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.
Composed by Ralph Vaughan
Williams. Arranged by
Martin Gerigk. String
Quartets. Score for
string quartet
arrangement. 16 pages.
Duration 15'. Oxford
University Press
#9780193519602. Published
by Oxford University
Press (OU.9780193519602).
ISBN 9780193519602. 12
x 8 inches.
Vaughan
Williams's romance for
solo violin and orchestra
is given new life in this
beautiful arrangement.
Perfect as a rehearsal
tool in preparation for a
larger-scale orchestral
concert, the arrangement
is also ideal for
performance in a chamber
recital.
Wedding Music Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire/avancé Southern Music Ltd
(String Solos and Ensemble/String Quartet). Arranged by Aufderhaar, Cleo. For St...(+)
(String Solos and
Ensemble/String Quartet).
Arranged by Aufderhaar,
Cleo. For String Quartet.
String Solos and
Ensembles - String
Quartet. Southern Music.
Grade 4. 12 pages.
Southern Music Company
#B458VN2. Published by
Southern Music Company
Arranged
by Lucian Moraru. Sheet
music. Score and parts.
SonArt Edition #SAE
11-01. Published by
SonArt Edition
(M7.SAE-11-01).
ISBN
9790707651636.
This
is an overflowing
arrangement for string
quartet. The piece
preserves the beauty of
the original work, an
icon of Romanian
traditional music, but at
the same time differs in
essence, due to the new
musical themes that were
introduced in the sound
material of this work. A
sample of the Romanian
traditional music which
exploit all four
instruments on equal
terms through which they
can show their
virtuosity. A pleasure
for the members of the
string quartets who like
to show their technical
skills, with which,
surely, they will delight
the audience. This score
is a smart choice for the
string quartets that want
to achieve the acclaim
from the audience. It is
a perfect encore to be
performed after a
successful concert.
Chamber Music String Quartet SKU: PR.14440455S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440455S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation. 53
pages. Duration 22
minutes. Theodore Presser
Company #144-40455S.
Published by Theodore
Presser Company
(PR.14440455S).
UPC:
680160030873.
After
finishing a serious
woodwind quintet in the
fall of 2001 [Tela
Lacerata], I found, in
the ensuing months, that
its cinders/ashes were
still impregnating my
eardrums. Therefore, when
I set out to write the
present string piece, I
realized that the musical
veins of the quartet,
like related cousins,
were sharing the same
blood as the earlier wind
composition. The
resultant Fifth Quartet
evolved into two large,
extended movements, each
one containing seven
parts that are played
without pause. As the
list of the various
sub-sections clearly
indicates, the formal
structure of the
movements appear to be
identical: each with
three main parts
enveloped by interludes,
plus an introduction and
coda. However, the
principal segments of the
first (slow) movement
gradually decrease in
length, while those of
the second (fast)
movement increase. In
addition, there is a
goodly amount of sonic
material stolen from the
first movement which
reappears -- stitched
together in a new guise
-- into the world of the
second. for example, the
bulk of Parts B and C of
Movement II are lifted
bodily, although
elaborately modified,
from their first
appearances in the
Introduction and Part A
of the fist movement.
This offers, I suppose at
least a hint of a
traditional
recapitulation. As was
true in the earlier
woodwind piece -- both
harmonically and
melodically -- the
embryonic growth of the
musical fabric (primarily
the tritone and perfect
fifth) is omnipresent,
almost obsessively,
throughout the course of
the whole work. These two
intervals, not unlike
plasticine, habitually
transform themselves into
the scales, chords, and
melodic lines that
pervade the texture of
the quartet. Owing to the
largely unrelieved
dramatic flow, the
shifting speed, and the
often fervent intensity,
the quartet places
considerable demands on
the dexterity,
virtuosity, and stamina
of the four performers.
String Quartet No. 5 is
approximately 22 minutes
in duration and
affectionately dedicated
to my violinist wife
Elizabeth, as a gift for
our 47 years together. It
was commissioned by the
Corigliano String
Quartet, New York, NY. --
Sydney Hodkinson.
Borsa Quatuor à cordes: 2 violons, alto, violoncelle SonArt Edition
String quartet SKU: M7.SAE-8-04 Suite from Maramures. Composed by ...(+)
String quartet
SKU:
M7.SAE-8-04
Suite
from Maramures.
Composed by Lucian
Moraru. Sheet music.
