| Three String Quartets, Op. 51, Nos. 1 and 2, Op. 67 Quatuor à cordes: 2 violons, alto, violoncelle [Partition] Kalmus
Composed by Johannes Brahms (1833-1897). Masterworks; Quartet; Solo Small Ensemb...(+)
Composed by Johannes
Brahms (1833-1897).
Masterworks; Quartet;
Solo Small Ensembles;
String Quartet. Kalmus
Edition. Masterwork;
Romantic. Book. 144
pages. Kalmus Classic
Edition #00-K03240.
Published by Kalmus
Classic Edition
$24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Johannes Brahms: Three String Quartets (SINGER) 1 Piano, 4 mains IMC (International Music Co.)
By Johannes Brahms. Piano duet (One piano, four hands). Published by Internation...(+)
By Johannes Brahms. Piano
duet (One piano, four
hands). Published by
International Music Co.
(1)$29.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three String Quartets Op. 51 Nos. 1 and 2, Op. 67 No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Lucks Music Library
SKU: TM.540-3018SET Composed by Johannes Brahms. Edited by Gewandhaus. Se...(+)
SKU:
TM.540-3018SET
Composed by Johannes
Brahms. Edited by
Gewandhaus. Set of parts.
Published by Lucks Music
Library (TM.540-3018SET).
Op. 51 Nos. 1
and 2, Op. 67 No. 3. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 4 "chaconne" - Score And Parts Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet SKU:
HL.49045639
Chaconne. Composed
by Fred Lerdahl. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2016.
108 pages. Duration 990
seconds. Schott Music #ED
30174. Published by
Schott Music
(HL.49045639). ISBN
9781540004796. UPC:
888680710774.
9.5x12.0x0.37
inches. Chaconne
(2016), for string
quartet, was commissioned
by the Daedalus Quartet
to celebrate its 15th
anniversary. The
commission was supported
by New Music USA, made
possible by annual
program support and/or
endowment gifts from
Pennsylvania Council on
the Arts, Helen F.
Whitaker Fund, and Aaron
Copland Fund for Music.My
music has a substantial
history with Daedalus. I
composed the Third String
Quartet (2008) for them,
and subsequently they
performed my three string
quartets on several
occasions and recorded
them brilliantly on
Bridge Records (Bridge
9352: Music of Fred
Lerdahl, vol. 3).
Chaconne is in one
movement lasting 19
minutes. It is
effectively my fourth
string quartet. Quartets
1-3 form a unified cycle
lasting 70 minutes. When
I finished the cycle, I
thought I would never
write again for the
medium; yet I could not
resist the opportunity of
working again with
Daedalus. The issue was
how to compose another
string quartet unrelated
to the earlier cycle. The
solution came from my
solo cello piece There
and Back Again (2010),
which was based on a
four-bar variation
pattern from a
17th-century chaconne.
Unlike the asymmetrical
phrases and expanding
variations of much of my
music, the chaconne form
requires symmetrical
phrases and strictly
periodic variations. I
wished to work again with
these symmetries but on a
larger scale. Chaconne
also differs in character
and expression from the
three-quartet cycle. The
cycle is inward and
intense, a kind of
psychological excavation.
Chaconne is, for the most
part, transparent and
playful. Many of its
textures emerge from
little canons, not
completely unlike the
rounds that children
sing. Any composer who
writes in chaconne form
(one thinks above all of
the last movement of
Bach's D minor violin
partita and the finale of
Brahms's Fourth Symphony)
is confronted with the
challenge of how to
create a larger form out
of a constantly repeating
pattern.My Chaconne grows
from paired
antecedent-consequent
phrases, each variation
lasting eight bars. The
50 variations group into
three large rotations,
forming three arcs of
tension and relaxation,
with subtle parallel
connections across the
rotations.
Notwithstanding my
attraction to chaconne
form, I purposefully
disguised its symmetries
and periodicities in
order to build an overall
dramatic shape. Fred
Lerdahl. $118.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet In F Score & Parts Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet - difficult SKU: HL.49007611 Composed by Cornelius Uwe Gus...(+)
String quartet -
difficult SKU:
HL.49007611 Composed
by Cornelius Uwe Gustav
Jenner. Edited by Horst
Hermann Heussner. Sheet
music. Edition Schott.
