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String Quartet No. 4 (LERDAHL FRED)
167.61
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...
(+)
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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String Quartet A Minor Op. 29 D 804 Rosamunde
9.50
String Quartet A Minor Op. 29 D 804 Rosamunde
Quatuor à cordes: 2 violons, alto, violoncelle
G. Henle
The quartet in a minor is one of the chamber music works with which Schubert wan...
(+)
The quartet in a minor is one of the chamber music works with which Schubert wanted to 'pave the way to the great symphony? in spring 1824. At the same time he was paving his way to a wider audience, as the 'Rosamunde? Quartet was the first and only string quartet that was not only publicly performed in Schubert's lifetime but also published in parts. It is fortunate for us that this was the case because the autograph of this much-loved quartet is missing today and the only source for the work is the first edition. And this is precisely where the challenge lies, as the parts exhibit some inaccuracies regarding the articulation and dynamics. They have had to be carefully resolved, something which our new Urtext edition has done in an exemplary fashion. Its name can be traced back to Schubert's incidental music to the play Rosamunde, which can be heard at the beginning of the Andante. Quite a few people might, however, be reminded of the Impromptu in B flat major op. post. 142 #3, in which Schubert later once again took up the beautiful melody. / 2 Violons, Alto Et Violoncelle
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Resolutio Op. 74 (AMANTI LUCIO)
49.95
Resolutio Op. 74 (AMANTI LUCIO)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
-
Avancé
Schott
Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals ...
(+)
Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor… What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays “hidden” in the St. John’s hymn that gave musical notes their original name: ‘Re, Sol, Ut, Io’ (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s “Harp Quartet”. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti) / Niveau : Avancé / Répertoire / 2 Violons, Alto et Violoncelle
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Cold Farmer (LARCHER THOMAS)
24.97
Cold Farmer (LARCHER THOMAS)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Schott
Par LARCHER THOMAS. It was not until his late twenties that the pianist, Thomas ...
(+)
Par LARCHER THOMAS. It was not until his late twenties that the pianist, Thomas Larcher, known as an expert of contemporary music, began his career as a composer. Among his most interesting works is the string quartet 'Cold Farmer'. This fifteen-minute work is characterized by moods changing in a blocklike manner. The features of minimal music can be recognized particularly in the fast repetitive sections. The two slow parts acknowledge a tonal language again and again. The first, astonishingly, begins openly in C major, the end of the string quartet fades away in C# Minor. 'Cold Farmer' is released on Larcher's second portrait CD on the renowned label ECM, as is his work 'Mumien' for violoncello and piano already available from Schott (CB 182)./ Répertoire / Quatuor à Cordes
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String Quartet No. 3 (DESSAU PAUL)
37.74
String Quartet No. 3 (DESSAU PAUL)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Schott
Par DESSAU PAUL. Paul Dessau described his Third String Quartet, begun at Laguna...
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Par DESSAU PAUL. Paul Dessau described his Third String Quartet, begun at Laguna Beach near Los Angeles in 1943, as predominantly lyrical. The song-like, melodious main theme of this one-movement work emerges from a series of notes grounded in tonality. A contrapuntally separated little semiquaver figure acquires increasing importance and points the way ahead to the greater rhythmical turbulence of the middle section. Syncopated imitative devices add intensity to the music until all this activity is calmed down again in the extended Coda. By working names into his music as quotations Dessau pays musical homage to two of his aesthetic forefathers - Bach and Schoenberg - during a creative period spent in exile./ Répertoire / Quatuor à Cordes
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LULLABY (BERCEUSE) QUATUOR A CORDES - PARTIES SEPAREES
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LULLABY (BERCEUSE) QUATUOR A CORDES - PARTIES SEPAREES
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
G. Henle
Für Streichquartett-In 1919-20 George Gershwin was making a name for himself wi...
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Für Streichquartett-In 1919-20 George Gershwin was making a name for himself with Broadway songs and a first show of his own in New York. But he was already attracted to the world of classical music a world he would enter with a bang in 1924 withhis Rhapsody in blue. He prepared himself for this by taking an intensive course in composition during which he wrote this brief ?Lullaby? for string quartet as an exercise probably in 1919. He liked its catchy melody so muchthat he later used it again in his one-act ?jazz opera? Blue Monday Blues. ?I find the piece charming and kind? wrote his brother Ira in 1968 when the quartet movement appeared in print for the first time. Thus the world wasgiven a second lullaby by this American composer one worthy to stand alongside his famous ?Summertime? from Porgy and Bess.(englisches Originalzitat: ?I find the piece charming and kind.?)
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Antonín Dvo?ák: String Quartet F Op. 96: String Quartet: Study Score
9.25
Antonín Dvo?ák: String Quartet F Op. 96: String Quartet: Study Score
Quatuor à cordes: 2 violons, alto, violoncelle
G. Henle
(American Quartet)-After a twelve-year interval Dvo ák once again turned his a...
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(American Quartet)-After a twelve-year interval Dvo ák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where agroup of Czech immigrants had settled thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven?s ?Pastoral? even down to the imitation ofbirdcalls. Since the first performances certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans which led to the soon popular workbeing called the ?American Quartet?. For the first time since 1955 the Quartet is once again being published in an Urtext edition.
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Kaija Saariaho: Nymphea: String Quartet: Score
64.99
Kaija Saariaho: Nymphea: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
Wilhelm Hansen
The composer has developed musical processes through the use of computer program...
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The composer has developed musical processes through the use of computer programming methods and this approach has allowed a broadening of vocabulary of the colour or tone of string instruments and the contrast of limpid delicate textures with violent shattering masses of sound.The basis for the entire harmonic structure of the piece is provided by complex cello sounds and the rhythmic and melodic transformational platforms are computer-calculated in which musical motifs gradually convert recurring again and again. Score and Electronics booklet for Nymphea arranged for String Quartet and Live Electronics. Composed 1987 duration 18 minutes.
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Antonín Dvo?ák: String Quartet F Op. 96: String Quartet: Parts
15.75
Antonín Dvo?ák: String Quartet F Op. 96: String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
G. Henle
After a twelve-year interval Dvo ák once again turned his attention to the Str...
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After a twelve-year interval Dvo ák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where agroup of Czech immigrants had settled thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven?s ?Pastoral? even down to the imitation ofbirdcalls. Since the first performances certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans which led to the soon popular workbeing called the ?American Quartet?. For the first time since 1955 the Quartet is once again being published in an Urtext edition.
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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...
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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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Franz Joseph Haydn: String Quartets Volume III Op.17: String Quartet: Study
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Franz Joseph Haydn: String Quartets Volume III Op.17: String Quartet: Study
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur d'étude / Miniature]
G. Henle
String Quartets Book III op. 17-The autograph score of the Quartets op. 17 was i...
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String Quartets Book III op. 17-The autograph score of the Quartets op. 17 was in the possession of the imperial police chief Johann Nepomuk Neuwirth whose widow gave it to the Wiener Gesellschaft der Musikfreunde in 1875. It is said that Haydn ?used to playthe viola in quartet rehearsals? at the Neuwirth?s house. Whether the Quartets op. 17 were composed for these gatherings can no longer be ascertained. However even today they still have a fixed place amongst the music of allchamber music friends and in particular nos. 4 5 and 6 which are very different to the divertimento style of the early quartets are played again and again.
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