SKU: 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.
SKU: PR.16400222S
UPC: 680160037841.
This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.
SKU: HL.48025321
UPC: 196288175414.
The piece is part of the ballet Wild Swans, choreographed by Meryl Tankard at the Sydney Opera House in 2002, based on the fairy tale The Wild Swans by Hans Christian Andersen. Originally scored for soprano and orchestra, Eliza Aria introduces Princess Elisa and expresses her pure soul, innocence and belief in the goodness of the world: Without saying a word, she must weave stinging nettles into cloth to save her enchanted brothers. The short, enchanting vocalise is perhaps Elena Kats-Chernin's best-known creation and went around the world as music in a promotional video on YouTube. It is now available in numerous versions for `ifferent instruments and instrumentations.
SKU: HL.48025322
UPC: 196288175421.
SKU: HL.48025324
UPC: 196288175445.
SKU: HL.48025327
UPC: 196288175476.
SKU: HL.48025326
UPC: 196288175469.
SKU: 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.
SKU: PR.114418630
ISBN 9781491114063. UPC: 680160642724. 9 x 12 inches.
The film noir genre of 1940s cinema typically includes a strong but flawed male lead (often a detective), a beautiful woman who coerces the male into committing murder or is a killer herself (a “femme fataleâ€), and a twisting plot line that involves one or more homicides. These movies typically are shot in black and white, with emphasis on shadows and light, alcohol and cigarettes, trench coats and fedoras. Most of the story lines do not have happy endings. Inspired by this genre, NOIR VIGNETTES consists of four movements, each depicting an aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.In the mid-1940s, film critics in France noticed a trend emerging in movies from the United States, which they coined film noir (which translates to “black filmâ€). These movies were dark, moody, and pessimistic, reflecting the agitation and anxiety present in society following World War II. Several characteristics are commonly found in many of these movies, including a strong but flawed male lead (often a detective), a beautiful woman who either coerces the male lead into committing murder for her or is a killer herself (a “femme fataleâ€), and a twisting, turning plot line that involves one or more homicides. Additionally, there are several visual elements that these movies share: many are shot in black and white, with great emphasis on the use of shadows and light; alcohol and cigarettes are heavily consumed by men and women alike; and men typically wear trench coats and fedoras. Most of the story lines do not have happy endings. Examples of film noir include Orson Welles’ The Lady from Shanghai, Billy Wilder’s Double Indemnity, and John Huston’s The Maltese Falcon.NOIR VIGNETTES consists of four movements, each depicting a different aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.This piece was commissioned by the University of Illinois Research Board on behalf of double bassist Michael Cameron; and it also published for Double Bass and Piano (114-41811). The cello version is transcribed by the composer.-- Stacy Garrop.
SKU: CF.CM9625
ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.
The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still†provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,†are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still†are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.
SKU: BT.ALHE31297
French.
Bohuslav Martin (1890-1959) was a prolific Czech composer, writing many large scale works. The composer moved to Paris in 1923 where he began experimenting in a variety of composition styles. His StringTrio was published in 1951. Martin himself was a violinist and many of his experiments in composing for solo instruments and small ensembles saw him write for his own instrument and for the familiarstrings. String Trio is made up of two movements; 1) Allegro and 2) Poco moderato. With a typical performance lasting about 15 and a half minutes, the String Trio for Violin, Viola andCelloprovides advanced string players with an exciting, challenging and inspiring ensemble work, addressing a variety of musical features. Martin 's String Trio is essential to aspiring stringensembles.
SKU: FG.55011-689-4
ISBN 9790550116894.
Seppo 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).
SKU: HL.14043783
8.25x11.75 inches.
