|
| Prophesies [Score and Parts]
Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score and Parts. Composed by Mohammed Fairouz. Sws. Score and parts. With Standard notation. 68 pages. Duration 25 minutes. Theodore Presser Company #114-41903. Published by Theodore Presser Company (PR.114419030). ISBN 9781491114124. UPC: 680160669851. 9 x 12 inches. A fascination with polycultural synergy between diverse literary textsdrives the inspiration for much of Mohammed Fairouz’s prodigiouscreative output, including instrumental music as well as vocal. Inhis profound and extensive essay preceding the score, Fairouz shedslight on how Edgar Allen Poe’s “Israfel” relates to the prophetsand prophesies of the Quran, Old Testament, and New Testament.The eight-movement quartet may be heard as a dramatic galleryof portraits and of story-telling, flourishing in a post-traditionallanguage that is at once vernacular and spiritual, Middle Easternand Western. The complete set of score and parts is included in thispublication.
(See pages 2-3 of score for clear distinction of paragraphs, etc.)Prophesies, by Mohammed FairouzEdgar Allen Poe’s rendition of Israfel was the point of departure for the final movement of my previous stringquartet which is titled The Named Angels. At the opening of his poem, Poe evokes the Quran:“And the angel Israfel, whose heartstrings are a lute, and who has the sweetest voice of all God’s creatures.”This informs the first lines of the poem that, in turn, gave me the title for the final movement of The Named Angels,“Israfel’s Spell”:In Heaven a spirit doth dwell“Whose heartstrings are a lute”None sing so wildly wellAs the angel Israfel,And the giddy stars (so legends tell),Ceasing their hymns, attend the spellOf his voice, all mute.It is the end of that poem, however, that is the starting point for the current quartet, Prophesies, which concernsitself with mortal prophets rather than eternal Angelic spirits.If I could dwellWhere IsrafelHath dwelt, and he where I,He might not sing so wildly wellA mortal melody,While a bolder note than this might swellFrom my lyre within the sky.Islamic thought has asked us to look at the example of the prophets. That’s significant because of the fact thatJoseph and all the prophets were human beings with the flaws of human beings. No prophet was perfect, andIslamic tradition has never asked its followers to aspire to the example of the Angels, the perfected ones. Instead weare given the gift of our prophets. While The Named Angels drew on the motion and energy of everlasting spirits,Prophesies is a depiction of the movements within our own mortal coil.This quartet is a continuation of a long tradition of Muslim artists telling their stories and singing their songs.Many of these renditions are, in fact, figurative and (contrary to popular belief) the Quran contains no “Islamicedict” prohibiting figurative renditions of the figures described in the Old Testament, New Testament, or Quran.The majority of artists, however, have preferred eternal and abstract forms such as words and their calligraphicrepresentations, poems (Yusuf and Zuleikha or the Conference of Birds come immediately to mind), architecture,and many other non-figurative art forms to the representation of man. These cold, ancient, and everlasting shapesof unending time flourished, and the divine infinity of representing geometric forms gained favor over the placementof the explicit representation of mankind and our own likeness at the center of the universes.Adding the string quartet to these forms which express the recursive spheres of heavens and earth abstractly shouldexplain why I have chosen to render higher things through the use of music without the addition of words or anyother art-form. It is the abstract art of pure form, in which all is form and all is content, which compels me. Thisquartet should be seen as no more programmatic than the arches of the Great Mosque at Cordoba.The first movement, Yāqub (Jacob), is slow, quiet and prayerful. It evokes the patient sorrow of a slow choraledeveloping over time as it coaxes our pulse out of the ticking of a clock-like meter that defines our day-to-day livesand into a divine eternity.The second, Saleh, imagines the spirit of that desert-prophet through the use of a Liwa; the dance-sequence that hasbeen such a prevalent form of expression in the Arabian Peninsula for much of our recorded history.The third movement is titled Dawoōd, and it is emblematic of the beloved Prophet, King, and Psalmist, David.Though it has no lyrics, the movement functions as a dabkeh (an ancient dance native to the Levant) and also “sets”the opening of Psalm 100 (Make a joyful noise unto the Lord, all ye lands). This line is never set to music or sung inthe quartet but is evoked through the rhythmic shape of the violin part which imitates the phonology and rhythmof my speaking the opening line in the Hebrew and develops the contours of that line incessantly throughout themovement.3The fourth movement is an ode to Yousef (Joseph) and relates to the first movement in tempo and tone just as Josephrelates to Jacob, his father. Together, the first and fourth movements provide a sort of Lamentation and relief.Joseph had the