Score and parts. SonArt
Edition #SAE 8-04.
Published by SonArt
Edition (M7.SAE-8-04).
ISBN
9790707651629.
This
is a unique masterpiece
for string quartet, which
preserves the flavor of
original music from
Transylvania, carefully
designed to suit the
technical needs of the
string quartet
instruments. A sample of
traditional Romanian
music through which
instrumentalists can show
their virtuosity. This
score is a smart choice
for string quartets that
want to be successful
with the public. A short
piece of 6 minutes, in a
single movement, full of
life in traditional
rhythm from Transylvania,
which is both pleasant to
perform and to listen to.
It is a perfect encore to
be played after a
successful concert.
String
Quartet - Score.
Composed by Julia
Hodkinson. Music Sales
America. Classical,
Contemporary. Score.
Composed 2014. 20 pages.
Edition Wilhelm Hansen
#WH32129. Published by
Edition Wilhelm Hansen
(HL.14043251).
ISBN
9788759831380.
English.
Juliana
Hodkinson 's Is There
Something You Can Tell Us
for String Quartet. This
ten minute piece was
written for the Anima
Quartet and was
comissioned by SWR
(South-West German Radio)
for first performance at
Theaterhaus Stuttgart on
7th June 2014 during the
festival 'Lost & Found -
Stimme. Text. Szene.'.The
quartet's title and the
titles of the individual
movements are taken from
Cynthia Troup's libretto
'Turbulence'. I Degrees
of freedom II Hidden by
an almost perfect balance
III We are taught that it
is out of reach IV For
the real earth we do not
know yet.
Hora staccato Quatuor à cordes: 2 violons, alto, violoncelle SonArt Edition
String quartet SKU: M7.SAE-20-01 Composed by Gregorias Dinicu. Arranged b...(+)
String quartet
SKU:
M7.SAE-20-01
Composed
by Gregorias Dinicu.
Arranged by Lucian
Moraru. Sheet music.
Score and parts. SonArt
Edition #SAE 20-01.
Published by SonArt
Edition (M7.SAE-20-01).
ISBN
9790707651643.
This
is an overflowing
arrangement for string
quartet. The piece
preserves the beauty of
the original work, an
icon of Romanian
traditional music, but at
the same time differs in
essence, due to the new
musical themes that were
introduced in the sound
material of this work. A
sample of the Romanian
traditional music which
exploit all four
instruments on equal
terms through which they
can show their
virtuosity. A pleasure
for the members of the
string quartets who like
to show their technical
skills, with which,
surely, they will delight
the audience. This score
is a smart choice for the
string quartets that want
to achieve the acclaim
from the audience. It is
a perfect encore to be
performed after a
successful concert.
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.
Arranged by Tyler Arcari. Solo and Ensemble. Excelcia Ensemble Series. Traditi...(+)
Arranged by Tyler Arcari.
Solo and Ensemble.
Excelcia
Ensemble Series.
Traditional
Sea Shanty. Excelcia
Music
Publishing #SGS42101.
Published by Excelcia
Music
Publishing
Chamber Music String Quartet SKU: PR.144404550 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144404550
Composed
by Sydney F. Hodkinson.
Set of Score and Parts.
With Standard notation.
Composed 2002.
53+20+16+16+16 pages.
Duration 22 minutes.
Theodore Presser Company
#144-40455. Published by
Theodore Presser Company
(PR.144404550).
UPC:
680160030859.
After
finishing a serious
woodwind quintet in the
fall of 2001 [Tela
Lacerata], I found, in
the ensuing months, that
its cinders/ashes were
still impregnating my
eardrums. Therefore, when
I set out to write the
present string piece, I
realized that the musical
veins of the quartet,
like related cousins,
were sharing the same
blood as the earlier wind
composition. The
resultant Fifth Quartet
evolved into two large,
extended movements, each
one containing seven
parts that are played
without pause. As the
list of the various
sub-sections clearly
indicates, the formal
structure of the
movements appear to be
identical: each with
three main parts
enveloped by interludes,
plus an introduction and
coda. However, the
principal segments of the
first (slow) movement
gradually decrease in
length, while those of
the second (fast)
movement increase. In
addition, there is a
goodly amount of sonic
material stolen from the
first movement which
reappears -- stitched
together in a new guise
-- into the world of the
second. for example, the
bulk of Parts B and C of
Movement II are lifted
bodily, although
elaborately modified,
from their first
appearances in the
Introduction and Part A
of the fist movement.
