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Quatuor à cordes: 2 violons, alto, violoncelle (7)
Trompette et Réduction pour Piano avec des Partie… (1)
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Draculissimo (SCHNEIDER ENJOTT)
45.51
Draculissimo (SCHNEIDER ENJOTT)
Trompette et Réduction pour Piano avec des Parties
Schott
Concerto grosso for trumpet, tenor trombone and chamber ensemble. Par SCHNEIDER ...
(+)
Concerto grosso for trumpet, tenor trombone and chamber ensemble. Par SCHNEIDER ENJOTT. The concerto takes the historical figure of the brutal impaler Vlad Tzepesch (1431-1476) as its starting point and subsequently develops the myth into an overwrought and gruesome piece of work: 1: “Oderint dum metuant” is a raving Allegro with a Baroque ritornello structure and modern “Draculisms”. 2: “Luna su Tirgoviste” is a memoriam for the thousands of impaled victims who came to a violent end in today’s Târgoviste. 3: “Il ballo transilvano” confronts a naive waltz rhythm with aggressive polyrhythmic reinterpretations – in the manner of the stick and the carrot. 4: “Bacio di sangue” is Neo-Baroque horror music which has got out of hand, demanding extreme virtuosity from both soloists and ensemble. Enjott Schneider/ Répertoire / Trompette et Réduction pour Piano avec des Parties
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Come Back to Sorrento
21.65
Come Back to Sorrento
Quatuor à cordes: 2 violons, alto, violoncelle
Schott
8 Popular String Quartets. Following the success of 'Beautiful Dreamer', Carson ...
(+)
8 Popular String Quartets. Following the success of 'Beautiful Dreamer', Carson Turner returns with a fresh collection of string quartet arrangements, ideal for intermediate-level players. The Schott String Quartet Series With the first books in the series focusing on baroque, classical and romantic styles, The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer', which features original compositions, each book contains original arrangements of well known themes, which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance./ Recueil / Quatuor à Cordes
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Pelle Gudmundsen-Holmgreen: String Quartet No. 10 'New Ground': String Quartet:
29.99
Pelle Gudmundsen-Holmgreen: String Quartet No. 10 'New Ground': String Quartet:
Quatuor à cordes: 2 violons, alto, violoncelle
Wilhelm Hansen
Pelle Gudmundsen-Holmgreen's String Quartet No. 10 'New Ground' (2011). Set of...
(+)
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.
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Passalega (KOLBUSZ ALEKSANDRA) (KOLBUSZ ALEKSANDRA)
30.60
Passalega (KOLBUSZ ALEKSANDRA) (KOLBUSZ ALEKSANDRA)
Quatuor à cordes: 2 violons, alto, violoncelle
PWM (Polskie Wydawnictwo Muzyczne)
Par KOLBUSZ ALEKSANDRA. Long before writing Passalega, I harboured the idea of c...
(+)
Par KOLBUSZ ALEKSANDRA. Long before writing Passalega, I harboured the idea of creating some form of organically homogeneous chain of musical tensions evolving ever more distinctly into a musical utterance, although still indeterminate in terms of pitch. The tissues forming the chain of those tensions were of relatively simple design, yet in spite of this ? or perhaps because of it ? they were incredibly well suited to generating the expressive narrative that accompanied me throughout that entire pre-composition period. After recognising the character of the musical potential in that material, I considered it to be similar to Baroque rhetoric in terms of the refined clarity and smoothness of the gestures. Inspired by this, I sought to articulate this material in the fullest possible way by tracing a chain of swelling tensions, referring to a homogeneously polyphonic string quartet. / Date parution : 2022-12-12/ Répertoire / Quatuor à Cordes
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Michael Nyman: String Quartet No. 4: String Quartet: Score
24.99
Michael Nyman: String Quartet No. 4: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
String Quartet No.4 was written for the Camilli Quartet who gave the first perfo...
(+)
String Quartet No.4 was written for the Camilli Quartet who gave the first performance at the Queen Elizabeth Hall London April 1995. It is dedicated to the memory of Nyman's composition teacher Alan Bush.This quartet is anarrative made up of a chain of twelve complete but often cross-related movements each quite simple in design. For instance the Scottish melody first heard in the second half of I is hinted at in the 2nd violin/viola in thesecond fast section of II and is directly quoted again during III and XII. The theme of the fast section of IV is taken up again in VIII; IX reverts to the mood of the opening of I while the rising scale/syncopated themes of II IX and the bass of X and XII are related. X also reintroduces the slow harmonics theme from VII. XII is (apparently) cast in the form of a baroque French rondeau. The main theme of VI was plucked out of the Quartet and used inmy score for Christopher Hampton’s film Carrington. Duration 40 minutes. A set of parts is available for sale.
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Georg Friedrich Händel: For Unto Us A Child Is Born (Viola Part): Viola: Part
2.99
Georg Friedrich Händel: For Unto Us A Child Is Born (Viola Part): Viola: Part
Alto (Viole)
[Partition]
Novello & Co Ltd.
The magnificent interweaving of harmonies and dialogue-like Voices in Handel&rsq...
(+)
The magnificent interweaving of harmonies and dialogue-like Voices in Handel’s For Unto Us A Child Is Born make it a perfect addition to the festive choral repertoire. German-born British Baroque composer George Frideric Handel originally composed this piece in 1741 for the English-language oratorio Messiah which eventually became one of the best-known and most frequently performed choral works in Western music. As the last song of Scene 3 of Part I of the oratorio which addresses Isaiah's specific prophecy about the virgin birth of a Messiah For Unto Us A Child Is Born tells the news of Christmas thebirth of a son in Isaiah’s words as found in the Scripture (Isaiah 9:6). The delicate familiar theme is introduced by the Sopranos and taken up by their counter-voices the Tenors later the same dialog is given over to the Altos and Basses. The tutti culminates in 'Wonderful' 'Counselor' 'The Mighty God' 'The Everlasting Father' and 'The Prince of Peace'.
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