By Antonin Dvorak (1841-1904). Edited by Jarmil Burghauser / Antonin Cubr. For s...(+)
By Antonin Dvorak
(1841-1904). Edited by
Jarmil Burghauser /
Antonin Cubr. For string
sextet (2 violins, 2
violas, 2 cellos). In a
folder. Replaces H 2116.
Set of parts.
12/12/12/12/12/12 pages.
Published by Baerenreiter
Verlag
After the Sinfonia concertante K. 364. By Wolfgang Amadeus Mozart. Edited by Hog...(+)
After the Sinfonia
concertante K. 364. By
Wolfgang Amadeus Mozart.
Edited by Hogwood,
Christopher. For Violin
1, Violin 2 , Viola 1,
Viola 2 , Violoncello 1,
Violoncello 2
/Contrabass. Score
(paperbound). Published
by Baerenreiter-Ausgaben
(German import).
String quartet SKU: FG.55011-689-4 Composed by Seppo Pohjola. Score and p...(+)
String quartet
SKU:
FG.55011-689-4
Composed by Seppo
Pohjola. Score and parts.
Fennica Gehrman
#55011-689-4. Published
by Fennica Gehrman
(FG.55011-689-4).
ISBN
9790550116894.
Sepp
o Pohjola (b. 1965)
composed his fifth string
quartet, lasting about 20
minutes, in
February-March 2018. He
was inspired to write it
by a visit to the Vincent
van Gogh Museum in
Amsterdam the previous
year, where he was
greatly impressed by the
vast, comprehensive
retrospective and
especially the
horrifyingly honest
self-portraits. The soft
opening tones bear an
instruction alluding to
Schonberg's Verklarte
Nacht string sextet: the
quiet music must be
richly shaded. The notes
in the canon-like part
writing almost always
change at different
moments in each
instrument, with a longer
or shorter delay. The
independent lines weave
tightly together. The
only dynamic is forte for
minutes on end in the
powerful closing section.
Duration c. 20 minutes.
Score (A4) and parts
(B4).
Composed by Bertold
Hummel. This edition:
Saddle stitching. Sheet
music. String. Seit 1965
arbeitete Hummel an
diesem Sextett, bis er es
1999 als vollendet
betrachtete. Es ist ein
leicht spielbares,
klangschones und
ergreifendes Stuck. Bei
der Urauffuhrung hat der
im Jahre 2002 verstorbene
Komponist noch selbst
mitgespielt. Score and
parts. Composed
1978/1999. Op. 75d. 40
pages. Duration 6'.
Schott Music #ED 20289.
Published by Schott Music
(HL.49017071).
ISBN
9790001149945.
9.25x12.0x0.128
inches.
Bertold
Hummel worked on his
Adagietto for many years.
Originally conceived as
an Elegy for Strings in
1965, it was transformed
into an Adagietto for
String Sextet in 1978 and
published for the first
time in 1993. Hummel
undertook a further
arrangement of the
composition in 1999 and
participated with musical
friends in its first
performance. In one of
the scores, the title is
supplemented by the term
“sacrale”, an
indication of the
religious background of
this composition. In a
time of increasing
secularisation, the
creative and no doubt
also the reproducing
artist have the task of
pointing out to their
contemporaries the
transcendental, the
inexplicable and the
unprovable. The language
of music - most effective
perhaps in reaching
across world frontiers -
has an especially
important role in this.
Representations of
suffering and horror
alone cannot be the
inherent constituent of a
work of art. A reference
to comfort and hope is
indispensable.
Furthermore, life,
nature, and, for the
believer, knowledge of
God give cause enough for
praise and thanks.”
This is how my father
once formulated his
artistic conception. A
favourite adopted term of
his, “musikalische
Klangrede” [musical
speech), appears to me to
be particularly well
implemented in the
Adagietto.
Sextet SKU: BR.PB-33002-07 Urtext. Composed by Eduard Franck. Edit...(+)
Sextet
SKU:
BR.PB-33002-07
Urtext. Composed
by Eduard Franck. Edited
by Nick Pfefferkorn.
Chamber music; Softbound.
Partitur-Bibliothek
(Score Library). Romantic
period. Study Score.
Composed 1882/1884. 136
pages. Breitkopf and
Haertel #PB 33002-07.
Published by Breitkopf
and Haertel
(BR.PB-33002-07).
ISBN
9790004216927. 6.5 x 9
inches.
Eduard
Franck's two string
sextets, op. 41 in E-flat
major, published in
1882/84, and op. 50, in D
major, completed in
December 1884 but
published posthumously in
1894, fall mysteriously
outside of their era.
They are a significant
addition to the rather
concise repertoire for
string sextet, joining
the two works in this
genre by Johannes Brahms.
Eduard Franck was one of
the very few private
students of Felix
Mendelssohn Bartholdy,
who was himself a close
friend of the Franck
family, so that Eduard
was firmly rooted in the
Mendelssohn tradition.
But what is particularly
exciting in the sextets,
is how he consistently
further developed
Mendelssohn's immanent
genre-defining
tendencies, thus founding
a conservative
alternative to the
Schumann-Brahms
course.
Sextet SKU: BR.EB-32049 Urtext. Composed by Eduard Franck. Edited ...(+)
Sextet
SKU:
BR.EB-32049
Urtext. Composed
by Eduard Franck. Edited
by Nick Pfefferkorn.
Chamber music; Folder.
Edition Breitkopf.
Romantic period. Set of
parts. Composed
1882/1884. 76 pages.
Breitkopf and Haertel #EB
32049. Published by
Breitkopf and Haertel
(BR.EB-32049).
ISBN
9790004186473. 9 x 12
inches.
