String Quartet no 1 ("Dance")

Arrangement: Cohen Mary. Par COHEN MARY. 'Stringfest ' est une collection de mélodies populaires avec imagination arrangé pour les groupes de la chaîne. La musique a été aménagée avec une flexibilité supplémentaire pour répondre à une variété de situations et les capacités de chaque pièce, y compris les pièces de duo (grades 2-3) qui peuvent être utilisés de façon indépendante, ainsi que des pièces très simples pour les débutants et les accompagnements piano facultatifs. Le format de pack ' Stringfest ' est particulièrement utile pour l'enseignant et comprend une note de piano et un CD amélioré de parties de la chaîne imprimable pour chaque instrument comme fichiers PDF afin que vous pourrez imprimer exactement ce que vous avez besoin. Le CD comprend aussi accompagnement au piano choeurs des pistes pour une aide supplémentaire avec la pratique et de la performance. / Niveau : Facile / Répertoire / Quatuor à Cordes

Songs Dances and Ellipses was commissioned by the Barbican Centre for the Chilingirian String Quartet on the occasion of their 25th anniversary.Quoting Saxton: 'The title Songs Dances and Ellipses refers both to the characterand the architecture of my quartet. The fundamental nature of the relationship between the extra-human music of the spheres and human musical expression manifest in song and dance lies behind much of my music; in the case ofSongs Dances and Ellipses I was absorbed by the idea of the most humanly intimate medium - the string quartet - set in the context of the all-embracing and very real elliptical orbits of the planets. The music consists of fivelinked movements which form three larger sections. Movements one and two form the first part the central slow movement is the second part and movements four and five form the third and final section.

Score and Parts-Sheng's 'String Quartet No.3' was inspired by the memory of a Tibetan folk dance seen in Chinhai the border province between China and Tibet. The dance began with freely rhythmic folk singing and segued into a very rhythmic dancethrough which the singing continued. The structure is loosely based on this memory though the pieces is not an attempt to recreate the scene. The work develops towards the final larghetto section an elegy to friends ofthe composed who sadly passed away shortly before this piece was written.

This vigorous Russian Dance appears in act 2 of The Nutcracker ballet and is based on Cossack Trepak dances of Tchikovsky's homeland. String players will enjoy playing this arrangement which is ideal for a rousing light concert item.

Born in South Africa but now an Irish citizen Kevin Volans? musical idiom has been shaped by an unusually diverse range of experiences including studies with Stockhausen in Cologne field trips to South Africa tostudy traditional music his own involvement with the New Simplicity movement his collection of contemporary art and African textiles friendships with composers like Morton Feldman and Gerald Barry as well as a love of virtuosopiano music which he performs broadcasts and records. While having an easily recognised unique voice Volans? music resists compartmentalisation. He is as comfortable working in conventional genres as embarking oninnovative collaborations with artists of other disciplines. String Quartet No.1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986 London.The title?White Man Sleeps? comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles to let the whitelandowner sleep for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music; the second and fourth movements are drawnfrom traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava Tete Mozambique recorded and transcribed by Andrew Tracey (to be found in an article entitled ?The nyanga Panpipe dance? in AfricanMusic Vol.5 No.1 (1971); the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music transcribed by myself; in the fifth movement I added my owninvented folklore. My approach to the original music was anything but purist it is played in Western tuning filtered slowed down by a few ?time-octaves? cast into non-African metres (like the 13-beat pattern of the first