Classical. Score and
Parts. 148 pages. Schott
Music #ED 7896. Published
by Schott Music
(HL.49007611). ISBN
9790001081757. Gust
av Jenner (1865-1920), a
student of Brahms', wrote
only three string
quartets. The Third
String Quartet in F major
was completed in 1911 and
premiered by the Rebner
Quartet. Common to all
Jenner's Quartets is his
way of infusing the
classical model with his
own musical language,
both on an intellectual
plane and from a
technical point of view.
True to the tradition of
the genre, the classical
form of the string
quartet is retained,
without however showing
itself to be a constraint
in the completion of the
cycle. What stands out is
the sophistication of
detail and the purity of
form achieved through
integration of the
elements of composition
and nuances of mood. $88.00 - Voir plus => Acheter | | |
| String Quartet Movement (Quartettsatz) in C Minor, D. 703 Quatuor à cordes: 2 violons, alto, violoncelle G. Henle
Score and Parts. Composed by Franz Schubert (1797-1828). Edited by Egon Voss. ...(+)
Score and Parts. Composed
by
Franz Schubert
(1797-1828).
Edited by Egon Voss.
Henle
Music Folios. Classical.
Softcover. G. Henle
#HN1317.
Published by G. Henle
$18.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet Movement (Quartettsatz) in C Minor, D. 703 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur d'étude / Miniature] G. Henle
Study Score. Composed by Franz Schubert (1797-1828). Edited by Egon Voss. Henl...(+)
Study Score. Composed by
Franz Schubert
(1797-1828).
Edited by Egon Voss.
Henle
Study Scores. Classical.
Softcover. 28 pages. G.
Henle
#HN7317. Published by G.
Henle
$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Sextet Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello 1,
Violoncello 2 SKU:
PR.11442131S Composed
by Peter Schickele. Full
score. Duration 26
minutes. Theodore Presser
Company #114-42131S.
Published by Theodore
Presser Company
(PR.11442131S). UPC:
680160681006. A lot
of chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend - my brother, who
plays viola, was an is an
inveterate chamber music
player - and members of
parents' generation. The
latter included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the orchestra's
concert mistress, and
others) but also people
from various other walks
of life. Although I don't
play a string instrument,
I was almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.) Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980's, ideas for
a string sextet began
appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it's hard for
me to finish a major
work, since there are
always other pieces (with
deadlines) waiting to be
completed. So when the
Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done. The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going. I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. A lot of
chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend – my
brother, who plays viola,
was an is an inveterate
chamber music player
– and members of
parents’
generation. The latter
included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the
orchestra’s
concert mistress, and
others) but also people
from various other walks
of life. Although I
don’t play a
string instrument, I was
almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.)Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980’s,
ideas for a string sextet
began appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it’s
hard for me to finish a
major work, since there
are always other pieces
(with deadlines) waiting
to be completed. So when
the Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done.The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going.I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Sextet Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello 1,
Violoncello 2 SKU:
PR.114421310 Composed
by Peter Schickele. Set
of Score and Parts.
74+21+20+22+19+21+19
pages. Duration 26
minutes. Theodore Presser
Company #114-42131.
Published by Theodore
Presser Company
(PR.114421310). UPC:
680160680993. A lot
of chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend - my brother, who
plays viola, was an is an
inveterate chamber music
player - and members of
parents' generation. The
latter included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the orchestra's
concert mistress, and
others) but also people
from various other walks
of life. Although I don't
play a string instrument,
I was almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.) Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980's, ideas for
a string sextet began
appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it's hard for
me to finish a major
work, since there are
always other pieces (with
deadlines) waiting to be
completed. So when the
Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done. The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going. I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. A lot of
chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend – my
brother, who plays viola,
was an is an inveterate
chamber music player
– and members of
parents’
generation. The latter
included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the
orchestra’s
concert mistress, and
others) but also people
from various other walks
of life. Although I
don’t play a
string instrument, I was
almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.)Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980’s,
ideas for a string sextet
began appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it’s
hard for me to finish a
major work, since there
are always other pieces
(with deadlines) waiting
to be completed. So when
the Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done.The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going.I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. $250.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Companion Piece Quintette de Clarinette: Clarinette, Quatuor à Cordes Subito Music
Clarinet & String Quartet SKU: SU.27040240 For Clarinet & String Quart...(+)
Clarinet & String Quartet
SKU: SU.27040240
For Clarinet & String
Quartet. Composed by
Gregory J. Hutter.