Eduard
Franck finished the fair
copy of his second string
sextet score in December
1884. The piece can thus
be described as a typical
late work, also evident
from its wistful
retrospective mood. The
sextet's D-major first
movement has a concise
main theme moving to an
expressive secondary
theme whereas its final
movement is a polyphonic
masterpiece: This full,
yet transparent movement
integrates all the
characteristics of the
preceding movements in a
rhythmically elastic,
richly melodic broader
context that in the end
attains serenity and
reconciliation.
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.
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.
Sextet SKU: BR.EB-32045 Urtext. Composed by Eduard Franck. Edited ...(+)
Sextet
SKU:
BR.EB-32045
Urtext. Composed
by Eduard Franck. Edited
by Nick Pfefferkorn.
Chamber music; Folder.
Edition Breitkopf.
Romantic period. Set of
parts. Composed
1882/1884. 100 pages.
Breitkopf and Haertel #EB
32045. Published by
Breitkopf and Haertel
(BR.EB-32045).
ISBN
9790004186459. 9 x 12
inches.
The Sextet
No. 1 op. 41 by Eduard
Franck is one of his opp.
41-47 works published in
1882/84 in rapid
succession, though its
genesis would more likely
be considerably earlier.
It is an essential and
important addition to the
sextet repertoire,
joining the two other
works in this genre by
Johannes Brahms.
Youth (Arranged for String Quartet) Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur d'étude / Miniature] - Intermédiaire Barenreiter
Composed by Leos Janacek (1854-1928). Arranged by Krystof Maratka. Stapled. S...(+)
Composed by Leos Janacek
(1854-1928). Arranged by
Krystof Maratka. Stapled.
Study score. Baerenreiter
Verlag #TP00521.
Published
by Baerenreiter Verlag
2 violins, 2 violas, 2 celli - Level 6 SKU: KU.GM-1911 Composed by David ...(+)
2 violins, 2 violas, 2
celli - Level 6
SKU:
KU.GM-1911
Composed
by David Philip Hefti.
Edited by David Philip
Hefti. Bach format (230 x
302). In A Folder. Full
score, parts. 78 pages.
Duration 19 minutes.
Edition Kunzelmann
#GM-1911. Published by
Edition Kunzelmann
(KU.GM-1911).
ISBN
9790206202384. 9 x 12
inches.
Monu
mentum, Music for
String Sextet, was
written in 2014 to a
commission from the
Moritzburg Festival, The
Chamber Music Society of
Lincoln Center New York
and the Kathe Kollwitz
House in Moritzburg. It
is dedicated to the
cellist Jan Vogler. The
world premiere took place
on 19 August 2014 at the
Moritzburg Festival,
performed by Timothy
Chooi & Mira Wang
(violins), Roberto Diaz
& Hartmut Rohde
(violas), Jan Vogler
& Harriet Krijgh
(cellos). The American
premiere took place on 7
May 2015 in the Lincoln
Center with the Amphion
String Quartet, the
violist Yura Lee and the
cellist Jan
Vogler.
The
String
Sextet Momentum<
/em> commemorates
the outbreak of the First
World War, the death of
Peter Kollwitz –
who died as a volunteer,
aged just 18, in the
early weeks of the war
– and the manner in
which his mother, the
artist Kathe Kollwitz,
mourned the loss of her
son. The artist worked
through her pain by
creating her most famous
sculpture, The
Mourning Parents. It
stands today at the
German soldiers’
cemetery at Vladslo in
western Flanders, where
her son Peter also lies
buried. During the 18
years that she worked on
the Parents
, Kathe Kollwitz attended
several concerts at the
Volksbuhne in Berlin,
where from January to
February 1927 she heard
Arthur Schnabel’s
cycle of all the
Beethoven piano sonatas.
Schnabel performed the
Sonata op. 111 in c minor
on 26 February 1927, and
this work touched her in
particular, as we can
read in her diary:
“The strange
flickering notes turned
into flames – a
moment of rapture, taking
one into a different
sphere, and the heavens
opened almost as in the
Ninth (Symphony). Then
one found one’s way
back – but it was a
return after having been
assured that there is a
heaven. These notes are
serene – confident
– and good. Thank
you, Schnabel!”
This encounter with
Beethoven’s last
sonata inspired the
artist to take up work
again on her sculpture
after a long interruption
and to consider different
possibilities for
arranging the two
figures. For this reason,
the first minutes
ofMomentum
are derived from this
sonata by Beethoven
– though without it
being quoted in an
audible manner –
and they leave their mark
on the form of the
Sextet. The number 18 and
the date of Peter
Kollwitz’s death
(23 October 1914) also
have a direct impact on
the work’s
dramaturgy. This music is
mostly calm in nature,
but is time and again
interrupted unexpectedly,
being disturbed by unruly
sounds and vehement
eruptions until time
itself seems to dissolve
in an aleatoric passage.
The work ends with an
extended lament on
“seed corn should
not be ground”, a
line from
Goethe’s W
ilhelm Meister’s
Journeyman Years.
Kathe Kollwitz often
quoted this phrase to
argue for peace, and also
took it as the title for
a lithograph that she
made in 1942. -
David Philip
Hefti
Meistersinger Walzer Sextette: Quatuor à cordes, Clarinette, Piano [Conducteur et Parties séparées] Rosewood Publications
By F.R. Hrabal. For clarinet, 2 violins, viola (cello) and piano. Winds, Strings...(+)
By F.R. Hrabal. For
clarinet, 2 violins,
viola (cello) and piano.
Winds, Strings and Piano.
Quintets. Romantic. Score
and set of parts.
Published by Rosewood
Publications