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Quatuor (BACEWICZ GRAZYNA)
36.93
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...
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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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Resolutio Op. 74 (AMANTI LUCIO)
49.95
Resolutio Op. 74 (AMANTI LUCIO)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
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Avancé
Schott
Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals ...
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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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String Quartet - Youthful Work (BACEWICZ GRAZYNA)
30.60
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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Music By Howard Blake : The Snowman
20.59
Music By Howard Blake : The Snowman
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
The Snowman is a beautifully composed piece for the traditional Christmas time f...
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The Snowman is a beautifully composed piece for the traditional Christmas time film of the same title. The composer Howard Blake takes the music through the cold wintery sky, floating blissfully as if it was all a dream.The sheet music is beautifully arranged for a string quartet. The perfect addition to anyones festive collection. / Quatuor A Cordes
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Movie String Quartets For Festivals Weddings And All Occasions
12.15
Movie String Quartets For Festivals Weddings And All Occasions
Quatuor à cordes: 2 violons, alto, violoncelle
Alfred Publishing
A collection of movie hits wonderfully arranged for intermediate and advanced le...
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A collection of movie hits wonderfully arranged for intermediate and advanced level string quartets. Perfect for high school, university, and professional quartets! The optional bass parts also allow for use in the high school, university or community orchestra. Just the thing to read through at wedding receptions, parties, and other events. / Quatuor A Cordes
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Music (MILES JOHN)
24.64
Music (MILES JOHN)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
Arr. Gunter Van Rompaey. Par MILES JOHN. Jon Miles`rock classic Music, which ori...
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Arr. Gunter Van Rompaey. Par MILES JOHN. Jon Miles`rock classic Music, which originally was played by numerous strings, is a perfect candidate for a string quartet arrangement. Gunter van Rompaey has produced a skillful arrangement of this smash hit. / Niveau : Intermédiaire / Date parution : 1905-07-05/ Recueil / Quatuor à Cordes
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Everything That Rises (ADAMS JOHN LUTHER)
35.23
Everything That Rises (ADAMS JOHN LUTHER)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Chester
Par ADAMS JOHN LUTHER. John Luther Adams' Everything That Rises for String Quart...
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Par ADAMS JOHN LUTHER. John Luther Adams' Everything That Rises for String Quartet. John Luther Adams' Everything That Rises for String Quartet. Composers note: I never imagined I would write a string quartet. Then I heard the JACK Quartet, and I understood how Imight be able to make the medium my own. The result was The Wind in High Places - a twenty-minute work composed entirely on natural harmonics and open strings. Over the next few years, twomore quartets followed. The second quartet, untouched, is a further exploration of the aeolian sound world of the first. Then, in Canticles of the Sky, the musicians finally touch the fingerboards of theirinstruments. And now comes Everything That Rises . This fourth quartet is more expansive, both in time and in space. It grows out of Sila: The Breath of the World - aperformance-length choral/orchestral work composed on a rising series of sixteen harmonic clouds. Everything That Rises traverses this same territory, but in a much more melodic way. Each musician isa soloist, playing throughout. They surround the audience. Time floats. Over the course of an hour, the lines spin out - always rising - in acoustically perfect intervals that grow progressively smaller as they spiralupward... until the music dissolves into the soft noise of the bows, sighing. Duration: 60 minutes/ Répertoire / Quatuor à Cordes
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Ed Sheeran: Simply Ed Sheeran: String Ensemble: Score and Parts
16.99
Ed Sheeran: Simply Ed Sheeran: String Ensemble: Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
De Haske Publications
Sing - Perfect - Shape of You. Ed Sheeran was one of if not the most successful ...
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Sing - Perfect - Shape of You. Ed Sheeran was one of if not the most successful British artists of the decade, with 150 million records sold worldwide. Every song he has written has become a hit in almost every European country. Anthony Gröger picked three of the singer's most famous songs and made an accessible arrangement for string quartet, namely: Sing, Perfect and Shape of You. Simply perfect for any occasion!
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String Quartet
46.62
String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
Schott
These two chamber music works are one of the main focuses in the oeuvre of Ulvi ...
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These two chamber music works are one of the main focuses in the oeuvre of Ulvi Cemal Erkin. Lively and spirited, they combine Western European tradition with rhythmic and melodic elements from Turkish folk music. Both are perfectly suitable for music lessons and concert recitals, adding a new interesting colour to the common chamber music repertoire.Erkin (1906-1972) is one of the most important composers of Turkey. He studied piano and composition in France and later returned to his home country where he became professor in Ankara. / Quatuor A Cordes
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