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Fuga I
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You've selected:
Fuga I
String Quartet: 2 violins, viola, cello
Sheetmusic to print
5 sheet music found
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1
Fuga Criolla for Strings Orchestra
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Contemporary
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Juan B
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Roisber Narvaez
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Fuga Criolla for Strings Orche
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Roisber Narvaez
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.850028 Composed by Juan B. Plaza. Arranged by Roisber N...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.850028 Composed by Juan B. Plaza. Arranged by Roisber Narvaez. 20th Century. Score and parts. 31 pages. Roisber Narvaez #6077505. Published by Roisber Narvaez (A0.850028). Includes Score, Set of parts: Violin I, Violin II, Viola, Violoncello and Double Bass. In 1931 the Venezuelan composer Juan Bautista Plaza (1898-1965) wrote his famous Fuga Criolla for strings. Nineteen years later, in 1950, he wrote another fugue which he titled Romantic Fugue. At the end of this second work, he reunited his first fugue with the new one in a diptych, pointing out that both should be interpreted as a unit, the first part of which is the Romantic Fugue, to conclude with the more lively Fuga Criolla.
$39.99
Fuga del son
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Thierry Pecou
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Fuga del son
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Schott Music - Digital
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SheetMusicPlus
String quartet - difficult - Digital Download SKU: S9.Q17840 For string quartet. Composed by Thierry Pecou. This edition: score and parts. Downloa...
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String quartet - difficult - Digital Download SKU: S9.Q17840 For string quartet. Composed by Thierry Pecou. This edition: score and parts. Downloadable, Score and parts. Duration 6 minutes, 30 seconds. Schott Music - Digital #Q17840. Published by Schott Music - Digital (S9.Q17840). While Western polyphonic music achieved its pinnacle in the fugue, rhythmic polyphony of great complexity evolved in Cuba. It is particularly the “batá†(drumming music originating in the Afro-Cuban “SanterÃa†cult), the “rumba†and the “son†(ancestor of the famous “salsaâ€) which have provided me with my inspiration. I employ the quartet in the manner of a drumming ensemble and each individual string corresponds to the sound of a particular drum. The quartet plays on scordatura open strings employing a rich palette of percussive playing techniques recreating the different types of drumming attacks. Thierry Pécou.
$29.99
I Have A Dream
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String Quartet: 2 violins, viola, cello
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EASY
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Contemporary
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ABBA
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Jeff Tincher
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I Have A Dream
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Jeff Tincher
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SheetMusicPlus
String Quartet String Quartet - Level 2 - Digital Download SKU: A0.583047 By ABBA. By Benny Andersson, Bjorn Ulvaeus, Georges Antoine Blanes, and Michel ...
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String Quartet String Quartet - Level 2 - Digital Download SKU: A0.583047 By ABBA. By Benny Andersson, Bjorn Ulvaeus, Georges Antoine Blanes, and Michel Paul Fugain. Arranged by Jeff Tincher. Contemporary. 15 pages. Jeff Tincher #3556819. Published by Jeff Tincher (A0.583047). This is a String Quartet (Violins 1 & 2, Viola, Cello) arrangement of one of Abba's big hits. In the original key from the trailer for Mamma Mia: Here We Go Again, this song appears in both Mamma Mia movies and is great for any live venue. Duration=4:27. This is a 2018 New ArrangeMe Song Contest Entry. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, http://www.facebook.com/jefftincherpublishing.
$12.99
Study on Beethoven
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Studies
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Joerg Widmann
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Study on Beethoven
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Schott Music - Digital
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SheetMusicPlus
String quartet - difficult - Digital Download SKU: S9.Q778767 String Quartet No. 6. Composed by Joerg Widmann. Downloadable, Score and parts. Dura...
