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Stringset Works Film Themes
40.10
Stringset Works Film Themes
Quatuor à cordes: 2 violons, alto, violoncelle
[Sheet music]
Chester
Une série de musique populaire pour quatuors à cordes de travail. La lumière ...
(+)
Une série de musique populaire pour quatuors à cordes de travail. La lumière des pièces de répertoire agréable et divertissants encores. Chaque folio contient cinq pièces. Table des matières: ' Moon River ', ' La liste de Schindler ', ' suivrent Love', ' Theme From E.T. ', ' Un tout nouveau monde '. / Scores
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The Movies Collection (DIVERS AUTEURS (ARR)
32.60
The Movies Collection (DIVERS AUTEURS (ARR)
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
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Facile
De Haske Publications
10 Great Film Music Themes Score + Parties. Par DIVERS AUTEURS (ARR.ANTHONY GROG...
(+)
10 Great Film Music Themes Score + Parties. Par DIVERS AUTEURS (ARR.ANTHONY GROGER). Le cinéma a toujours cherché, par-dessus tout, à éveiller des émotions. Cependant, aussi passionnante, émouvante ou envoûtante que soit une histoire, son impact n'est ressenti pleinement que si elle est accompagnée d'une musique appropriée. Bien que la plupart des bandes sonores exigent un grand orchestre, un ensemble beaucoup plus modeste suffit. Anthony Gröger a pris dix des plus belles musiques de films de tous les temps et produit de splendides arrangements pour quatuor à cordes. Comme les autres volumes de la série Pops for String Quartet, le présent ouvrage comprend une troisième partie facultative pour violon au cas où un alto ne serait pas disponible. Voici une collection indispensable pour toutes les occasions ! / Niveau : Facile - Intermédiaire / Date parution : 2019-08-22/ Recueil / Quatuor à Cordes
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Quatuor (BACEWICZ GRAZYNA)
42.40
Quatuor (BACEWICZ GRAZYNA)
Quatuor à cordes: 2 violons, alto, violoncelle
PWM (Polskie Wydawnictwo Muzyczne)
Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers...
(+)
Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes
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Lalo Schifrin: Mission: Impossible Theme: String Quartet: Score & Parts
13.99
Lalo Schifrin: Mission: Impossible Theme: String Quartet: Score & Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
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Intermédiaire
Hal Leonard
Pops For String Quartet-One of the hottest movie themes of all time is now avail...
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Pops For String Quartet-One of the hottest movie themes of all time is now available for string quartet.
13.99 GBP - vendu par Musicroom GB
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Fiser Lubos - Variations On An Unknown Theme - For String Quartet
26.40
Fiser Lubos - Variations On An Unknown Theme - For String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
Barenreiter
Lubo? Fi?er (1935?1999) was one of the most distinctive figures of Czech music i...
(+)
Lubo? Fi?er (1935?1999) was one of the most distinctive figures of Czech music in the 20th century and composed the Variations on an Unknown Theme in 1976. The ?unknown theme? was a prankish eight-bar theme from Fi?er?s student days. In the elation following the home-team win over Canada on 15 March 1959, he made a bet with his colleague Kalach to compose a concert piece for violin and orchestra with the working title ?Canada-Rondo?. The whimsical contest was abandoned, but Fi?er did not forget the theme and he later created variations on it for his new composition for the Talich Quartet. The Variations on an Unknown Theme have now been published for the first time ever. This edition is based on the autograph of the score which is housed in the Czech Museum of Music in Prague.
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Bernard Stevens: Theme & Variations: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
Alfred Lengnick
Theme & Variations
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Bernard Stevens: Theme and Variations: String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
Alfred Lengnick
Theme and Variations
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Streichquartett Nr. 1: String Quartet: Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Bote and Bock
For Isang Yun String Quartet No. 3 from 1959 marked the beginning of his Europe...
