Parts for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Score available: KP00250The composer writes:'Even when I was writing 'Adieu' I knew that I wished to write 'Angel’s Music'. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on 'Angel’s Music' was started in Rome where I spent the autumn of 1987 staying at 'The Danish Academy'. Whether this stay has influenced the quartet or not is impossible to say. however it is true to say that inthe Roman churches I visited I saw countless angels playing in the top of frescoes and altars. Without these angels together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico (in fact there are only a few paintings by him in Rome but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are in the short rhythmic agitating part of the quartet reminiscences of the Italian medieval Trotto dance and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet the distant extremely muted sound in the high register which opens the piece was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that 'little songs' (maybe angel songs) could be created in this density these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form I felt that not only should the 'little songs' be created played and die out in an echo but also that the general pattern of the quartet should give the feeling of music which from the distance is getting closer and closer

Easy Concert Pieces Band 1. Easy pieces from the Renaissance to the Modern Eras, carefully selected according to technical and musical demands. Includes CD of full performances. Volume 1 - 16 pieces in 1st position by Bach, Beethoven, Gretchaninoff, Heller,Schubert and more. Studio teachers will love the quality and diversity of the repertoire - kids will enjoy playing the pieces. This collection has 'fun' written all over it, but also offers serious opportunities for introducingadvanced concepts like syncopation, swing-time, and some avant-garde techniques. -American String Teacher

Par NEWTON ABBY. Aujourd'hui le violoncelle est habituellement considéré comme un instrument classique, mais la fin XVIIe au début du XIXe siècle, il a été utilisé dans des ensembles folkloriques à fournir des rythmes faibles, conduites danse tunes et à rendre haunting airs écossais. Au sein de la Renaissance de la musique folklorique du passé quarante ans il y a eu un mouvement petit mais dédié à restaurer la richesse unique du violoncelle à la musique traditionnelle et Newton Abby a été à l'avant-garde de ce mouvement. Abby a été profondément impliqué avec la musique écossaise depuis, voyageant à et d'effectuer, en Ecosse, plusieurs fois. Les airs, les planxties et les bobines, cet ouvrage proviennent de sources traditionnelles et contemporaines, y compris le violoneux du XVIIIe siècle Neil Gow, harper Turlough O'Carolan, Daithi Sproule, David Hornung, Alasdair Fraser, Ronnie Aimes et autres. Tous les 19 de la mélodie sont écrites pour violoncelle solo avec corde symboles inclus sur la plupart des airs pour un instrument d'accompagnement. Le texte comprend également des notes de l'auteur sur l'origine de chaque morceau. La co... / Niveau : Débutant à Intermédiaire / Scottish - Transcribed Solos / Recueil / Violoncelle

For use in lessons or for your first concert performance - Easy Concert Pieces for Cello and Piano contains easy and well-known solo pieces from the Renaissance to the modern era, carefully selected according to technical and musical demands: Volume 1 very easy (1st position), Volume 2 easy (1st and half position), Volume 3 easy to intermediate (1st to 4th position). Besides original compositions by Bréval, de Fesch, Reinagle or Gretchaninoff there are readily playable arrangements of classical masterpieces and modern compositions from the world of pop, jazz, spirituals, bossa nova and tango. Recordings and backing tracks for all the pieces are included on the accompanying CD. / Violoncelle Et Piano

Pelle Gudmundsen-Holmgreen's  String Quartet No. 10 'New Ground' (2011). Set of parts: WH31462A Programme note: New Ground – No Ground – Green In 1986 I wrote Ground for the Kronos Quartet. I used the principle of the baroque ground and created a series of chords – going up and going down symmetrically. The material formed the basis for the quartet. In my next collaboration with Kronos I wrote the darker Last Ground – at the time supposed to be my last composition of the kind. After some years this seemed a bit pathetic and Idecided to write a new – lighter ground – New Ground. To disappoint my listeners as much as possible I based this piece on a very old and very well-known ground: Pachelbel’s Canon.  The piece is tonal and that suggested another –atonal – composition – No Ground (based on another string quartet – no. 7 Parted from 1984 first performed by Kronos). I am very fond of the elaborated constructivism of the medieval or early renaissance music so in my view the two new quartets needed to be connected and combined. The two quartets can be performed in combination with the four-part vocal piece Green. The text is from medieval England. The pieces are written for the Kronos Quartet and Theatre of Voices.