Simon Holt 's 3rd Quartet is the third of six pieces which make up a cycle with the overall title 'Terrain'. Lasting around 23 minutes, this wonderful work is arranged for String Quartet and was co-commissioned by The Radcliffe Trust, NMC Recordings, Internationales Musikfestival Heidelberger Fruhling and Wigmore Hall. The premiere was performed on 19th January 2015. The six different compositions, of which 3rd Quartet is the third, are for different combinations of stringed instruments, featuring Piano in the second piece. The music that comprises 3rd Quartet is drawn from the other parts of the cycle as a whole, yet in a reverse order. In this way the piecedevelops what has come before, foreshadows what's to come, all the while encompassing the entire cycle in a single piece.
SKU: HL.50603813
ISBN 9781705145913. UPC: 840126992892.
The String Quartet no. 4, subtitled Dedication, was commissioned by the CNDM of Madrid to celebrate the 250th Anniversary of Beethoven and was written for, and dedicated to, the Cuarteto Casals (2017). This one-movement work, lasting some 11 minutes, is based on a small motif from the op quartet. 130 as a tribute to the German master. The work, that explores the full range of the technical, musical, and emotional scope of the quartet medium, has a ternary arrangement, with a slow introduction and a conclusive stretta on the B-flat note (like the one that opens Op. 130). Its course includes marked contrasts between the contemplative, lyrical, static and suspensive sections - in the manner of stagnations - and those with a more lively tempo, playful and occasionally festive.
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SKU: HL.48188823
UPC: 888680883478. 9.25x12.25x0.075 inches.
“Composed between 1967 and 1970, Tout un monde lointain for Cello and Orchestra, by Henri Dutilleux, is one of the most important additions to the cello repertoire in the 20th century. Lasting nearly half an hour, each of the five movements are inspired by a poem of Charles Baudelaire: 1. Énigme / Enigma 2. Regard / Gaze 3. Houles / Surges 4. Miroirs / Mirrors 5. Hymne / Hymn The main theme, initially introduced in the first part Énigme / Enigma, is often replayed through the piece. The third part, Houles / Surges is the most difficult to interpret with a Scherzo part that's quite challenging and no break between the movements. Henri Dutilleux was internationally acclaimed for his work, winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, among many others. His work also includes a piano sonata, two symphonies, the Violin concerto 'L'arbre des songes' (The tree of dreams) and the string quartet 'Ainsi la nuit' (Thus the night).â€.
SKU: BR.PB-5297
Haydn's C major Concerto now in a new, up-to-date edition
EB 8634 (edition for violin and piano) with cadenzas by Thomas Zehetmair
ISBN 9790004211755. 10 x 12.5 inches.
Haydn's Violin Concerto in C major has always been closely linked to Breitkopf & Hartel, which began selling copies of the work back in 1769. The first edition came out in 1909 and helped secure the work a broad dissemination and lasting popularity. Strangely enough, this first edition is one of the most important sources today, since its own source a copy of Haydn's autograph, perhaps the autograph itself was lost at the end of World War II. Although other copies from Haydn's time were made, they are textually less reliable. Walter Heinz Bernstein has created an easily playable and pleasant-sounding piano score on the basis of the first edition, whereby he has respected the early classical continuo practice. As he did earlier in the G major Concerto (EB 8606), Thomas Zehetmair has once again accepted the challenging task of embellishing the solo part with stylistically accurate cadenzas and flourishes. This delightful concerto is thus now available in a modern edition.The piano-harpsichord part by Walter Heinz Bernstein features a continuo part in keeping with the late Baroque performing tradition and offers a much cleaner, unfettered realization.(Stringendo)Haydn's C major Concerto now in a new, up-to-date edition.
SKU: HL.48187573
UPC: 888680840723. 9.0x12.5x0.178 inches.
“Bohuslav Martin? (1890-1959) was a prolific Czech composer, writing many large scale works. The composer moved to Paris in 1923 where he began experimenting in a variety of composition styles. His String Trio was published in 1951. Martin? himself was a violinist and many of his experiments in composing for solo instruments and small ensembles saw him write for his own instrument and for the familiar strings. String Trio is made up of two movements; 1) Allegro and 2) Poco moderato. With a typical performance lasting about 15 and a half minutes, the String Trio for Violin, Viola and Cello provides advanced string players with an exciting, challenging and inspiring ensemble work, addressing a variety of musical features. Martin?'s String Trio is essential to aspiring string ensembles.â€.