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For Isang Yun String Quartet No. 3 from 1959 marked the beginning of his European creative phase and of his official canon of works. Now it is possible to encounter Yun's early works from his Korean period in the form of his String Quartet No. 1 (1955). Three important 10-minute movements containing references not only to Asia but also to Ravel Bartók and Eastern European folk music and having an idiosyncratic structure: Yun lines up forms and figures makes them emerge from each other in a contrasting manner and assembles them into a mosaic-like whole seeking for integration laying down his material in layer upon layer and ending themovements with a rhythmic unison. […] Even then he probably regarded a work of art as an energetic stream of sounds and as a reflection of a world whose diverging parts weave into a harmonic whole. (Walter-Wolfgang Sparrer)
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Quartett-Fragmente (Streichquartett 7)
33.40
Quartett-Fragmente (Streichquartett 7)
Quatuor à cordes: 2 violons, alto, violoncelle
Barenreiter
In his seventh string quartet, the well-known Swiss composer Rudolf Kelterborn h...
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In his seventh string quartet, the well-known Swiss composer Rudolf Kelterborn has achieved something special in terms of form: the title and subtitle already suggest that this quartet plays with a distinctively fragmented inner structure. It is highly appealing how the succession of short individual fragments becomes a cohesive one-movement whole.Both performers and audience encounter a skilful dramaturgy enabling them to experience the diverse spectrum of expression which this genre, steeped in tradition, opens up. / 2 Violons, Alto Et Violoncelle
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String Quartet - Youthful Work (BACEWICZ GRAZYNA)
35.10
String Quartet - Youthful Work (BACEWICZ GRAZYNA)
Quatuor à cordes: 2 violons, alto, violoncelle
PWM (Polskie Wydawnictwo Muzyczne)
Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her mai...
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Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her main purpose in life was to compose music. Already during the 1920s, as a student of Lódz Conservatoire, as part of her lessons in harmony and counterpoint, she made attempts at composing, in which she tried to resolve nagging technical problems and impart an artistically satisfying form to them. She grew up in an atmosphere of anti-romantic tumult and the emerging neoclassical style. She assimilated the main attributes of that current in a natural way: the need to forge logical formal constructs based on new harmonic principles, not determined by the major–minor system, and also a freedom in the shaping of textures, a fixed element of which was the combining of homophony with more or less strict polyphonic forms. One example of such a strategy is the String Quartet from her student years, signed with the date 1929–1930, which the composer did not include in her official catalogue of works. In the first movement (Allegro moderato), one can distinguish two principal subjects, served in the form of the incomplete exposition of a fugue. The chromaticised first subject, with its strongly highlighted head motif, appears in the cello, with an answer coming four bars later in the first violin. After a short bridge, the first violin intones the second subject, of a different character (dolce), and the answer appears a bar later and an octave lower in the viola. Both subjects can be heard also in the closing coda, and the space between them is filled by counterpoints based largely on ostinato figures of various sorts – a technique that Bacewicz would hone to perfection in her later work. The middle fughetta (Molto adagio), with a subject stated just once, and in only three parts (cello, first violin, viola), acts as an intermezzo. The third movement (Allegro molto moderato) is a double fugue with strongly contrasting subjects. The first subject, in the form of a chromaticised melodic continuum, exposed by the cello, is initially shown with the traditional arrangement retained (answered by the viola and second violin at a fifth, and by the first violin an octave above). The second subject (energico) is a structure shaped by the opening repetition of a motif of perfect fifths, then octaves combined with staccato-tremolo figurations. As the work unfolds, the two subjects appear simultaneously in original and inverted form, coming together in the closing Cadenza in a uniform idea crowned by strong (fff) chords repeated towards the end. - Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes
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String Quartet No. 4 (LERDAHL FRED)
182.80
String Quartet No. 4 (LERDAHL FRED)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Schott
Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissione...
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Chaconne. Par LERDAHL FRED. 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/ Répertoire / Quatuor à Cordes
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