appearance of a noble angel, but he was very much a human being. And the story of this particularprophet had tragic beginnings many years before he found himself in a position of power in Egypt. Back in his youth,still among the Israelites, Joseph experienced a series of revelations through his dreams that spoke of his impendingcareer in prophecy. He confided his dreams to his father, the Prophet Jacob, who told his son of the greatness thatawaited him in his future only to have his brothers throw him into a well and leave him for dead. Joseph eventuallyfound his way from Israel to Egypt and rose out of slavery into a position of power. Meanwhile, famine engulfs Israel.Forty years pass, and back in the land of Jacob and Rachel, of Joseph’s brothers and Abraham’s tribe, Israel wasnot spared the effects of the famine. They sorely lacked Joseph’s prophecy and his vision. The Qur’an then tells usthat Jacob, sensing Joseph, sends the other brothers to Egypt instructing them to come back with food and grain.Arriving in Egypt, they unwittingly appear before Joseph. They don’t recognize their little brother who has risen toa position of might, dressed in his Egyptian regalia. They ask for the food and the grain.After some conversation, Joseph is no longer able to contain his emotion. Overcome, he reveals himself to his nowterrified brothers. He embraces them. He asks them eagerly, “How is our father?” Joseph gives them the gift of thefood and the grain that they came in search of. He relieves them from hunger and alleviates their fear. He sendsthem back with proof that he is alive, and it is this joyful proof from the miraculous hands of a prophet that bringsback the ancient Jacob’s vision after 40 years of blindness.In this story, I am struck by the fact that Joseph may not have made the decision to forgive his brothers on thespot, but that something inside the prophet’s soul found forgiveness and peace for the brothers who had so gravelywronged him at some point along his journey. I would suspect this point to have been present at Joseph’s inception,even before he had ever been wronged.This is proof, if we needed it, that Joseph’s angel-like beauty was not only physical and external, but also internalas well: Joseph possessed a profound loveliness of spirit that bound his appearance and his soul. In Joseph, formand soul are one.Time is to musicians what light is to a painter. In this way, the story of Joseph also shows us that time can affectour perception of even the most tragic wounds. In fact, the most common Arabic word for “human being” is insaan,which shares its roots with the word insaa, “to forget.” While our ability to remember is essential to how we learnabout ourselves, our capacity to “forgive and forget” may also be one of our great gifts as human beings.The fifth movement follows my ode to Joseph with a structural memory of Mūsa (Moses). The movement consistsentirely of descending motifs which I constructed as an indication of Moses’ descending movement as he emergedto his people from the heights of Mt. Sinai. The music is constructed in five phrases which function as a formalreference to the five books of Moses, the Pentateuch. The movement is placed as the fifth of the quartet for the samereason.While Joseph is always evoked as supremely beautiful in the Books of Judaism, Christianity, and Islam, Suleiman(Solomon) is described as surpassing in his quicksilver intelligence. This movement is composed of a seven-partriddle which passes by in an instant but can be caught by the attentive listener. From Solomon, we work our wayback to Yishak (Isaac) in a seventh movement that evokes Isaac’s literal meaning in Arabic and Hebrew: laughter.The eighth and final movement of this quartet is named for the Patriarch of the entire Book: Ibrahim (Abraham). Itrelates to Isaac just as Joseph relates to Jacob; they are father and son. The lines are prayerful and contemplative;the form of the music evolves from a fugue joining together many different forms of prayer into a single tapestry ofcounterpoint, to the cyclical form of this entire quartet which is rendered through the motion of pilgrims circling theKaaba (cube) in Mecca — a structure which was built by Abraham for Hagaar and their son Ismail.These are just some of the figures that are cherished by all three of the Middle Eastern monotheisms (Judaism,Christianity, and Islam) that the Qur’an refers to collectively as Ahl Al-Kitab. This Arabic phrase is most commonlytranslated as “The People of the Book,” but here the most common translation is a flawed one: the Arabic word“ahl” means “family” and not just “people.” A better translation would be “Family of the Book.” Each of the eightmovements of Prophesies grows from a single musical cell.This quartet is a family album.—Mohammed Fairouz (2018. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Be Thou My Vision - Instrumental Parts
|violin|piccolo|string quartet|cello|viola| - Easy
GIA Publications
By Rory Cooney. For String Quartet (2 Violins, Viola, Cello), Piccolo. Instrumen...(+)
By Rory Cooney. For String Quartet (2 Violins, Viola, Cello), Piccolo. Instrumental Part. Chamber Music Sacred. Level: Easy. 10 pages. Published by GIA Publications.
