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William Busch: Ode To Autumn: Voice: Score and Parts
16.99
William Busch: Ode To Autumn: Voice: Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
Chester
For voice and string quartet. Score and Parts.
16.99 GBP - vendu par Musicroom GB
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A Child's View Of Colour (String Parts)
17.70
A Child's View Of Colour (String Parts)
Quatuor à cordes: 2 violons, alto, violoncelle
[Sheet music]
Chester
This work, composed for Children's Voices and String Quartet, was commissioned b...
(+)
This work, composed for Children's Voices and String Quartet, was commissioned by the Young People's Chorus of New York City. / Quatuor A Cordes
17.70 EUR - vendu par LMI-partitions
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John McCabe: Silver Nocturnes: Baritone Voice: Score and Parts
44.99
John McCabe: Silver Nocturnes: Baritone Voice: Score and Parts
Voix, Quatuor à cordes
Novello & Co Ltd.
For Baritone and String Quartet.Commissioned by Jo Boosey in memory of her husba...
(+)
For Baritone and String Quartet.Commissioned by Jo Boosey in memory of her husband Simon.First performance: 17th March 2012 at St. Mary's Church Pembridge Herefordshire by Marcus Farnsworth (Baritone) and the Alberni String Quartet.
44.99 GBP - vendu par Musicroom GB
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Søren Nils Eichberg: Only The Wind: String Ensemble: Score
32.50
Søren Nils Eichberg: Only The Wind: String Ensemble: Score
Voix, Quatuor à cordes
Wilhelm Hansen
Only The Wind (2006) for Overtone Singer and String Quartet by Søren Nils Eichb...
(+)
Only The Wind (2006) for Overtone Singer and String Quartet by Søren Nils Eichberg. The Ovetone Singer part part may be performed by the Viola Player from the String Quartet or by a singer alone ad lib. Parts are available: WH31535A
32.50 GBP - vendu par Musicroom GB
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Indian Summer (SHARMA PYARELAL)
26.70
Indian Summer (SHARMA PYARELAL)
Quatuor à cordes: 2 violons, alto, violoncelle
Schott
8 Enchanting Pieces from India arranged for String Quartet. Par SHARMA PYARELAL....
(+)
8 Enchanting Pieces from India arranged for String Quartet. Par SHARMA PYARELAL. For the first time The Schott String Quartet Series features a collection of pieces that have been originally composed in a style unique to string quartet arrangements. Internationally-acclaimed Bollywood composer Pyarelal Sharma has provided music and songs for over 450 films. This set of string quartets, composed especially for Schott, is influenced by Indian film music, Indian folk, Arabic and light Indian classical music, thus combining the alluring sound of the East with the stability of a classic Western ensemble. Another new feature that this volume has brought to the series is a special bonus CD containing performances of these charming pieces by leading members of the London Philharmonic Orchestra. 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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Patrick Hawes: The Call (from The Call): Chamber Ensemble: Score and Parts
8.99
Patrick Hawes: The Call (from The Call): Chamber Ensemble: Score and Parts
Voix, Quatuor à cordes
Novello & Co Ltd.
for Solo Soprano and String Quartet
8.99 GBP - vendu par Musicroom GB
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Ian Venables: The Song Of The Severn - String Quartet Parts: String Quartet:
20.99
Ian Venables: The Song Of The Severn - String Quartet Parts: String Quartet:
Quatuor à cordes: 2 violons, alto, violoncelle
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Novello & Co Ltd.
Ian Venables' The Song Of The Severn is a cycle of songs in celebration of Worce...
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Ian Venables' The Song Of The Severn is a cycle of songs in celebration of Worcestershire scored for Baritone Voice String Quartet and Piano. “The Song of the Severn…clothes poems by Masefield Housman John Drinkwater and Philip Worner in sharply memorable music of bewitching lyricism idiomatic grace and rapt instinct…No lover of the early-20th-century English art song or pastoral tradition should fail to investigate this notable issue.” - Andrew Achenbach Gramophone “These five songs for voice with piano and string quartet accompaniment take the Severn Riverand its historical and natural associations as a common theme. They are absolutely stunning in their poignant beauty their profoundly noble and moving sense of tragedy and desolation that never turns sentimental or lachrymose and their perfect union of text and music to a level that rivals Schubert and Mahler.” - James A. Altena Fanfare Magazine
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String Quartet #1 White Man Sleeps (Score)
36.50
String Quartet #1 White Man Sleeps (Score)
Quatuor à cordes: 2 violons, alto, violoncelle
[Sheet music]
Chester
Born in South Africa, but now an Irish citizen, Kevin Volans' musical idiom has ...
