Jazz Ensemble Jazz Band - Grade 5 SKU: FJ.HX9023 Composed by Michael Brec...(+)
Jazz Ensemble Jazz Band -
Grade 5
SKU:
FJ.HX9023
Composed by
Michael Brecker. Arranged
by Jamie Roth. Jazz
Ensemble; Performance
Music Ensemble; Single
Titles. HXmusic. Jazz;
Jazz/Fusion; Rock. Score
and Part(s). The FJH
Music Company Inc
#98-HX9023. Published by
The FJH Music Company Inc
(FJ.HX9023).
English.
What an
absolute treat! Play
Michael Brecker's
quintessential fusion
tune Spherical, expertly
arranged especially for
Randy Brecker's big band.
Every nuance of the
original track is
captured with precise
detail and clear
notation. This chart pays
fond tribute to an
American master with
passion and a smart, hard
edge. All sax parts
include optional flute
doubles. Top trumpet
note: D6.
Jazz Ensemble Jazz Band - Grade 5 SKU: FJ.HX9023S Score Only. Comp...(+)
Jazz Ensemble Jazz Band -
Grade 5
SKU:
FJ.HX9023S
Score
Only. Composed by
Michael Brecker. Arranged
by Jamie Roth. Jazz
Ensemble; Performance
Music Ensemble; Single
Titles. HXmusic. Jazz;
Jazz/Fusion; Rock. Score.
The FJH Music Company Inc
#98-HX9023S. Published by
The FJH Music Company Inc
(FJ.HX9023S).
English.
What an
absolute treat! Play
Michael Brecker's
quintessential fusion
tune Spherical, expertly
arranged especially for
Randy Brecker's big band.
Every nuance of the
original track is
captured with precise
detail and clear
notation. This chart pays
fond tribute to an
American master with
passion and a smart, hard
edge. All sax parts
include optional flute
doubles. Top trumpet
note: D6.
Choral
Score SSAATTBB Latin.
Composed by Katarzyna
Danel. This edition:
Saddle stitching. Sheet
music. Choral. General
Worship, Latin, Sacred.
Octavo. Composed 2016. 20
pages. Duration 5' 30''.
Schott Music #C59049.
Published by Schott Music
(HL.49045601).
ISBN
9790001166256. UPC:
841886032682.
7.5x10.75x0.067 inches.
Latin. Psalm
89.
About 40
compositions, including
half for accompanying and
unaccompanied choir, are
currently in the catalog
of young Polish composer
Katarzyna Danel (born
1992). After several
national composition
competitions, she won the
13th International
Composition Competition
Musica Sacra Nova with
her Misericordias Domini
for eight-part mixed
choir a cappella. The
complex spiritual a
cappella choir is based
on the Gregorian chant of
the same name (Psalm
89,2). Three principal
structures are
characteristic of this
Latin-language choral
piece: on the one hand,
aleatoric sound clouds in
major pentatonic scales,
soundally supported by
long-held organum-like
notes taken from the
Gregorian choral melody;
As well as a
renaissance-like
polyphony, which is
linked with modern
harmony; And finally long
static chords that blend
into harmony and space. A
wonderfully
mystical-spherical
composition, which also
gives the individual
performer the possibility
of individual design
through the ad libitum
passages marked in the
sheet music.
Horn and piano SKU: BR.MN-9720 Little Suite in 3 Sets. Composed by...(+)
Horn and piano
SKU:
BR.MN-9720
Little
Suite in 3 Sets.
Composed by Boris
Mersson. Solo
instruments; Softcover.
Musikverlag Nepomuk.
Music post-1945. Score.
Composed 1994. 28 pages.
Duration 10'. Breitkopf
and Haertel #MN 9720.
Published by Breitkopf
and Haertel (BR.MN-9720).
ISBN 9790004791028. 9
x 12 inches.
The
Molnaresca was initiated
by the horn player Jozsef
Molnar to whom it is also
dedicated. The three
movements: 1. Parade -
impulsive-burlesque, 2.
Idyll - calm-spherical,
3. Cupidon -
sensual-mysterious.
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.48024888 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.48024888
Cello
and Piano. Composed
by Bertold Hummel. Boosey
& Hawkes Chamber Music.
Classical. Softcover. 20
pages. Duration 360
seconds. Simrock
#M221122575. Published by
Simrock (HL.48024888).
UPC:
840126919769.
As a
lesson and lecture piece,
Bertold Hummel's Sonatine
op. 35, created in 1969,
accompanied many young
musicians on their way.
Sold a thousand times all
over the world, it is one
of the composer's
best-known works and has
been included in the
repertoire list for the
'Jugend musiziert'
competition by the German
Music Council. Warmth and
sparkling rhythm
characterize the three
movements: inthe powerful
maestoso, the sonority of
the main theme is
contrasted with a lyrical
side theme; the
recapitulation ends with
an impulsive fugato. The
second movement Elegie
consists of a single
soulful melody about
spherical harmonies of
the piano. As the
highlight in the Finale
vivace, playful
lightness, marching
rhythms and dramatic
increases replace each
other in quick
succession; wild
arpeggios lead to the
end. Originally composed
for violin, versions for
viola and cello were
already familiar. For the
50th birthday, Simrock /
Boosey &
Hawkespresents the work
in a revised, revised
edition. A repertoire
enrichment for beginning
instrumentalists are the
first available versions
for alto and tenor
saxophone, which the
composer made himself in
the 1990s.
