parts (violin I, violin II, viola, violoncello) and a score.

Lara Poe is a Finnish-American composer who is currently based in London. Her works have been performed across a wide range of venues throughout the US, Europe, and Asia. Her piece Kaamos, which she wrote for the Lahti Symphony Orchestra, was recently nominated for a Ivors Composer Award in the Large Scale Composition category. Kaamos also was selected by YLE Radio Finland to represent Finland at the International Rostrum of Composers 2021 in Belgrade, Serbia. Poe was the 2019 Tanglewood Music Patricia Plum Wilde Fellow and represented Finland at Ung Nordisk Musik 2019 in Piteå. She was also a 2018-2019 participant in the London Symphony Orchestra's Panufnik Scheme, where she worked under the guidance of Colin Matthews and Christian Mason.

String quartet String Quartet

SKU: PR.16400272S

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.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 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.