SKU: HL.48010854
UPC: 073999876154. 8.25x11.75x0.051 inches.
Various ensemble performances are possible using one first part with second violin, viola, cello and/or piano. The first string parts duplicate the melodic material Contents: Menuetto and Trio (Mozart) * Ballet Music (Schubert) * A Pair of Hornpipes (Traditional) * Watchman's Song (Grieg) * Siciliana (Stanley) * Variations on a Russian Theme (Beethoven) * Waltz (von Weber) * Bonnie Dundee Variations (Nelson) * Rigaudon 1 (Rameau) * Rigaudon 2 (Rameau).
SKU: HL.49006833
ISBN 9790001073424.
SKU: MB.30562
ISBN 9780786697823. 8.75 x 11.75 inches.
Fiddling Classics contains 14 arrangements of classic fiddle tunes from Texas, cowboy and Western Swing music traditions, written in an exciting twin/triple fiddle style. The series includes three books for different instrumentation:MB30560 Fiddling Classics for Solo and Ensemble: Violins 1 and 2 Includes 2 violin parts .MB30561 Fiddling Classics for Solo and Ensemble: Viola, Violin 3 and Score Includes parts for viola melody, harmony, third violin and a full score .MB30562 Fiddling Classics for Solo and Ensemble: Cello/Bass Includes cello/bass melody and harmony parts .Each book includes piano accompaniment with guitar chords. All three work together, providing readers with material for all possible combination of instruments; solo instrument with piano or guitar, duets, trios, string quartets and much more.
SKU: FG.042-08782-4
ISBN 979-0-042-08782-4.
Sallinen's first quartet (dating from 1958) is in three movements in growing tempo order, unlike the traditional formula: Lento - Interludium (tempo more or less allegretto) - Vivace. In style it is a neo-classically flavoured hybrid of motivic and twelve-tone methods.
SKU: PR.14440265S
UPC: 680160027910.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’ It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
SKU: HL.49044054
ISBN 9790220134029. UPC: 888680029128. 9.25x12.0x0.073 inches.
'Stir' takes its title from the sound made while slowly making circles on the body of the cello with the fingertips, and to the mixing of non-bowed percussive and melodic elements. The piece uses a wide range of extended techniques and the performer's pitched voice, which takes on a more traditionally cello-like role.
SKU: HL.370494
ISBN 9781705147009. UPC: 840126994025.
The First String Quartet in C major, Op. 37, was written in the autumn of 1917 and earned Szymanowski the first prize in a competition organized by the Ministry of Religious and in a competition organized by the Ministry of Religious and Educational Affairs in January 1922. The First String Quartet is notable for its clar and simple construction. The first movement is in the formof a sonata allegro; the Andantino semplice (in modo iuna canzone) in the middle is a cross between ternary and variation form. The final Scherzando alla burlesca also keeps to the form of a sonata allegro. The combinations and proportions of formal factors and the treatment of thematic material betray a fairly conventional adoption of classical models. Similarly, the expressive and structural use of melodic material shows a respect for traditional norms. Szymanowski created, in other works from the same period, his own individual type of melodic line, which was strongly expressive and achieved its effect chiefly by its tonal qualieties; nevertheless in this Quartet he returns to a fluid, cantilena-like, symmetrically shaped melodic line, which runs along in broad phrases of a concentrated, reflective character. Melody becomes the chief factor in the development of the form, both in thematic usage and in the application of a more polyphonic texture. Harmonic and tonal means are considerably simplified in the Quartet []. Most of the writing is linear, or horizontal, with individual treatment of each part, the parallel continuation of the four sound planes, almost a matter of principle. The functions of the particular instruments in realizing these planes are constantly changing,which accounts for the even greater variedy of tone-colour. The decision to forego experiment with forms and sonorities is reflectedin the overall approach to musical expression. The predominant atmosphere of restrained emotion, quiet lyricism and serenity is strongly suggestive of classical aestetic models. (Based on Zofia Helman Commentary on Szymanowski Complete Edition, Vol. B6) (II) The ''Second String Quartet'' represents an interesting attempt to revert to classical form coupled with the new harmonic and tonal vocabulary worked out previously in the ''Slopiewnie'', ''Stabat Mater'' and ''Mazurkas''. It was also the first time the composer had used folk elements in the framework of a major classical form. The ''Second String Quartet'' is in a special category among Szymanowski's works. Though it dates from the composer was still occupied with folk music, it nevertheless shows him returning to classical models, but at the same time using an aesthetic of subjective expression, which gives the work its own individual stamp. The ''Second String Quartet'' synthesis of the various directions in which Szymanowski was attempting to develop. The sonority and texture used in the first.