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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 to study 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 virtuoso piano 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 on innovative collaborations with artists of other disciplines.String Quartet #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 white landowner 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 drawn from 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 African Music, Vol.5, #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 own invented 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 dance) and redistributed between the players in several ways. I also used interlocking techniques where they were absent in the original models and vice versa' - Kevin VolansDuration 24 minutes. Parts available: CH61205. / Quatuor A Cordes (Conducteur)
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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...
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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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John McCabe: String Quartet No.7 - Summer Eves: String Quartet: Score
24.99
John McCabe: String Quartet No.7 - Summer Eves: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Novello & Co Ltd.
Commissioned by the Presteigne Festival of Music and the Arts Limited with fund...
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Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'
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John McCabe: String Quartet No.7 - Summer Eves (Parts): String Quartet: Parts
29.99
John McCabe: String Quartet No.7 - Summer Eves (Parts): String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Novello & Co Ltd.
Commissioned by the Presteigne Festival of Music and the Arts Limited with fund...
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Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'
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Tarik O'Regan: The Ecstasies Above (String Quartet Parts): String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
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Novello & Co Ltd.
The Ecstasies Above commissioned from the Robert Baker Commissioning Fund for S...
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The Ecstasies Above commissioned from the Robert Baker Commissioning Fund for Sacred Music by Yale Institute of Sacred Music was premièred by Yale Schola Cantorum under the direction of Simon Carrington on 4th March 2007 in Woolsey Hall Yale University. The minimum number of singers required is 16 (two each per chorus part together with the solo voices); however a larger number for the main chorus (16-32 voices for example) is more suitable. The string quartet and the two solo vocal quartets should be placed in front of the chorus. The vocal quartets should be spatially separated from each other. Depending on the venue and the size of the chorus the string quartetmay need to be amplified.
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String quartet no. 1 (2015) (FREEMAN ALEX)
51.20
String quartet no. 1 (2015) (FREEMAN ALEX)
Quatuor à cordes: 2 violons, alto, violoncelle
Fennica Gehrman
Par FREEMAN ALEX. Alex Freeman found initial inspiration for his string quartet ...
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Par FREEMAN ALEX. Alex Freeman found initial inspiration for his string quartet (2015) in a series of photographs a geologist friend showed him of en échelon veins in rock formations. The open strings punctuated with pizzicato unisons that begin the single-movement work call to mind something crystalline and shimmering, which is immediately infused with tumbling lyrical lines in something of a rapid caccia technique throughout. The middle of the work becomes more suspended in slower material loosely based on a technique of prolation canon, comprises layers of free, expressive, lyrical, and even elegiac music moving at different speeds. As the work concludes, the materials converge in a rhythmically pulsating stasis and an almost chorale-like statement. Duration: c. 13' This product includes the score and the parts (A4 sized). American-Finnish composer Alex Freeman (b.1972) has established himself among the foremost composers of choral music in Finland. A dedicated citizen of his musical community, a teacher, and a choral singer himself, he composes music that reflects an appreciation for a wide range of aesthetics and a passion for communicating with listeners and performers. In his choral works, in particular, we find music that aims to be sonorous, melodic, and resonant, but is always crafted to carefully avoid the cliches that can burden conventional tonality. His instrumental works run the gamut: a cantata with orchestra based on poetry of Whitman; a significant body of solo piano works that reveal deep roots in everything from austere absolute music to soaring elegaic rhetoric (see Albany Records, Inner Voice); his chamber work Blueshift (Navona Records), which is a kind of paean to Reich and Adams in miniature; open-ended modular works, like various iterations of his Slow All Clocks for electronic media, solo clarinet, and mixed choirs of kanteles; and, recently, some new directions in microtonal music. / Date parution : 2022-05-31/ Répertoire / Quatuor à Cordes
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Pelle Gudmundsen-Holmgreen: All In One: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
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Wilhelm Hansen
All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2...