Alle großen Komponisten seit der Renaissance haben die feststehenden Teile der Messliturgie, Kyrie, Gloria, Credo, Sanctus und Agnus Dei, vertont. Auch das Requiem, die Hymnen und Sequenzen [darunter Te Deum und Stabat Mater] oder die Karwochenliturgie sind Gegenstand vieler herausragender Kompositionen. Michael Wersin, Musikwissenschaftler, Sänger und Chorleiter, führt in diesem einzigartigen Band mit etwa 400 Werkbesprechungen von über 150 Komponisten in den Kosmos der lateinischen Kirchenmusik ein, der heute im Konzert und auf Tonträgern so präsent wie niemals zuvor ist. Im Anhang: CD-Empfehlungen zu allen besprochenen Werken./ Répertoire / Livre

Band 7: Streichinstrumente-. Par OTT EUGEN. Mehr noch als bei anderen Instrumenten prägen große Virtuosen die Geschichte der Musik für Streichinstrumente, besonders die der Violinmusik. Beileibe nicht nur im Barock stand im Zentrum ihrer Kunst die Verzierung: das Auszieren langsamer Sätze, die Improvisation von Übergängen, die Gestaltung großer Kadenzen. Karin und Eugen Ott haben einen unvergleichlichen Fundus an originalen Quellen solcher Verzierungen von der Renaissance bis ins 19. Jahrhundert zusammengetragen. Eine Fundgrube für den Spezialisten, eine Entdeckungsreise für den interessierten Laien, Inspiration und Anleitung für den avancierten Streicher. Veröffentlichung auf CD-Rom. Folgende Bände sind in der Reiheerschienen:SY 9010Band 1: GrundlagenSY 9011 Band 2: die Vokalmusik von den Anfängen bis um 1750 SY 9012 Band 3: Die Vokalmusik in der Zeit MozartsSY 9013Band 4: Die Vokalmusik im 19. Jahrhundert SY 9014Band 5: Das Lied - Die KastratenSY 9015Band 6: Tasteninstrumente SY 9016Band 7: Streichinstrumente (CD-Rom) / Date parution : 1905-07-02/ Accessoire / Education musicale

Par BEFFA KAROL. It rings a bell… est mon second quatuor avec piano, après Café 2010, clin d’oeil à Piazzolla. Le titre est à prendre au sens propre - s’y font entendre des sonorités de cloches – et au sens figuré – la pièce se veut un rappel des litanies de la fin du Moyen Âge et du début de la Renaissance. Les deux mouvements, très contrastés, ne sont liés que par un même recours à la technique du canon et par l’appel qui y est fait aux sons d’un carillon d’église. Dans le premier, un thème hypnotique déroule une musique étale, au tempo languissant. Le caractère non modulant explore tous les registres, depuis le grave sépulcral du glas jusqu’aux tintements aigus de sonnailles enfantines, le tout dans un parfum d’un archaïsme assumé. Tranchant avec ce climat de mystère et de rêve, le second mouvement est un tourbillon d’énergie. Créés par des bariolages de cordes, des thèmes s’amorcent, se répètent dans un ostinato de plus en plus violent, se font envahissants, et trouvent leur conclusion dans un déluge sonore théâtralisé. Ces deux mouvements peuvent être joués indépendamment l’un de l’autre ou bien enchaînés. Karol BEFFA/ Répertoire / Trio à Cordes et Piano

Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano

Par SUSATO TIELMAN. Renaissance music for junior string orchestra/quartet / Niveau : Débutant à Facile / Lumsden, A. / Répertoire / Orchestre à Cordes

For use in lessons or for your first concert performances - Easy Concert Pieces for Cello contains easy pieces from the Renaissance to the modern era which have been carefully selected according to technical and musical demands. This volume is a perfect addition to cello lessons. Along with arrangements of well-known pieces like Beethoven's Ode to Joy, there are also a lot of new pieces to discover. The accompanying CD contains recordings of all pieces. / Violoncelle Et Piano

Ce deuxième volume de Frottole regroupe les premiers 23 unica à 4 voix d'un manuscrit italien de 1502 conservé à la Bibliothèque nationale de France. Il s'agit à l'origine de pièces vocales religieuses ou profanes. Les textes étant rédigés en italien ancien - probablement un idiome de la région de Mantoue ou Ferrare, où résidait le copiste Lodovico Milliare - il nous a malheureusement été impossible de les reconstituer. Néanmoins, et comme cela était implicitement admis à cette époque, les pièces présentées sont tout à fait adaptées au jeu instrumental. / Niveau : Facile / renaissance / Recueil / Dessus, Alto, Ténor et Basse de Viole