$15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| String Quartet No. 3
String Quartet: 2 violins, viola, cello
Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720). UPC: 680160573042. 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. $53.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| String Quartet No. 3
String Quartet: 2 violins, viola, cello [Score]
Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (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. $38.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| Be Thou My Vision
David E. Smith Publications
By Richard J. Barber. Quartet for String Ensemble. Level: 2. Published by David ...(+)
By Richard J. Barber. Quartet for String Ensemble. Level: 2. Published by David E. Smith Publications.
$9.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| Be Thou My Vision - Easy
GIA Publications
By Traditional. Arranged by Rory Cooney. For Voices: Unison or 2 (mixed) voices....(+)
By Traditional. Arranged by Rory Cooney. For Voices: Unison or 2 (mixed) voices. Instruments: Piccolo, string quartet (violin, viola, cello, bass) (instruments optional). Keyboard accompaniment. Celebration Series Sacred. Level: easy. 8 pages. Published by GIA Publications.
$2.40 $2.28 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| With Grateful Praise
String Quartet: 2 violins, viola, cello [CD]
SoundForth
| | | |
| Quartets for Worship
String Quartet: 2 violins, viola, cello [Score] - Intermediate
Latham Music Enterprises
String Quartet String Orchestra - Grade 3.5 SKU: AP.36-52703440 Composed ...(+)
String Quartet String Orchestra - Grade 3.5 SKU: AP.36-52703440 Composed by Catherine McMichael. Performance Music Ensemble; Quartet; String Quartet. Ludwig Masters. Sacred. Score. Latham Music Enterprises #36-52703440. Published by Latham Music Enterprises (AP.36-52703440). ISBN 9781628760149. UPC: 746241228376. English. This versatile set of quartets includes: A Mighty Fortress Is Our God; Nearer, Still Nearer; Be Thou My Vision; What A Friend We Have In Jesus and O Store Gud (Swedish Folk Hymn). Medium Level. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $24.99 - See more - Buy online | | | |
| The Ultimate Wedding Music Kit
Piano, Vocal and Guitar [Sheet music + CD]
Shawnee Press
Music, Planning Tips and more for the perfect wedding. For Keyboard Reductions a...(+)
Music, Planning Tips and more for the perfect wedding. For Keyboard Reductions and Piano/Vocal/Guitar. Preludes, Processionals, Recessionals and more. Wedding. Songbook and 2 Listening/Accompaniment CDs. 128 pages. Published by Shawnee Press.
$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| 20 Traditional Wedding Solos for Violin or Flute or Oboe and Piano
Violin and Piano [Reduction] - Intermediate/advanced
Last Resort Music Publishing
Arranged by Daniel Kelley. For Violin/Flute/Oboe and Piano. Solos. Recital, Wedd...(+)
Arranged by Daniel Kelley. For Violin/Flute/Oboe and Piano. Solos. Recital, Wedding. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.
$24.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| 20 Traditional Wedding Solos for Viola and Piano
Viola, Piano [Reduction] - Intermediate/advanced
Last Resort Music Publishing
Edited by Dmitri Bovaird. Arranged by Daniel Kelley. For Viola and Piano. Solos....(+)
Edited by Dmitri Bovaird. Arranged by Daniel Kelley. For Viola and Piano. Solos. Recital, Wedding. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.