SKU: HL.49046017
ISBN 9790001164726. UPC: 840126929102. 9.0x12.0x0.063 inches.
Mother Teresa was happy to surprise her interlocutors by handing them a small card instead of a traditional business card, on which a short text was to be read, beginning with the line “The fruit of silence is prayer.†In 2013, Peteris Vasks set this peace prayer of Mother Teresa on behalf of the Schleswig-Holstein Music Festival for mixed choir a cappella in the form of a dense elegiac sound stream. The versions for piano quintet and string quartet now make this musical expression of Mother Teresa's words accessible to two traditional genres of chamber music without the help of a choir.
SKU: HL.14006097
ISBN 9788759872222. Danish.
Programme Note CANTICA for cello and piano (1977)When in 1975 I had finished composing my Symphony no. 3 (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: The Year and Choral Hymn. These three tunes were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships, like proportional canons. For this reason they inspired me to write several choral and instrumental works in the following decade: Frost Psalm, Winter Cantata, the tuba octet Now all the earth is white with snow, Canticles (and others).Cantica, meaning song or singing, was composed (forthe Danish musicians Hans Erik Dechert og Kjeld Hansen) as a instrumental little brother the long, polyphonic choral pieces. As in these the canonical melodies in Cantica drift from foreground to background, from cello to piano. The melodies are simple, diatonic and in traditional rhythms and the surface of the music in a way traditional. The intention of the composer with this easily understood expression is to lead the listeners ears to the many internal, proportional developments. The story is in a way hidden between the lines. In the myriads of rhythmic and tempo relations the Golden Mean (near to 2:3:5:8: et cetera) plays an important role, like in nature. Among the experiences giving by this natural phenomenon are - perhaps - the musical points to be found (?).Per Norgard(1997).
SKU: HL.14033877
ISBN 9780711953116. 8.25x11.75x0.14 inches.
Tortelier's Cello Book Two covers twelve more Classical and folk pieces arranged for Cello in first position, with accompaniment for second Cello or Piano. Contains classics from masters like Bach, Mozart, andSchubert, and traditional tunes from France, Norway, and Israel. Edited and arranged by the French cellist and composer Paul Tortelier.
SKU: BT.DHP-1064034-070
ISBN 9789043124720. 9x12 inches. English-German-French-Dutch.
Traditionally a string quartet will not readily take on pop music. But times are changing and the classic quartet line-up proves suitable for beautiful arrangements of contemporary songs as well. This book features three hits from past decades, The Rose (Bette Midler) with its simple, pure sounds and underlying harmonies, La Solitudine (Laura Pausini) - compelling and with a hidden energy and finally Wonderwall (Oasis), an unexpected choice, with its persistent rhythmic background. To allow the string quartet to play together with optional guitar or keyboard, chord symbols have been added in the score. These songs - which certainly have a passionate andromantic ring to them - are ideal for receptions, weddings and other festive occasions. (Position 1-5) Drie bekende songs in geslaagde bewerkingen voor strijkkwartet: Pop Ballads for String Quartet bewijst dat het kan. Om het strijkkwartet de mogelijkheid te bieden samen te spelen met gitaar of keyboards zijn akkoordsymbolentoegevoegd in de partituur. Deze songs vol passie en romantiek zijn ideaal voor het opluisteren van recepties, bruiloften en andere feestelijke gelegenheden. (Position 1-5)Ein Buch für alle Streicher, die anstatt der klassischen Literatur für Streichquartett auch einmal etwas ganz Modernes, Unterhaltsames spielen wollen. Hans Aerts und Gunter Van Rompaey bearbeiteten für diese Ausgabe drei bekannte Pop- Titel für zwei Violinen, Viola und Cello. Akkordsymbole für eine Begleitung von Keyboard oder Gitarre sind ebenfalls enthalten.(Position 1-5) Ce recueil contient trois succès des dernières décennies : The Rose, avec ses sonorités simples et épurées et ses harmonies demi cachées ; La Solitudine, l‘énergie dissimulée et enfin Wonderwall, un choix inattendu dont le tapis sonore est continuellement rythmé. Des symboles d’accords ont été ajoutés sur la partition afin de permettre au quatuor cordes de se faire accompagner d’une guitare ou clavier (partie optionnelle). (Position 1-5)Questa pubblicazione permetter ai giovani musicisti di cominciare a suonare in gruppo. Il quartetto d’archi è da sempre la formazione per eccellenza, equilibrata e potente nell’espressione. Anche la musica in stile pop, arrangiata per l’occasione da Hans Aerts, si adatta a questo tipo di organico. L’importante è saper ascoltare la parte degli altri per inserire il proprio ritmo nell’insieme. (Position 1-5).