Woodwinds, Clarinet,
Chamber Music, String
Trio/Quartet/Quintet,
Chamber Music, Mixed
Ensemble. Score & Parts.
Subito Music Corporation
#27040240. Published by
Subito Music Corporation
(SU.27040240).
A work to be
programmed alongside the
infamous Mozart and
Brahms clarinet
quintets—the
latter of which
appropriates thematic
materials from the
former. This work is
based on thematic
materials found in both,
sometimes in very subtle
ways. A predominately
diatonic harmonic
vocabulary prevails
throughout and is set in
a single-movement form
consisting of three main
sections: a spirited and
brisk middle section
offsets the elegiac and
melancholic mood of the
two outer
sections.Clarinet and
Sting Quartet Duration:
10' Composed: 2010
Published by: Hutter
Music. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Three Quartets: Op. 51 No. 1 in C minor; Op. 51 No. 2 in A minor; Op. 67 No. 3 in B flat major. Piano seul IMC (International Music Co.)
(parts only unless otherwise specified). By Johannes Brahms. String ensembles wi...(+)
(parts only unless
otherwise specified). By
Johannes Brahms. String
ensembles without piano.
Published by
International Music Co.
$51.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 57 Pieces Children Like to Play Piano seul - Intermédiaire Schirmer
Piano Solo. By Various. Piano Collection. Size 9x12 inches. 128 pages. Published...(+)
Piano Solo. By Various.
Piano Collection. Size
9x12 inches. 128 pages.
Published by G. Schirmer,
Inc.
(1)$18.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| One in Love and Peace - Demo GIA Publications
SKU: GI.G-8246CD Wedding Music for Piano, Organ, and Optional Instrume...(+)
SKU: GI.G-8246CD
Wedding Music for
Piano, Organ, and
Optional Instruments.
Composed by Bob Moore and
Kelly A. Dobbs Mickus.
Wedding. Wedding. Sacred.
CD. GIA Publications
#8246CD. Published by GIA
Publications
(GI.G-8246CD).
One in Love and
Peace is a comprehensive
and practical collection
of the most frequently
requested wedding
instrumentals, including
such classics as
“Canon in Dâ€
by Pachelbel,
“Bridal
Chorus†by Wagner,
and “Ode to
Joy†by
Beethoven. Each of
the twenty-three
preludes, processionals,
and recessionals found in
this compilation is
arranged for both organ
and piano. The
instrumental
edition—sold
separately—include
s reproducible parts for
B< trumpet, C solo
instrument, and string
quartet. They are
compatible with both the
piano and organ
arrangements and with
each other. A complete
recording is also
available. Affordable
enough to purchase
multiple copies, these
demonstration CDs can be
offered either on loan or
as a gift to couples for
use in their selection
process. This
versatile collection is
perfect for any church
musician. Helpful
background notes on each
piece, the complete
recording, and a variety
of performance options
make One in Love and
Peace an essential
resource for wedding
planning. Contents: Air
(Bach) • La Grace
(Telemann) • Sheep
May Safely Graze (Bach)
• Bist du bei mir
(Stölzel, attr. Bach)
• Arioso (Bach)
• St. Anthony
Chorale (Brahms, attr.
Haydn) • Largo
(Handel) • C Major
Prelude (Bach) •
Canon in D (Pachelbel)
• Jesu, Joy of
Man's Desiring (Bach)
• Prince of
Denmark's March or
Trumpet Voluntary
(Clarke, attr. Purcell)
• Air (Handel)
• Bridal Chorus
(Wagner) • Trumpet
Tune (Clarke, attr.
Purcell) • Prelude
(Charpentier) •
Nuptial March (Moore)
• Hornpipe (Handel)
• Rondeau (Mouret)
• Ode to Joy
(Beethoven) • La
Réjouissance (Handel)
• Wedding March
(Mendelssohn) •
Psalm XIX (Marcello)
• Rigaudon
(Campra). $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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