(1)$24.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Adaptable Quartets
Cello - Beginner
Excelcia Music Publishing
Cello - Grade 1.5 to 3 SKU: XC.SB2010 21 Quartets for Any Combination ...(+)
Cello - Grade 1.5 to 3 SKU: XC.SB2010 21 Quartets for Any Combination of String instruments. Composed by Various. Edited by Diana Traietta, Matthew R. Putnam, and Tyler Arcari. Arranged by Matthew R. Putnam and Tyler Arcari. Concert and Holiday. Adaptable Ensemble Series. Concert and Contest. Concert and contest. Ensemble, Collection, Book. Excelcia Music Publishing #SB2010. Published by Excelcia Music Publishing (XC.SB2010). ISBN 9781644020555. UPC: 812598035537. 9 x 12 inches. Adaptable Quartets contains 21 newly-composed or arranged quartets that can be flexibly used with any combination of string instruments, making them an invaluable resource in the modern orchestra room! Written at an accessible 1.5-3 grade level, Adaptable Quartets follow the popular Adaptable Duets and Trios books by the same composers. Tyler Arcari and Matthew R. Putnam bring with them a wealth of educational experience as music educators to craft quartets that are fun to play and musically stimulating. Adaptable Quartets are sure to become an instant favorite. String editing by Diana Traietta.
CONTENTS
Abide with Me (Monk)
Agincourt Carol (English Folk Song)
The Barber of Seville (Rossini)
Be Thou My Vision (Trad. Irish)
Capstone (Arcari)
Chorale - Jupiter (Holst)
Country Gardens (Trad. Morris Dance)
Curse of Tortuga (Arcari)
Dawn of the Century - March (Paull)
Fortune Favors the Bold (Putnam)
Gesu Bambino (Yon)
Go Tell It on the Mountain (Spiritual)
Greensleeves (Trad. English Folk Song)
Home on the Range (Kelly)
In the Hall of the Mountain King (Grieg)
Les Toreadors - Carmen (Bizet)
Scimitar! (Matthew R. Putnam)
Sea Shanty (19th Century Sea Shanty)
Song Without Words - Second Suite in F (Holst)
The Emperor Waltz (Strauss II)
When Johnny Comes Marching Home (American Folk Song). $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Adaptable Quartets - Beginner
Excelcia Music Publishing
Bass - Grade 1.5 to 3 SKU: XC.SB2011 21 Quartets for Any Combination o...(+)
Bass - Grade 1.5 to 3 SKU: XC.SB2011 21 Quartets for Any Combination of String instruments. Composed by Various. Edited by Diana Traietta, Matthew R. Putnam, and Tyler Arcari. Arranged by Matthew R. Putnam and Tyler Arcari. Concert and Holiday. Adaptable Ensemble Series. Concert and Contest. Concert and contest. Ensemble, Collection, Book. Excelcia Music Publishing #SB2011. Published by Excelcia Music Publishing (XC.SB2011). ISBN 9781644020791. UPC: 812598035544. 9 x 12 inches. Adaptable Quartets contains 21 newly-composed or arranged quartets that can be flexibly used with any combination of string instruments, making them an invaluable resource in the modern orchestra room! Written at an accessible 1.5-3 grade level, Adaptable Quartets follow the popular Adaptable Duets and Trios books by the same composers. Tyler Arcari and Matthew R. Putnam bring with them a wealth of educational experience as music educators to craft quartets that are fun to play and musically stimulating. Adaptable Quartets are sure to become an instant favorite. String editing by Diana Traietta.
CONTENTS
Abide with Me (Monk)
Agincourt Carol (English Folk Song)
The Barber of Seville (Rossini)
Be Thou My Vision (Trad. Irish)
Capstone (Arcari)
Chorale - Jupiter (Holst)
Country Gardens (Trad. Morris Dance)
Curse of Tortuga (Arcari)
Dawn of the Century - March (Paull)
Fortune Favors the Bold (Putnam)
Gesu Bambino (Yon)
Go Tell It on the Mountain (Spiritual)
Greensleeves (Trad. English Folk Song)
Home on the Range (Kelly)
In the Hall of the Mountain King (Grieg)
Les Toreadors - Carmen (Bizet)
Scimitar! (Matthew R. Putnam)
Sea Shanty (19th Century Sea Shanty)
Song Without Words - Second Suite in F (Holst)
The Emperor Waltz (Strauss II)
When Johnny Comes Marching Home (American Folk Song). $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Adaptable Quartets
Viola - Beginner
Excelcia Music Publishing
Viola - Grade 1.5 to 3 SKU: XC.SB2009 21 Quartets for Any Combination ...(+)
Viola - Grade 1.5 to 3 SKU: XC.SB2009 21 Quartets for Any Combination of String instruments. Composed by Various. Edited by Diana Traietta, Matthew R. Putnam, and Tyler Arcari. Arranged by Matthew R. Putnam and Tyler Arcari. Concert and Holiday. Adaptable Ensemble Series. Concert and Contest. Concert and contest. Ensemble, Collection, Book. Excelcia Music Publishing #SB2009. Published by Excelcia Music Publishing (XC.SB2009). ISBN 9781644020548. UPC: 812598035520. 9 x 12 inches. Adaptable Quartets contains 21 newly-composed or arranged quartets that can be flexibly used with any combination of string instruments, making them an invaluable resource in the modern orchestra room! Written at an accessible 1.5-3 grade level, Adaptable Quartets follow the popular Adaptable Duets and Trios books by the same composers. Tyler Arcari and Matthew R. Putnam bring with them a wealth of educational experience as music educators to craft quartets that are fun to play and musically stimulating. Adaptable Quartets are sure to become an instant favorite. String editing by Diana Traietta.