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All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2013 (String Quartet No.12 13 and 14 played simultaneously). Gudmundsen-Holmgreen has written a collection of three new string quartets: String Quartet no. 12 ‘Each in Each’; String Quartet no. 13 ‘Mutual Ordering’ and String Quartet no. 14 ‘Well-Tuned Sounds’. Each quartet can be played on its own; they can also played simultaneously in any combination. When all three quartets are played together as they are tonight the combined work is titled All in One. About this collection Gudmundsen-Holmgreenwrites: 'Some years ago Kronos and the vocal group Theatre of Voices performed three new pieces which I had written for the two groups: one for Theatre of Voices (Green) and two for Kronos (New Ground and No Ground). They were played and sung by each group independently – but also both groups together concurrently on top of each other as a final gesture. The combined pieces were called New Ground Green and No Ground Green. 'David liked the idea (and the result) of pairs of quartets that could be played both independently and simultaneously and asked me if the vocal quartet could be transformed into a string quartet. It could not. He then asked me to repeat the whole set-up with a new pair of quartets adding also some percussion instruments as was the case with Green for Theatre of Voices. Of course this was tempting. Furthermore David asked me to make one of the two new quartets a little easier to play. 'I began to work. The Kronos part of the pair of quartets turned out to be tough to play as David puts it. Unfortunately the ‘easier’ one was tough to play also! So I had to write one more which was then a little easier still (but still not easy). 'The three new works can be played separately and on top of each other in many different combinations resulting in different kinds of
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David Blake: Searching The Skies: String Quartet: Parts
18.00
David Blake: Searching The Skies: String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
University Of York Music Press
For unison children's voices and strings (or with Piano).Published in 1994.Six p...
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For unison children's voices and strings (or with Piano).Published in 1994.Six poems of Jessica George (1984-94)First performance by Jessica's friends St Olave's Church York on 22nd October1994.String Quartet Parts.
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Michael Praetorius: Resonet in Laudibus: String Quartet: Parts
32.00
Michael Praetorius: Resonet in Laudibus: String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
Walton Music
Sing Out Dear Children-This edition of the work from the early 1600s offers gre...
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Sing Out Dear Children-This edition of the work from the early 1600s offers great versatility for the singers. The SSAATTB setting for young choirs and beyond allows the treble parts to be sung by soloists or a smaller mixed choir. Instruments may also be substituted for voices. For a bigger performance you may combine several choirs and add optional strings to the continuo. Available separately: SSAATTB Instrumental Accompaniment (Score and Parts for Strings). Duration: ca. 4:00.
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Tarik O'Regan: The Ecstasies Above (Full Score): String Quartet: Score
29.99
Tarik O'Regan: The Ecstasies Above (Full Score): String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
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Novello & Co Ltd.
Tarik O'Regan's The Ecstasies Above was commissioned by the Robert Baker Commiss...
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Tarik O'Regan's The Ecstasies Above was commissioned by the Robert Baker Commissioning Fund for Sacred Music by Yale Institute of Sacred Music and was premièred by Yale Schola Cantorum under the direction of Simon Carrington on 4th March 2007 in Woolsey Hall Yale University. The minimum number of singers required is 16 (two each per chorus part together with the solo voices); however a larger number for the main chorus (16-32 voices for example) is more suitable. The string quartet and the two solo vocal quartets should be placed in front of the chorus. The vocal quartets should be spatially separated from each other. Depending on thevenue and the size of the chorus the string quartet may need to be amplified.
29.99 GBP - vendu par Musicroom GB
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Thea Musgrave: Towards The Blue: Ensemble: Score
19.99
Thea Musgrave: Towards The Blue: Ensemble: Score
Quintette de Clarinette: Clarinette, Quatuor à Cordes
[Partition]
Novello & Co Ltd.
For Clarinet solo with wind quartet and string quartet. Score OnlyFirst perform...
