Quartet Op.18, No.4 in C minor

Par PUSCOIU COSTEL. Well-known classical works for recorder students at all levels of ability, adapted and arranged especially for the recorder. The works are drawn from all periods, including Baroque, Classical, Romantic and Modern. The author has carefully placed the melodies in the best keys for easy recorder. / Niveau : Intermédiaire / Classic - Solos / Recueil / Flûte à Bec Soprano

160 Pages de Musique russe pour Piano Solo. <br> <br>Inclus, biographies, contexte historique... / [The Russian Collection] / Classique / Partition /

26 Easy Pieces from 4 Centuries. Les pièces, qui conviennent non seulement aux jeunes, mais également aux adultes débutants, sont adaptées, dans leur diversité stylistique, aussi bien pour des concerts que pour des représentations dans un cadre sacré. Alors que certaines des pièces ont été composées par les compositeurs pour l'écriture pour cordes à quatre voix, l'éditeur utilise également des oeuvres pour piano qu'il a arrangées - aussi proches que possible de l'original - pour quatuor à cordes. / Niveau : 2 / Recueil / Quatuor à Cordes

Surtout célèbre comme compositeur d'opéra, de Donizetti est donc le représentant italien le plus important du genre du quatuor à cordes. Si les premiers quatuors peuvent être considérées comme des expériences du jeune compositeur avec une forme strictement classique, les pièces intermédiaires et plus tard sont des expressions sans équivoque d'un esprit mature musicaleLes Quatuors à cordes n o. 1-6 compléter les deux volumes déjà publiés (n o 7-12, 13-18), pour la première fois, les éditions présenter un complet, texte critique musicale éditée. / 2 Violons, Alto Et Violoncelle / 140 pages / Partition

Dix-sept classiques tirés de films, arrangés pour piano solo de niveau intermédiaire. Inclus les thèmes musicaux de Babe, Les Liaisons Dangereuses, Fantasia, Liaison Fatale, JFK et La Leçon de Piano / Piano / 64 pages / Partition

Volume One
Quartet No. 1 in F Major, Op.18, No. 1
Quartet No. 2 in G Major, Op.18, No. 2
Quartet No. 3 in D Major, Op.18, No. 3
Quartet No. 4 in C Minor, Op.18, No. 4
Quartet No. 5 in A Major, Op.18, No. 5
Quartet No. 6 in B-flat Major, Op.18, No. 6
Quartet No. 7 in F Major, Op. 59, No. 1
Quartet No. 8 in E Minor, Op. 59, No. 2
Quartet No. 9 in C Major, Op. 59, No. 3
Volume Two
Quartet No. 10 in E-flat Major, Op. 74
Quartet No. 11 in F Minor, Op. 95
Quartet No. 12 in E-flat Major, Op. 127
Quartet No. 13 in B-flat Major, Op. 130
Quartet No. 14 in C-sharp Minor, Op. 131
Quartet No. 15 in A Minor, Op. 132
Quartet No. 16 in F Major, Op. 135
Grosse Fuge in B-flat Major, Op. 133

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

Music Minus One Violin-In 1798 Beethoven commenced the writing of the biggest project in his first decade in Vienna a set of six String Quartets which would become his opus 18. The F major though listed as No. 1 was the second composed. It is an impressive piece and its beautiful D-minor adagio was inspired by the burial-vault scene in Shakespeare's Romeo and Juliet. The Fourth Quartet in C minor is a fascinating piece which incorporates a gypsy theme into its final movement. Beautiful writing from the latter part of Beethoven's early period. Includes a complete high-quality printed music score and a compact disc containing stereo accompaniments minus you the first violinist.Accompaniment: The Classic String Quartet