CONTENTS
Abide with Me (Monk)
Agincourt Carol (English Folk Song)
The Barber of Seville (Rossini)
Be Thou My Vision (Trad. Irish)
Capstone (Arcari)
Chorale - Jupiter (Holst)
Country Gardens (Trad. Morris Dance)
Curse of Tortuga (Arcari)
Dawn of the Century - March (Paull)
Fortune Favors the Bold (Putnam)
Gesu Bambino (Yon)
Go Tell It on the Mountain (Spiritual)
Greensleeves (Trad. English Folk Song)
Home on the Range (Kelly)
In the Hall of the Mountain King (Grieg)
Les Toreadors - Carmen (Bizet)
Scimitar! (Matthew R. Putnam)
Sea Shanty (19th Century Sea Shanty)
Song Without Words - Second Suite in F (Holst)
The Emperor Waltz (Strauss II)
When Johnny Comes Marching Home (American Folk Song). $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Adaptable Quartets
Violin - Beginner
Excelcia Music Publishing
Violin - Grade 1.5 to 3 SKU: XC.SB2008 21 Quartets for Any Combination...(+)
Violin - Grade 1.5 to 3 SKU: XC.SB2008 21 Quartets for Any Combination of String instruments. Composed by Various. Edited by Diana Traietta, Matthew R. Putnam, and Tyler Arcari. Arranged by Matthew R. Putnam and Tyler Arcari. Concert and Holiday. Adaptable Ensemble Series. Concert and Contest. Concert and contest. Ensemble, Collection, Book. Excelcia Music Publishing #SB2008. Published by Excelcia Music Publishing (XC.SB2008). ISBN 9781644020531. UPC: 812598035513. 9 x 12 inches. Adaptable Quartets contains 21 newly-composed or arranged quartets that can be flexibly used with any combination of string instruments, making them an invaluable resource in the modern orchestra room! Written at an accessible 1.5-3 grade level, Adaptable Quartets follow the popular Adaptable Duets and Trios books by the same composers. Tyler Arcari and Matthew R. Putnam bring with them a wealth of educational experience as music educators to craft quartets that are fun to play and musically stimulating. Adaptable Quartets are sure to become an instant favorite. String editing by Diana Traietta.
