PARTITIONS GRATUITES : PIANO SEUL
- Aria for Guitar Quartet

By Jorge Martinez-Zarate / Hector Farias. For 4 guitars. Classical. Grade 1. Score. 28 pages. Published by Editions Henry Lemoine

(For Guitar Quartet and Narrator (1989)). By Stephen Goss. For Guitar Quartet, Narrator. INTERMEDIATE - ADVANCED. Composed 1989

By Roland Dyens (1955-). For guitar quartet/ensemble. Classical. Grade 4. Score. 21 4x7 pages. Published by Editions Henry Lemoine

By Franz Liszt (1811-1886). Arranged by Kanengiser-Minei. For 4 guitars. Grade 3-4. Score and parts. 84 pages. Published by Les Editions Doberman-Yppan

(Mix and Match Quartets for Strings, Woodwind, Brass and Keyboard). By Various. Arranged by Daniel Kelley. String quartet, woodwind quartet, piano quintet, mixed quartet, clarinet quartet, saxophone quartet. For Keyboard or Guitar. Quartets. Intermediate Music for Four series. Classical. Intermediate. Partbook. Published by Last Resort Music Publishing

Guitar Quartet

SKU: AY.GQ3173PM

Composed by Ignacio Baca Lobera. Plucked - Guitar. Score & Parts. Duration 12'. Periferia Publishing #GQ3173PM. Published by Periferia Publishing (AY.GQ3173PM).

ISBN 9790543574045.

Trac to: lapse of time, space between two places. The musical form, as a problem, has a long history in the occidental music, mainly from the begining of the XXth century. That so many weight and wear bears the material are aspects that, of an organic way, determine the formal resolution of a work. If we alternate the sense of repetition and the spatial-temporal layout of the elements so the expectations of the musical narrative (from the composer's point of view when he composes) are permanently altered, then we arrive to a non-organic formal resolution, this is what I've been looking for in my recent compositions. I understand this formal exploration as a random form; literally, the musical elements are distributed in a lapse of time in a random way, without considering the before or the after; each element ( that can be very general, long or short) for a start has no relation with its environment but has to built bridges with the other ones. From this construction comes up, I hope, the possibility of many interpretations, an all-purpose composition. Tracto was comissioned by Santa Maria's quartet to which is dedicated. Ignacio Baca Lobera.

Violin, Guitar

SKU: UT.CH-335

Composed by Nicolo Paganini. Edited by Italo Vescovo. Saddle stitching. Classical. Score and Parts. Ut Orpheus #CH 335. Published by Ut Orpheus (UT.CH-335).

ISBN 9790215326538. 9 x 12 inches.

The Trois airs variés for violin and piano belong to the small nucleus of compositions for this scoring which, in the Catalogo tematico, also includes the Cantabile in D major (M.S.109), the only original manuscript piece for violin and piano recently published in a critical edition, and the Quattro Notturni a quartetto (M.S.15). This ‘triptych’, whose authorship is unknown, is familiar thanks to the nineteenth-century editions Ricordi, Pacini and Hofmeister, the only evidence of the piece which is placed in the Catalogo tematico at n. 3 of the uncertain works (Section V, pp. 346-347), that is, those works whose authorship remains in doubt due to the lack of objectively valid documents. This placing does not categorically exclude the originality of the piece, at least as regards the violin part, and that Gustavo Carulli ‘completed’ them later by adding the piano part. Given that to date there is no evidence to deny Paganini’s authorship of the piece, we rely on the editorial tradition documented by the three publications mentioned above and, of course, on the style of the composition.
Regarding the instrumental aspect, the technical peculiarity is given by the exclusive use of the 4th string which must be transposed one tone above, in all three airs, including the variations. Concerning the piano part composed by Gustavo Carulli, it can only be said that it is simple and functional, aimed at highlighting the violin part, nothing more. Since the piano part is not original, the guitar has been thought of as the ideal instrument (as indeed is proved by Paganini’s considerable musical production for this scoring) to support the violin part and which is better suited to these small but pleasant pieces. In the transposition for guitar, however, the aim has been to include Gustavo Carulli’s musical lesson, where it is convincing, in other cases, however, the preference has been to find different solutions, while trying to remain within Paganini’s ‘style’ also as regards writing for the guitar. The present edition therefore seeks to be a plausible alternative to the previous editions, also in order to make these delightful but forgotten pieces more usable.