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.
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.
SKU: GI.G-10168 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10168
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott and Scott
Rush. Habits. Music
Education. 56 pages. GIA
Publications #10168.
Published by GIA
Publications
(GI.G-10168).
ISBN
9781622774777.
NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
andââ¬âmost
importantââ¬â
musical collection of 225
sequenced exercises for
the beginning band
student. The
bookââ¬â¢s
cutting-edge online
component,
HabitsÃÂ Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:ÃÂ Teacher
tips for each exercise in
the book.ÃÂ
Diatonic solfege that
begins on the first day
of instruction.ÃÂ
Initial exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing.ÃÂ
Technique and
skill-building exercises
embedded within the
method, which helps to
prepare students for
future Habits
exercises.ÃÂ The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book.ÃÂ Left
(L) and right (R)
indicators for woodwinds
along with appropriate
chromatic alternate
fingering
indicators.ÃÂ
Shaded boxes around
first-time challenges in
the student
books.ÃÂ A thorough
explanation of (T:1) for
trombones and rules for
when to use it.ÃÂ
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths.ÃÂ The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself.ÃÂ The use
of the
ââ¬Åenharmonic
ladderââ¬Â and
the
ââ¬Åcall-and-re
sponse gameââ¬Â
to learn enharmonic
notes. A thorough
explanation of and
markings for the
ââ¬ÅF
dilemmaââ¬Â on
oboe. An explanation of
appropriate flicking on
bassoon.ÃÂ Two
pages of slow
ââ¬Åclarinets
onlyââ¬Â work
that focuses on going
over the break and throat
tones.ÃÂ .
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
By Various. E-Z Play Today (Easy big-note right-hand-only arrangements for piano...(+)
By Various. E-Z Play
Today (Easy big-note
right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Softcover.
Published by Hal Leonard.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
E-Flat Instruments Alto
Clarinet; Alto Saxophone;
Baritone Sax; E-flat
Instruments
Transcribed Exactly from
Artist Recorded Solos.
Composed by Various. Jazz
Transcriptions. Jazz.
Softcover. 280 pages.
Published by Hal Leonard
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown /
Neal Peres Da Costa. For
viola and piano. This
edition: urtext edition.
Paperback. Level 3. Score
with parts. Opus 120.
Published by Baerenreiter
Verlag
(Alto Saxophone). For Alto Saxophone. Instrumental Series; Masterworks. Discover...(+)
(Alto Saxophone). For
Alto Saxophone.
Instrumental Series;
Masterworks. Discover the
Lead. Masterwork. Book
and CD. Published by
Alfred Music Sheet
music CD Masterwork
Arranged by Artem Vassiliev. For Alto Saxophone. This edition: ED13165. Schott M...(+)
Arranged by Artem
Vassiliev. For Alto
Saxophone. This edition:
ED13165. Schott Master
Play-Along Series. 12
favourite works from the
Classical era, with
authentic orchestral
backing tracks. Play
Along. Collection and
Play-Along CD. 28 pages.
Published by Schott
Music.
Improvisation - Style - Special effects. Composed by John O'Neill. This edition:...(+)
Improvisation - Style -
Special effects. Composed
by John O'Neill. This
edition: Paperback/Soft
Cover. Sheet music with
CD. Edition Schott.
Following on from the
best-selling Jazz Method
for Saxophone, Developing
Jazz Technique for
Saxophone will help
intermediate players take
their jazz skills to a
new level. The 22 pieces
are written in a variety
of jazz styles, including
reggae, jazz waltz.
Instruction, Jazz,
Contemporary, Classical.
Edition/Softcover with
CD. 12640. 88 pages.
Schott Music #ED12640.
Published by Schott Music
Saxophone SKU: BT.MUSME0294 For Alto Saxophone. Play Music. Classi...(+)
Saxophone
SKU:
BT.MUSME0294
For
Alto Saxophone. Play
Music. Classical. Book
with CD. Composed 2016.
Play Music Publishing
#MUSME0294. Published by
Play Music Publishing
(BT.MUSME0294).
English.