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For Clarinet solo with wind quartet and string quartet. Score OnlyFirst performed by Michael Collins Clarinet London Winds and the Endellion String Quartet on 27th January 2011 at the Wigmore Hall London.Scoring:Solo ClarinetFluteOboeBassoonFrench Horn2 ViolinsViolaCelloDuration:circa 13 minutes'During a visit to the exhibition of Francis Bacon at the Tate Gallery in December 2008my eye fell on Figure in a Landscape 1945 which resonated in me powerfully. It is a sceneof devastation and despair and also it seemed to me of latent anger and hostility... butabove it all a serene blue sky beckons. So perhaps even in the darkest moments there is aglimmer of hope - the possibility of change.This idea became the starting point for this work - Towards the Blue - a mini concerto forclarinet who eventually becomes the leader of the group.The work starts without the clarinet and all is desolate yet fiercely argumentative discordant and uncomfortable. Suddenly the offstage clarinet is heard and the players insurprise are quietened. However when the clarinet enters and approaches with a lyricalmusical motif some of the players respond others resist. Gradually the clarinetpersuades the dissident voices to join him in a spirit of co-operation and harmony.A brief memory of the opening desolation casts a momentary shadow which is quicklydispelled by the coda marked Gioioso.'Thea Musgrave (May 13th 2010)Parts available for hire separately
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String Quartet No. 4 (VASKS PETERIS)
59.90
String Quartet No. 4 (VASKS PETERIS)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Schott
Par VASKS PETERIS. The Latvian composer Peteris Vasks, who is known for his atmo...
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Par VASKS PETERIS. The Latvian composer Peteris Vasks, who is known for his atmospheric pieces for string orchestra, “Cantabile”, “Musica dolorosa” and “Voices”, is concentrating increasingly on chamber music: his latest works are the “Partita” for cello and piano, the “Fifth String Quartet” and a piano quartet. Vasks has brought elements of ancient and folk traditions in Latvian music into his compositions. While most of his works have programmatic titles relating to natural processes, Vasks is not concerned with a poetic homage to Nature, nor with depiction of landscape as an aesthetic ideal. The main themes which Vasks explores in his most recent musical work are the reciprocal relationship between man and Nature, the beauty of life and the impending ecological and moral destruction of these values./ Répertoire / Quatuor à Cordes
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Tarik O'Regan: Fragment For String Quartet: String Quartet: Score and Parts
15.99
Tarik O'Regan: Fragment For String Quartet: String Quartet: Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
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Intermédiaire
Novello & Co Ltd.
Fragment for String Quartet is an arrangement of an extract from And there was a...
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Fragment for String Quartet is an arrangement of an extract from And there was a great calm a Diptych for string orchestra and upper voices.
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Distant Voices (HOSOKAWA TOSHIO)
43.60
Distant Voices (HOSOKAWA TOSHIO)
Quatuor à cordes: 2 violons, alto, violoncelle
Par HOSOKAWA TOSHIO. In my sixth work for a string quartet, there is a very simp...
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Par HOSOKAWA TOSHIO. In my sixth work for a string quartet, there is a very simple melody concealed in the background. That melody (distant voices) is played within an extremely slow tempo, and the notes which form the melody gain different textures by becoming disassembled, and played by different techniques. In our daily lives, our inner voices become concealed by our daily customs. The act of composing, to me, is to find out that concealed distant voices, make those voices spatialized and construct them within the musical time. This work is dedicated to Alois Lageder. Toshio Hosokawa / Date parution : 2023-06-01/ Répertoire / Quatuor à Cordes
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Henry Purcell: I Will Give Thanks Unto Thee O Lord: String Ensemble: Score and
21.99
Henry Purcell: I Will Give Thanks Unto Thee O Lord: String Ensemble: Score and
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Novello & Co Ltd.
Edited by Lionel Pike.Anthem for voice choir soloists strings keyboard and in...
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Edited by Lionel Pike.Anthem for voice choir soloists strings keyboard and instrumental continuo.
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Anthony Powers: String Quartet No. 2: String Quartet: Parts
30.25
Anthony Powers: String Quartet No. 2: String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
Oxford University Press
This four-movement work represents the composer's desire 'to write a piece of re...
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This four-movement work represents the composer's desire 'to write a piece of real chamber music intimate and conversational in tone drawing the listener into its worlds'. The result he writes 'is a rather inward-looking reflective work not without a capricious aspect but only occasionally raising its voice.'
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Anthony Powers: String Quartet No. 2: String Quartet: Score
20.50
Anthony Powers: String Quartet No. 2: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
Oxford University Press
This four-movement work represents the composer's desire 'to write a piece of re...
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This four-movement work represents the composer's desire 'to write a piece of real chamber music intimate and conversational in tone drawing the listener into its worlds'. The result he writes 'is a rather inward-looking reflective work not without a capricious aspect but only occasionally raising its voice.'.