SKU: BT.EMBZ13487
Dotzauer was a trained musician who wrote an opera, symphonies, overtures, a Mass, concertos and chamber music. Of his extensive life-work the abundance of educational compositions has proved to be of lasting value in the first place. The idea to compile and publish a selection from his educational life-work that meets the demands of the time emerged at the end of the 19th century already. Of the several publications of this kind the work by Johannes Klingenberg has turned out to be the most successful.Justus Johann Friedrich Dotzauer war studierter Cellist und Komponist einer Oper, mehrerer Sinfonien, einer Messe und Kammermusik. Von seinem umfangreichen Werk sind aber vor allem seine pädagogischen Werke, darunter zwei Cello-Schulen und zahlreiche Etüden, heute noch sehr geschätzt. Schon im 19. Jahrhundert gab es Versuche, eine Auswahl davon zusammen zu fassen. Unter diesen hat sich die hier in vier Bänden vorliegende Ausgabe von Johannes Klingenberg am besten bewährt.
SKU: HL.48024757
ISBN 9781784542085. UPC: 888680962067. 9.0x12.0x0.189 inches.
This work was composed in 2013 to a commission by the Los Angeles Philharmonic Association. It was first performed that year at Walt Disney Concert Hall, Los Angeles, by Anssi Karttunen (cello) and the Los Angeles Philharmonic, conducted by Esa-Pekka Salonen. The piece is formed in a single span lasting 20 minutes.
SKU: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: HL.49019267
ISBN 9790001180689. UPC: 841886018143. 9.0x12.0x0.074 inches. Edited with fingerings and bowings by Fritz Zumkley.
Goltermann (1824-1898) left a plethora of works for his instrument, including seven cello concertos which sometimes go to the limitsof what was considered to be technically playable in his time. Even today, these works have maintained their importance throughout the methodological progress in literature. Apart from the concertos, Goltermann also composed a large number of character pieces, including romances, reveries, nocturnes and serenades. Stylistically wholly rooted in the Romantic spirit of their time, the pieces are relatively short and of medium difficulty as regards the technical demands. It is not least due to their melodic and harmonic catchiness that they enjoy a lasting popularity both in music lessons and in domestic concerts.
SKU: BT.EMBZ13486
English.
SKU: BT.MUSUME28535
The String Quartet no. 4, subtitled Dedication, was commissioned by the CNDM of Madrid to celebrate the 250th Anniversary of Beethoven and was written for, and dedicated to, the Cuarteto Casals (2017). This one-movement work,lasting some 11 minutes, is based on a small motif from the op quartet. 130 as a tribute to the German master. The work, that explores the full range of the technical, musical, and emotional scope of the quartet medium, has aternary arrangement, with a slow introduction and a conclusive stretta on the B-flat note (like the one that opens Op. 130). Its course includes marked contrasts between the contemplative, lyrical, static and suspensive sections -in the manner of stagnations - and those with a more lively tempo, playful and occasionally festive.
SKU: HL.14043782
8.5x11.75x0.3 inches.
Simon Holt 's 3rd Quartet is the third of six pieces which make up a cycle with the overall title 'Terrain'. Lasting around 23 minutes, this wonderful work is arranged for String Quartet and was co-commissioned by The Radcliffe Trust, NMC Recordings, Internationales Musikfestival Heidelberger Fruhling and Wigmore Hall. The premiere was performed on 19th January 2015. This is the set of parts for 2 Violins, Viola and Cello. The six different compositions, of which 3rd Quartet is the third, are for different combinations of stringed instruments, featuring Piano in the second piece. The music that comprises 3rd Quartet is drawn from the other parts ofthe cycle as a whole, yet in a reverse order. In this way the piece develops what has come before, foreshadows what's to come, all the while encompassing the entire cycle in a single piece.