With
its extensive and diverse
repertoire, this tutorial
allows you as a
saxophonist to access the
best of what classical
music has to offer. If
you choose to work with
this tutorial, you will
not only broaden your
musical horizon and
improve your playing
technique, but indeed
enjoy performing all
kinds of masterpieces on
your own Saxophone. All
the great composers are
featured – with one
or even several of their
works, with concerts,
symphonies and sonatas,
with lieder, arias and
overtures, with
Renaissance dances,
orchestral pieces,
waltzes and ballets, but
also with instrumentals
such as preludes,
nocturnes, etudes,
marches, gymnopedies and
much more. And in order
not tolose your
enthusiasm while
practicing, each score is
accompanied by 2
audio-recordings, which
you will find on the mp3
CD attached to the
tutorial. In the first
recording, the
Saxophone-part is played
along to the
corres-ponding
accompaniment. In the
second, only the backing
track (the accompaniment)
can be heard, which gives
you the possibility of
taking up the score
yourself. In total, you
are invited to enjoy 174
recordings, which add up
to more than 6 hours of
musical practice(!).
Celtic Voyage Orchestre d'harmonie [Conducteur et Parties séparées] Beriato Music
Spirit of Jubilation. Composed by Sven Van Calster. Beriato Concert Works. Se...(+)
Spirit of Jubilation.
Composed by Sven Van
Calster. Beriato Concert
Works. Set (Score and
Parts).
Composed 2014. Beriato
Music
#BMP14011606. Published
by
Beriato Music
SKU: CA.5020900 Composed by Josef Gabriel Rheinberger. Edited by Barbara ...(+)
SKU: CA.5020900
Composed by Josef Gabriel
Rheinberger. Edited by
Barbara Mohn. This
edition: Complete
edition, linen cover.
Josef Gabriel Rheinberger
- Complete Works. German
title: Christoforus+Des
Jairus Tochterlein.
Sacred vocal music,
Cantatas, Oratorios. Full
score (complete edition /
selected edition).
Composed 1890. 392 pages.
Carus Verlag #CV
50.209/00. Published by
Carus Verlag
(CA.5020900).
ISBN
9790007090418.
In
1900 Rheinberger could
write of some 150
performances of his
Christoforus in Germany
and elsewhere - a success
story which,
unfortunately, ended
during the 20th century.
With this first new
edition the oratorio can
once again find its way
back into the repertoire.
Rheinberger clothes the
well-known legend of the
bearer of the Christ
Child, to a libretto by
his wife Fanny, in a
vivid garment of dramatic
dialogue, balladesque
narration and gripping
descriptions of nature.
The short cantata about
the raising to life of
the Tochterlein des
Jairus was written for
children's voices and
piano. In the appendix to
this volume an orchestral
accompaniment by the
composer has been
published for the first
time.
Piano SKU: BT.MUSM570208593 Composed by Jeremy Dale Roberts. Classical. B...(+)
Piano
SKU:
BT.MUSM570208593
Composed by Jeremy Dale
Roberts. Classical. Book
Only. 54 pages.
University of York Music
Press #MUSM570208593.
Published by University
of York Music Press
(BT.MUSM570208593).
English.
Tombeau
which takes its title
from the central elegy of
the work was composed
1966-69. Its form is a
series of fairly specific
technical studies
interspersed with
variations. The
introduction provides a
sort of
‘trailer’,
in which each phrase of
the theme is punctuated
by a brief quote from the
ensuing studies (heard in
reverse order). This
scheme is balanced by
that of the finale, which
is also punctuated by
short
‘flashbacks’
. Tombeau was written as
a tribute to certain
composers for the piano,
notably Schumann and
Szymanovsky, and to a
style of playing that has
now become almost
‘historic’.
It is also a tribute to
our beloved masters, many
of them obscure, who made
usmusicians. It is
therefore, in many
senses, a retrospective
work, the last of a
phase, undertaken just
before a fairly drastic
re-evaluation of
techniques, ideas, and
intentions. It is
dedicated to Stephen
Kovacevich, who
commissioned it and gave
its first performance on
the BBC Third Programme
and subsequently at
Dartington Hall Summer
School.
(Study Score). Composed by Antonin Dvorak (1841-1904). Edited by Peter Jost. For...(+)
(Study Score). Composed
by Antonin Dvorak
(1841-1904). Edited by
Peter Jost. For String
Quartet (Study Score).
Henle Study Scores.
Softcover. G. Henle
#HN7232. Published by G.
Henle