PARTITIONS GRATUITES : 2 VIOLONS, ALTO, VIOLONCELLE, HARP, PIANO

Hob. XVIII:4 - String Quartet wit Piano - Figured Bass Realization by S. Petrenz - Score with Parts. By Franz Joseph Haydn. Edited by Bettina Wackernagel. Figured bass by Siegfried Petrenz. Cadenza by Axel Ruoff. Piano Quintets. Pages: Score = IV and 49 * Vl I Part = 8 * Vl II Part = 7 * Va Part = 6 * Basso = 6. Urtext edition-paper bound. Published by G. Henle.

(Hob. XVIII:3 - String Quartet with Piano - Figured Bass Realization by S. Petrenz -Score with Parts). By Franz Joseph Haydn (1732-1809). Edited by Horst Walter. This edition: HN682. Piano quintets. Henle Music Folios. Pages: Score = III and 52 * Vl I Part = 7 * Vl II Part = 7 * Va Part = 7 * Basso = 7. SMP Level 8 (Early Advanced). Urtext edition (Paper-bound). 92 pages

String quartet

SKU: BP.2256B

String Quartet. Composed by Craig Courtney. Sacred octavos. Score and parts. Beckenhorst Press #2256B. Published by Beckenhorst Press (BP.2256B).

Printed Score and Parts for full orchestra for The Invitation (movement I of Divine Encounter).

Instrumentation for complete Divine Encounter full orchestration:

-Fl (1), Ob (1), Bb Cl (2), Bsn (2)
-F Hn (2), Bb Tpt (2) (mvmts 1-2 only), Tbn (2), B. Tbn., Tba (mvmts 1-2 only)
-Percussion (1-2 players: Cr. Cym, Sus. Cym, Timpani) (mvmts 1-2 only)
-Harp (mvmts 1 and 3 only) -Strings

Organ part (in choral score) or piano part (available separately) are compatible with full orchestration if harp is not available.

Chamber Music Violin 1, Violin 2, Viola, Cello, Piano

SKU: PR.11441123S

Composed by Samuel Adler. Score. With Standard notation. Theodore Presser Company #114-41123S. Published by Theodore Presser Company (PR.11441123S).

UPC: 680160016303. 8.5 x 11 inches.

The Quintet for Piano and String Quartet was written for the American String Quartet in the summer of 2000. It is in one movement but has two distinct parts. The first is a slow movement characterized by dotted rhythms. It is a fantasy with some long flowing lines interrupted by short fragments usually in the piano. After a rather agitated section in 6/8 time, this section comes to a quiet close on a G-sharp major chord. The second section of this thirteen-minute work is marked Fast and Energetic. It begins with chords that recur throughout the movement and after two measures a long main theme is introduced which is developed and altered during the rest of the fast portion of the work. One could call this second part a sort of rondo form since this long lyrical theme returns always after contrasts. When it does return, it is treated often by means of imitation, but at the climax returns played in unison by the strings while the piano renders an energetic sixteenth note background. The work ends on an E-flat major chord though the piece is certainly not in any one key, but rather features quick modulations. One might call this non-tonal music which nevertheless always feels like it has a tonal center. --Samuel Adler.