SKU: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: PR.164002720
UPC: 680160573042. 8.5 x 11 inches.
SKU: BT.DHP-1175785-070
ISBN 9789043152877. International.
In the entire history of pop and rock, no band has so dominated the music scene as original brit-poppers the Beatles did in the 1960s. For this medley for string quartet, four songs were selected that show the musical range of the Fab Four: from the powerful Help! through the romantic evergreen Yesterday and the rock classic A Hard Dayâ??s Night to the passionate anthem All You Need Is Love. In de Pop and Rock geschiedenis heeft geen enkele ander band de muziekscene zo gedomineerd als The Beatles tijdens de jaren zestig. In deze medley voor strijkkwartet zijn vier songs geselecteerd die de muzikale verscheidenheid van de Fab Four goed weerspiegelen: van het krachtige Help! via de romantische evergreen Yesterday en de rockklassieker A Hard Dayâ??s Night tot het hartstochtelijke All You Need Is Love. In der gesamten Geschichte der Pop- und Rockmusik gab es keine andere Band, die die Musikszene so beherrscht hat, wie es bei der britischen Popband The Beatlesâ?? in den 1960er Jahren der Fall war. Für dieses Medley für Streichquartett wurden vier Stücke ausgewählt, welche die musikalische Bandbreite der Fab Fourâ?? (berühmten Vierâ??) zeigen: vom mitreiÃ?enden Help! über den klassischen Evergreen Yesterday und den Rock-Klassiker A Hard Dayâ??s Night bis hin zu der leidenschaftlichen Hymne All You Need Is Love.Dans lâ??histoire du pop et du rock, aucun groupe nâ??a autant marqué les esprits que le groupe de Britpop The Beatles dans les années 1960. Ce medley pour quatuor cordes regroupe quatre chansons représentant lâ??individualité de ces quatre musiciens : du puissant Help ! en passant par le romantique Yesterday et le classique du rock A Hard Dayâ??s Night jusquâ?? lâ??hymne All You Need Is Love.
SKU: BT.DHP-1196090-070
ISBN 9789043157674. English-German-French-Dutch.
Cinema has always aimed to do one thing above all else: arouse emotions. Yet however exciting, entertaining or fascinating a story might be, its full impact is really only felt with the help of the right music. While most original soundtracks demand a large orchestra, a much smaller ensemble is sufficient: Anthony Gröger has taken ten of the all-time most beautiful film scores and created stunning arrangements for string quartet. In keeping with the Pops for String Quartet series, this volume also includes an optional third violin part in case a viola is not available. This is an indispensable collection for any occasion!Van oudsher is de film bovenal bedoeld geweest om emotie op te roepen. Maar hoe spannend, vermakelijk of boeiend een verhaal ook is, pas met de ondersteuning van de juiste muziek komt het volledig tot zijn recht. Hoewel de meeste originele soundtracks een orkest met een grote bezetting vereisen, voldoet in dit geval een kleiner ensemble. Anthony Gröger heeft tien van de mooiste filmmuziektitels verzameld en er prachtige arrangementen voor strijkkwartet van gemaakt. Net als bij de andere uitgaven in de serie Pops for String Quartet bevat ook deze bundel een optionele derde vioolpartij, voor het geval er geen altviool beschikbaar is. Een fraaie collectie met nummers voordiverse gelegenheden! Seit jeher möchte Kino vor allem eines: Emotionen wecken. Doch wie spannend, lustig, interessant eine Story auch immer sein mag erst mit Hilfe der passenden Filmmusik kann sie ihre volle Wirkung entfalten. Während die meisten Soundtracks im Original ein groß besetztes Orchester erfordern, genügt hier bereits eine viel kleinere Besetzung: Anthony Gröger hat sich zehn der schönsten Filmmusik-Titel aller Zeiten vorgenommen und wirkungsvoll für Streichquartett bearbeitet. Eine unverzichtbare Sammlung für Anlässe jeder Art, bei denen ein Streichquartett gefragt ist. Wie in der Serie Pops for String Quartet üblich, enthält das Set auch eine optionale dritteViolinstimme für den Fall, dass keine Bratsche zur Verfügung steht. Le cinéma a toujours cherché, par-dessus tout, éveiller des émotions. Cependant, aussi passionnante, émouvante ou envo tante que soit une histoire, son impact n’est ressenti pleinement que si elle est accompagnée d’une musique appropriée. Bien que la plupart des bandes sonores exigent un grand orchestre, un ensemble beaucoup plus modeste suffit. Anthony Gröger a pris dix des plus belles musiques de films de tous les temps et produit de splendides arrangements pour quatuor cordes. Comme les autres volumes de la série Pops for String Quartet, le présent ouvrage comprend une troisième partie facultative pour violon au cas où un alto ne serait pas disponible. Voiciune collection indispensable pour toutes les occasions !