SKU: BR.PB-5531-07
Beethoven would probably have loved to be able to commission a new edition of his violin concerto from Clive Brown, since he is one of the top specialists, with a profound knowledge and experience of performance practice in Beethoven's day.
ISBN 9790004212608. 6.5 x 9 inches.
What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.
SKU: HL.49017072
ISBN 9790001150118. 9.5x12.0x0.38 inches.
This string quartet by a grand master of the German avant-garde combines a decidedly traditional four-movement structure with experimental situations in the concert hall. In various sections the performers act on revolving stools, in others they take positions at the edge and in the corners of the platform or around the listeners. However, the composer also allows a performance in a conventional seating arrangement which emphasizes the work's classical nature with regard to material and form even further.
SKU: VD.ED13869
ISBN 9790202028698. 12 x 9 inches.
SKU: HL.49008359
ISBN 9790001128834. UPC: 073999352078. 9.0x12.0x0.067 inches.
Nino Rota, known to many as a film composer (Fellini; The Godfather), left an extensive oeuvre including works in every genre. Il Presepio (The Crib) is a Christmas piece for voice (soprano) and string quartet with traditional Italian words. For women's voice and string quartet.
SKU: VD.ED16406
ISBN 9790202034064. 12 x 9 inches.
SKU: HL.49019413
ISBN 9790001176477. UPC: 841886016729.
The composer Johanna Senfter (1879 1961) from Oppenheim concerned herself with chamber music for strings all her life, even studied violin in Frankfurt herself. Max Reger then gave her lessons in Leipzig, first privately, then in his composition class at the conservatoire and valued her 'extraordinary compositional talent'. The strict teacher more and more became a committed promoter of the works by Johanna Senfter. For a period of 50 years, the composer concerned herself with the string quartet genre, from Quartet No. 1 in D minor Op. 4, composed shortly after the turn of the century, to the sixth and last Quartet in C minor Op. 115 which was performed for the first time in 1960, one year before her death. The Quartet in F sharp minor Op. 28 is her second quartet which was premiered in Darmstadt on 5 November 1922. In this work, as in later works, Senfter combined traditional form models - here Baroque movements like gavotte, saraband, gigue - with expressive, late Romantic musical language. The work, consisting of six short movements, may without doubt be regarded as a valuable addition to the quartet repertoire.
SKU: FH.VC2
ISBN 978-1-55440-538-1.
This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.Baroque and Classical Repertoire:Chaconne - Handel, George Frideric arr. Peter HeilbutUn ballo (A Ball) - Steibelt, Daniel arr. Eugen RappSchwedisch (Swedish) - Romberg, Bernhard arr. Percy SuchWhen I Am Laid in Earth (from Dido and Aeneas) - Purcell, HenryConcertino No. 4 in C Major, op. 22 - Breval, Jean-Baptiste arr. L.-R. FeuillardOmbra mai fu (Never Was a Shade) Handel, George Frideric arr. Gaston BorchTraditional and Romantic Repertoire:The Joker, op. 126b, no. 3 - Grechaninov, AlexandrAnitra's Dance - Grieg, Edvard arr. Ann LindsayShe's Like the Swallow - Canadian folk song arr. Forrest KinneyJoyeuse (Joyful) - Squire, William HenryAfter the Bass Is Over - Harris, Charles K. arr. Pat Legg and Alan GoutRepertoire Composed after ca 1930:Hen and Rooster - Konicek, ZdenekLatin Nights - Blackwell, David and Kathy BlackwellRunning of the Bulls - Cheney, Elliott W.Wrist Watch - Birston, HaroldSunday Drag - Perry, Anita D.Soft-Shoe Dance - Reubart, DaleFor a Blue Note - Allerme, Jean-Marc.