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String quartet - difficult - Digital Download SKU: S9.Q778767 String Quartet No. 6. Composed by Joerg Widmann. Downloadable, Score and parts. Duration 27 minutes. Schott Music - Digital #Q778767. Published by Schott Music - Digital (S9.Q778767). My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works ranging from the (in my opinion) quasi revolutionary Quartet No. 1 to the Quartet No. 5 entitled Versuch über die Fuge [Attempt at a Fugue]. The Quartet No. 6 – Study on Beethoven – composed fourteen years after No. 5 should be conceived as a new approach and the commencement of a new quartet cycle with an unknown ending. All that can be said is that the subsequent quartets will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Despite a reverence for Beethoven at a very early stage, my own compositions have steered well clear of this unapproachable cosmos with the exception of my concert overture Con brio. The perhaps only link with the five quartets of the first cycle of quartets is the single-movement structure of the thirty-minute Quartet No. 6. The fundamental coordinates have otherwise been reset to zero. This is therefore also a ‘study’ in a literal sense. In the Quartet No. 6, I set out with a state of tonality displaying significant extensions whose centrifugal forces are barely containable. My focus is the detection of the inherent gravitation of tonality, including phenomenons such as tension/relaxation, suspension/resolution and fixation/deviation. From a formal aspect, the work is too experimental and unsentimental for explorations in a nostalgic-romantic sense. On the contrary, tonality or at least its fundamental assumptions are initially set down in the sense of a study or test assembly in order to permit subsequent experimentation, variation and the formulation of exceptions with the desire and firm conviction that it is possible to express something innovative and never previously heard with this seemingly exhausted fundamental material. I have been repeatedly astonished by the unfolding in the progression of this piece which has taken me to unknown locations, especially from a formal aspect. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. The Quartet No. 6 has been created in close artistic and friendly cooperation with Anne-Sophie Mutter and she is the dedicatee of this work. Jörg Widmann, July 2019My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works. The Quartet No. 6 composed fourteen years after No. 5 now opens a new cycle of quartets which will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Perhaps the only link with the five quartets of the first cycle is the single-movement structure of the almost thirty- minute Quartet No. 6. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. Jörg Widmann.
$82.99
Serenade No. 11
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
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Classical
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Wolfgang Amadeus Mozart
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Stephen Levintow
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Serenade No. 11
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Cypress Publishing
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SheetMusicPlus
String Quintet Cello,Viola,Violin - Level 4 - Digital Download SKU: A0.1447120 Composed by Wolfgang Amadeus Mozart. Arranged by Stephen Levintow. Classic...
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String Quintet Cello,Viola,Violin - Level 4 - Digital Download SKU: A0.1447120 Composed by Wolfgang Amadeus Mozart. Arranged by Stephen Levintow. Classical. 69 pages. Cypress Publishing #1026899. Published by Cypress Publishing (A0.1447120). Soon after moving to Vienna in 1781, Mozart wrote what turned out to be his last, and finest, three serenades for wind ensemble. He himself arranged the one in c minor, Köchel 388, for string quintet (2 violins, 2 violas and cello), and that version is known as K. 406. Most of the serenade in B-Flat Major, K 361, sometimes called Gran Partita or Serenade for 13 Instruments, was also arranged for the same quintet combination, apparently by someone else, with the movements divided up between Quintets No. 6 and 7 in the second volume of the standard Peters Edition set of parts for Mozart’s string quintets. The remaining serenade, K. 375, is appearing in a string quintet arrangement for the first time that I know of. While it does not have the dramatic intensity of K. 388/406 or the grand sweep of K. 361, it is a worthy companion to the other two works. He composed it “carefully”, as he explained in a letter to his father, and the piece is full of striking details that show this. In the first movement, the second subject is surprisingly in a dark minor key, and the development is based on it. But it does not appear in the recapitulation, replaced instead by a new major key theme. The first of the two minuets also has a brooding trio in minor. The heart of the work is the Adagio, one of Mozart’s great slow movements, and it should be better known. The long-spun overlapping melodies work particularly well for strings. The finale starts as a conventional Rondo, but breaks off into an extended fugal section (again starting in a minor key!) that gives the movement weight and power beyond a typical formula rondo. This arrangement transposes the original E-Flat Major to D Major, to take advantage of string sonority while making some of the passage work lie better for the instruments. Score and parts follow the current convention of listing the composer’s middle name as Amadeus, even though he did not favor it: His only recorded use was a letter he signed Wolfgangus Amadeus Mozartus, clearly intended as a joke. He preferred the Italian or French versions, Amadeo or Amadé, of his German given name Gottlieb (which he also rarely if ever used). CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites.The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$15.00
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