SKU: ST.C360
ISBN 9790570813605.
Gavotte en Rondeau from Violin Partita No.3 (BWV 1006).Paper, daylight and candles were often in short supply during Bachâ??s very busy lifetime but simply to view the autograph score in his hand of the Sonatas and Partitas for solo violin is to be bound into a spell by the beauty, skill and extempore furiosity of the script. The cycle has been described as a miracle of implied harmony and rich harmonic textures, â??its freshness and maturity, its depth, its beauty, its response to all moodsâ? informing a work of humanity and genius unparalleled in all the literature for solo violin.The present arrangement of the Gavotte en Rondeau from Partita No. 3 (BWV1006) is based on Rachmaninoffâ??s intricate harmonisation for piano. â??Ruht Wohlâ?? from the St. John Passion (BWV 245). In the final Chorus from the St. John Passion, Bach imbues the popular dance-forms of the Sarabande and Minuet with a spiritual theme of atonement and reconciliation. The three ritornelli stand like pillars in a palindromic structure whose unbroken melodic line and flowing counterpoint represent a â??timeless continuanceâ??. The original scoring is light and transparent, and transfers appropriately to a choir of cellos without the loss of any counterpoint. Prelude Op. 25 No 3 by Rachmaninoff. Throughout his career as a composer and virtuoso pianist, this Prelude was one of Rachmaninoffâ??s favourite pieces and he dedicated it to his teacher Alexander Siloti. A powerful structure is built up from a small rhythmic motif, reminiscent of Tchaikovskyâ??s representations of fate or Shostakovichâ??s of looming state power. This is contrasted with a lyrical middle section and a final phrase marked leggiero in which the music flies off into the air like a bird.
SKU: HL.48183212
Couperin's Concert Pieces for Cello and String Quartet accompaniment is an exciting addition to the string repertoire for its slightly unusual instrumentation. Francois Couperin (1668-1733) is often nicknamed 'Couperin the Great' to distinguish him from other members of the musical family. Concert Piecesis made up of five movements; 1) Prelude, 2) Sicilienne, 3) The Trumpet, 4) The Complaint, and 5) Devil's Air. Couperin's moods are expressed through choices of keys, adventurous harmonies and discords. With a significant amount of variation and inspiration, Concert Pieces is essential to the repertoire of aspiring, advanced String Quartets and solo cellists..
SKU: CF.BF134
ISBN 9781491158692. UPC: 680160917334.
The 17 masterworks contained in this collection have been carefully arranged for any combination of string trio. The selections span nearly 200 years and feature works from the baroque, classical, and romantic periods of music. The arrangements are drawn from a variety of sources, including piano solos, chamber works, and symphonies. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed at recitals, contests, weddings, and social events. The various moods created through these works will work for any setting.The 17 masterworks contained in this collection have been carefully arranged for any combination of string trio. The most standard instrumentation for voicing is violin, viola, and cello. However, three of the same instruments work well as do other groupings, given that the higher-pitched instrument plays the higher part.The selections have been arranged in chronological order. They span nearly 200 years and feature works from the baroque, classical, and romantic periods of music. The arrangements are drawn from a variety of sources, including piano solos, chamber works, and symphonies. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting.All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed at recitals, contests, weddings, and social events. The various moods created through these works will work for any setting. Some repeats are marked in the music, but any selection may be repeated for the appropriate amount of music needed. Bowings have been added as suggestions, while fingerings have been left to the individual performers to decide.
SKU: PR.114410380
UPC: 680160015160. 9.5 x 13 inches.
My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement’s scherzo is an aggressively animated piece of musical machinery. The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
SKU: HH.HH286-FSP
ISBN 9790708092254.
A true Grand Duo for cello and piano to provide a much needed connection between the first sonatas for this combination -- by Beethoven -- and the later 19th century repertoire. Eberl's heroic style provides a masterly alternative to the over familiar works, with the balance of power between the two players scrupulously maintained throughout, and ingenious formal innovations. The Rhapsodie finale in particular, with sections in varying metres and moods, resolves in an elegant Pastorale, an entirely new format for this combination. The composer thoughtfully provided an adaptation of the cello part for violin containing many differences which will be of interest to players of both instruments; both string parts are included in this publication.
SKU: HL.49044694
ISBN 9790001197687. UPC: 841886026209. 9.0x12.0x0.183 inches.
An exciting communicative musical journey: These Dialogues have the violin and cello adopting different personalities, temperaments and moods to 'speak' to one another. The titles of the pieces and descriptive headings, such as Chatting, Giggling or Contest, suggest how the pieces may be played.In order to make these ten chamber pieces accessible to students at various different levels, all the duets appear again without markings in the second section of the book, providing an opportunity to experiment with different bowings and fingerings.
SKU: PR.114405050
UPC: 680160008377. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: PR.11440505S
UPC: 680160008391. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