CONTENTS
Abide with Me (Monk)
Agincourt Carol (English Folk Song)
The Barber of Seville (Rossini)
Be Thou My Vision (Trad. Irish)
Capstone (Arcari)
Chorale - Jupiter (Holst)
Country Gardens (Trad. Morris Dance)
Curse of Tortuga (Arcari)
Dawn of the Century - March (Paull)
Fortune Favors the Bold (Putnam)
Gesu Bambino (Yon)
Go Tell It on the Mountain (Spiritual)
Greensleeves (Trad. English Folk Song)
Home on the Range (Kelly)
In the Hall of the Mountain King (Grieg)
Les Toreadors - Carmen (Bizet)
Scimitar! (Matthew R. Putnam)
Sea Shanty (19th Century Sea Shanty)
Song Without Words - Second Suite in F (Holst)
The Emperor Waltz (Strauss II)
When Johnny Comes Marching Home (American Folk Song). $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Moon & Birds. Four Songs Voice & Pf
Stainer and Bell
Medium Voice & Piano SKU: ST.Y291 Composed by Rhian Samuel. Vocal music. ...(+)
Medium Voice & Piano SKU: ST.Y291 Composed by Rhian Samuel. Vocal music. Four songs for medium voice and piano to poems by Anne Stevenson and Emily Dickinson.. Vocal score. Stainer & Bell Ltd. #Y291. Published by Stainer & Bell Ltd. (ST.Y291). ISBN 9790220223372. CONTENTS
1. Blackbird (Anne Stevenson) (b - g)
2. The moon is distant (Emily Dickinson) (b - g sharp)
3. Bird in hand (Anne Stevenson) (e flat - g flat)
4. On not being able to look at the moon (Anne Stevenson) (b - g)
For medium voice and piano or ensemble of flute, harp and string quartet, Moon and Birds is a substantial cycle of songs to words by Anne Stevenson and Emily Dickinson. Its sequence of four settings, 'Blackbird', 'The moon is distant' (Dickinson), 'Bird in hand' and 'On not being able to look at the moon' unfolds a symmetrical structure of contrasting yet interlocking moods in which the reflective second and fourth numbers, lunar visions of mystic tranquillity flawed by doubt and pain, temper with human frailty the bright epiphanies of the first and third songs.
There is a fascinating challenge here for the performer to embrace both elation and gravitas in a single reading, Samuel's vigorous musical invention binding the developing web of feeling with its own formal strengths and subtly illustrative moments. In the version for string quartet, flute and harp, first performed by Contemporary Connections on 4 November 2011 at St James's Church Piccadilly, the flute takes a prominent role throughout. Violins, viola and cello at times elaborate on the simpler textures of the keyboard version, though the two scores remain entirely compatible. The bluesy harmonies of the concluding number, whether weighted by sonorous string quartet or profiled in edgier piano chords, bring the cycle to a sombre conclusion with a proper sense of an emotional world traversed. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | | |
| Komarova Unpaint Pict;str.qu.
String Quartet: 2 violins, viola, cello [Score and Parts]
Schott
String quartet (P/ST) - difficult SKU: HL.49033214 Composed by Tatjana Ko...(+)
String quartet (P/ST) - difficult SKU: HL.49033214 Composed by Tatjana Komarova. This edition: Saddle stitching. Sheet music. Edition Schott. Score and Parts. Composed 2002. 62 pages. Duration 20'. Schott Music #ED 9635. Published by Schott Music (HL.49033214). ISBN 9790001135283. When some time ago I looked at works by the painter Egon Schiele whom I admire very much, I thought which paintings would have been painted by this artist, had he not died much too early. I envisioned the works he had never painted. Isn't it impressive with what modest means he achieves maximum emotional effect? It was this thought, too, that accompanied me during my work on this piece - though painting techniques cannot be directly reflected in the music, of course. Tatjana Komarova. $46.00 - See more - Buy online | | | |
| The Fruit of Silence
Schott
Choral; Organ Accompaniment (Choral Score) SKU: HL.49046475 Mixed Choi...(+)
Choral; Organ Accompaniment (Choral Score) SKU: HL.49046475 Mixed Choir and Organ Choral Score. Composed by Peteris Vasks. Choral. Classical. Octavo. 12 pages. Duration 360 seconds. Schott Music #C59592. Published by Schott Music (HL.49046475). ISBN 9781705102701. UPC: 842819108702. 7.5x10.75x0.05 inches. Mother Teresa liked to surprise people she met by giving them a small card printed with five concise sentences instead of a calling card. The brief text on the card beginning with the line “The fruit of silence is prayer†was a summary of her vision of devout, peace-promoting philanthropy in poetical form. In 2013, I created a musical setting of Mother Teresa's “Prayer of Peace†which was commissioned by the Schleswig-Holstein Music Festival for mixed choir a cappella (C 55851) in the form of a densely woven elegiac sound stream. Slightly later, I extended the work to produce a version with piano (C 56345) which in turn became the basis for a setting scored for mixed choir with string orchestra which was first performed in Riga in October 2014. In 2015, the versions for piano quintet (ED 22450) and string quartet (ED 22723) also permitted my musical setting of Mother Teresa's words to be performed without choir in two traditional genres of chamber music. The current published version for mixed choir and organ extends the work series through a further conventional scoring. $7.50 - See more - Buy online | | |
|