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Wtc 9/11
31.70
Wtc 9/11
Quatuor à cordes: 2 violons, alto, violoncelle
Boosey and Hawkes
Inspired by the events of September 11th, this three-movement work incorporates ...
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Inspired by the events of September 11th, this three-movement work incorporates recorded voices of NORAD air traffic controllers (North American Aerospace Defense Command), FDNY (Fire Department New York), and Ground Zero neighborhood residents. / Quatuor A Cordes
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John Tavener: Akhmatova Songs: Soprano: Instrumental Work
20.99
John Tavener: Akhmatova Songs: Soprano: Instrumental Work
Voix, Quatuor à cordes
[Partition]
Chester
Work for Soprano and String Quartet commissioned by the Nash Ensemble.
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John Tavener: Prayer Of The Heart (Parts): String Ensemble: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
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Intermédiaire/avancé
Chester
Prayer of the Heart was inspired by The Chain of Hope. This charitable organisat...
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Prayer of the Heart was inspired by The Chain of Hope. This charitable organisation raises money for the treatment of heart disorders in children including Marfan’s Syndrome of which John Tavener is a sufferer. Thesinger should sit on a low stool bowing towards the heart. This facilitates the soul’s concentration and its unification in ecstasy. The Prayer of the Heart is prayed ceaselessly day and night awake or sleeping becauseit has become at one with the beating of the heart... Silence peace sweetness of union with God... The Prayer is not usually sounded with the voice at all it is silent. Therefore the music must be played and sungintensely quietly with no physical effort. The Byzantine bell and large Tibetan temple bowl may be played by the singer. Prayer of the Heart should be sung in subdued lighting perhaps by candlelight. The recording of theheartbeat should sound very tenderly and quietly throughout.
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3 Quartets op. 41 (SCHUMANN ROBERT)
75.09
3 Quartets op. 41 (SCHUMANN ROBERT)
Quatuor à cordes: 2 violons, alto, violoncelle
Schott
for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is ...
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for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is 3 violin quartets' wrote Schumann to Clara Wieck in 1838, stating his reasons in a letter dated 17 March 1838: 'The thought of the quartets gives me pleasure. The piano is getting too narrow for me. In composing now I often hear a lot of things that I can barely suggest. For instance, it is remarkable how I invent almost everything canonically and never discover the imitating voices until afterward, very often in inversions, inverted rhythms.' The new urtext edition is based on the text of the Schumann Complete Edition./ Répertoire / Quatuor à Cordes
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Schnebel Dieter - Versuche I-iv - Study Score
25.30
Schnebel Dieter - Versuche I-iv - Study Score
Quatuor à cordes: 2 violons, alto, violoncelle
Schott
Studienpartitur - STP - I: for Strings and Percussion - II: for String Quartet o...
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Studienpartitur - STP - I: for Strings and Percussion - II: for String Quartet or Strings - III: for Chamber Ensemble (and Voice ad libitum) - IV: for Orchestracomposer: Schnebel, DieterÉditeur: Schott Musicpages: 92Contenu - I. Analysis - II. Stücke - III. Fragment - IV. Composition
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Viertes Streichquartett Op. 86 Parties (SCHLEE THOMAS DANIEL)
55.40
Viertes Streichquartett Op. 86 Parties (SCHLEE THOMAS DANIEL)
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Barenreiter
Par SCHLEE THOMAS DANIEL. For composer Thomas Daniel Schlee, the 'intimate sound...
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Par SCHLEE THOMAS DANIEL. For composer Thomas Daniel Schlee, the 'intimate sound possibilities of the string quartet” have the potential 'to formulate an, albeit 'only' individual, solution to the somewhat forlorn condition of new art music within society that we are unfortunately experiencing today.” Schlee's Fourth String Quartet opens with a pure C major sound, out of which he develops a harmonically free band of voices: 'The pure as a source, not pleasing”! After a melodically dominating episode and a continuation of the 'swinging tone-motion from the beginning”, a thematically solidified section follows. It is met by a second, more extensive melodic episode, followed by a 'nightly scene”. Coming full circle, the opening music of the piece finds its continuation, leading into a lament – first articulated by the ensemble, then finally as 'the viola's long, forlorn search for the melody symbolizing a farewell.”/ Répertoire / Quatuor à Cordes
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