This offers, I suppose at
least a hint of a
traditional
recapitulation. As was
true in the earlier
woodwind piece -- both
harmonically and
melodically -- the
embryonic growth of the
musical fabric (primarily
the tritone and perfect
fifth) is omnipresent,
almost obsessively,
throughout the course of
the whole work. These two
intervals, not unlike
plasticine, habitually
transform themselves into
the scales, chords, and
melodic lines that
pervade the texture of
the quartet. Owing to the
largely unrelieved
dramatic flow, the
shifting speed, and the
often fervent intensity,
the quartet places
considerable demands on
the dexterity,
virtuosity, and stamina
of the four performers.
String Quartet No. 5 is
approximately 22 minutes
in duration and
affectionately dedicated
to my violinist wife
Elizabeth, as a gift for
our 47 years together. It
was commissioned by the
Corigliano String
Quartet, New York, NY. --
Sydney Hodkinson.
Music Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1135458-070 Composed by John Mi...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1135458-070
Composed by John Miles.
Arranged by Gunter Van
Rompaey. De Haske Pops
for String Quartet. Set
(Score & Parts). Composed
2013. 16 pages. De Haske
Publications #DHP
1135458-070. Published by
De Haske Publications
(BT.DHP-1135458-070).
9x12 inches.
Jon
Miles`rock classic
Music, which
originally was played by
numerous strings, is a
perfect candidate for a
string quartet
arrangement. Gunter van
Rompaey has produced a
skillful arrangement of
this smash hit.
Dieser
Rockklassiker von John
Miles, auch im Original
mit Streichern besetzt,
ist die perfekte Nummer
für ein
Streichquartett. Gunter
van Rompaey hat mit
seiner Bearbeitung eine
mitreißende Version
dieses weltberühmten
Welthits geschaffen, das
Akteuren wie Zuhörern
gleichermaßen gefallen
wird.
Composed by Johann
Sebastian Bach and ed.
Arranged by Michael
McLean. Performance Music
Ensemble. Latham Music.
Score. LudwigMasters
Publications
#36-52703038. Published
by LudwigMasters
Publications
(AP.36-52703038).
ISBN
9781682962220. UPC:
654690580573.
English.
Bach's
organ works seem to work
perfectly for string
quartet, with everyone
getting in on the
thematic material. These
two works are among his
best-known and are a nice
addition to the concert
and contest repertoire.
Contents: Little Fugue in
G minor, BWV 578;
Passacaglia and Fugue in
C minor, BWV 582.
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.
Composed by Johann
Sebastian Bach and ed.
Arranged by Michael
McLean. Performance Music
Ensemble. Latham Music.
Score. LudwigMasters
Publications
#36-52703034. Published
by LudwigMasters
Publications
(AP.36-52703034).
ISBN
9781682962206. UPC:
654690579935.
English.
Bach's
organ works seem to work
perfectly for string
quartet, with everyone
getting in on the
thematic material. These
three works are some of
his best-known and are a
nice addition to the
concert and contest
repertoire. Contents:
Prelude and Fugue in C
minor, BWV 537; Great
Fugue in G minor, BWV
542; Fugue in D major,
BWV 532.
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.
String Quartet SKU: BT.EMBZ14219 Composed by Attila Bozay. EMB Contempora...(+)
String Quartet
SKU:
BT.EMBZ14219
Composed
by Attila Bozay. EMB
Contemporary Music. Book
Only. Composed 2000. 61
pages. Editio Musica
Budapest #EMBZ14219.
Published by Editio
Musica Budapest
(BT.EMBZ14219).
Italian.
'Bozay'
s new quartet is an
imposingly splendid work.
Its slow second movement
reaches almost
Bartókian depths. The
final rondeau is of
elemental force. Each
movement is characterized
by lucid structure. The
aleatoric sections fit
perfectly the ones fixed
precisely by notation.
The tone is controlled
and lucid to an utmost
degree throughout. The
thematic materials are
characteristic, their
combination is logical,
but not commonplace it is
a work written with
amazing skill of the
craft.' (Porrectus,
Muzsika, March 1999). The
fourmovement work
composed in 1996-1997 was
first performed with
great success by the
String Quartet Somogyi at
the 1999 Mini-Festival in
Budapest.