Voice (SATB divisi) - advanced to difficult SKU: HL.49045158 For SATB ...(+)
Voice (SATB divisi) -
advanced to difficult
SKU: HL.49045158
For SATB Choir
Divisi. Composed by
Artur Slotwinski. This
edition: Saddle
stitching. Sheet music.
Choral. Classical.
Octavo. 20 pages. Schott
Music #C57294. Published
by Schott Music
(HL.49045158).
ISBN
9790001160483. UPC:
841886028012.
7.75x11.0x0.062 inches.
Latin.
A demanding
large-scale work for
16-part mixed a-cappella
choir. Spherical sounds
and changing harmonies
are in contrast to
expressive interjections.
First prize at the
International Composition
Competition Musica Sacra
Nova 2013.
Choral; Women's Choir (SSAA a cappella) SKU: HL.49045939 Coda Zu Gl 17...(+)
Choral; Women's Choir
(SSAA a cappella)
SKU:
HL.49045939
Coda
Zu Gl 175,4 SSAA a
cappella. Composed by
Heinrich Rohr and Rolf
Rudin. Choral. Classical.
Octavo. 8 pages. Schott
Music #C59112. Published
by Schott Music
(HL.49045939).
7.5x10.75x0.047
inches.
Solemn,
spherical, downright
uplifting - these
attributes apply in a
special way to Rolf
Rudin's Würzburg
hallelujah. The
polyphoniccoda
composition for the
hallelujah song GL 175.4
by Heinrich Rohr was
created in 2006 as a
commissioned composition
for the girls' choir at
Würzburg Cathedral.
The prefixed unanimous
intonation of Rohrsche
Halleluja is followed by
the award-winning
composer's four- to
five-part female choir
(SSSAA). The praise of
God finds its solemn
conclusion with
enchanting
“otherworldlyâ€
sounds. A church music
miniature with a
gooseflesh character,
which is suitable for
liturgical use as well as
being detached from the
liturgical context.
Piano Accompaniment; Violin (Violin/Piano) SKU: HL.48024893 Violin and...(+)
Piano Accompaniment;
Violin (Violin/Piano)
SKU: HL.48024893
Violin and Piano.
Composed by Bertold
Hummel. Boosey & Hawkes
Chamber Music. Classical.
Softcover. 20 pages.
Duration 360 seconds.
Simrock #M221122551.
Published by Simrock
(HL.48024893).
ISBN
9783923051700. UPC:
840126925098.
As an
educational and recital
piece, Bertold Hummel's
Sonatina Op. 35, composed
in 1969, has accompanied
many a young musician
following his or her own
path. Having sold a
thousand times all over
the world, it is one of
the composer's best-known
works and hasbeen
included in the
repertoire list for the
'Jugend musiziert'
competition by the German
Music Council. The three
movements are
characterized by warmth
and exciting rhythms: in
the powerful Maestoso,
the sonority of the main
theme is contrasted with
a lyrical side theme; the
recapitulation ends with
an impulsive Fugato. The
second movement Elegie
consists of a single
soulful melody over
spherical harmonies of
the piano. As a
highlight, playful ease,
marching rhythms and
dramatic intensifications
alternate in quick
succession in the Finale
vivace, followed by wild
arpeggios that conclude
the piece. Originally
composed for violin,
versions for viola and
violoncello were already
commonly used. To mark
its 50th birthday,
Simrock / Boosey &
Hawkes present the work
in a revised, newly set
edition. Written in the
1990s by the composer
himself and now available
forthe first time, the
versions for alto and
tenor saxophone are
valuable additions to the
repertoire for beginning
instrumentalists.
Choral (SATB a cappella) SKU: HL.49044324 SATB a cappella. Compose...(+)
Choral (SATB a cappella)
SKU: HL.49044324
SATB a cappella.
Composed by Matthew
Brown. This edition:
Saddle stitching. Sheet
music. Choral. Classical,
Contemporary. Octavo.
Composed 2008. 10 pages.
Duration 5'. Schott Music
#C 56391. Published by
Schott Music
(HL.49044324).
ISBN
9790001199667. UPC:
841886024380.
Latin.
The text of
Hildegard von Bingen is
interpreted with
spherical and archaic
sounds. Frictions form
and dissolve, harmonies
come and go. The piece is
particularly suitable for
chamber choir, demanding
a trained ear of the
singers.
Piano Accompaniment; Tenor Saxophone (Tenor Sax) SKU: HL.48024890 Teno...(+)
Piano Accompaniment;
Tenor Saxophone (Tenor
Sax)
SKU:
HL.48024890
Tenor
Saxophone and Piano.
Composed by Bertold
Hummel. Boosey & Hawkes
Chamber Music. Classical.
Softcover. 20 pages.
Duration 360 seconds.
Simrock #M221122599.
Published by Simrock
(HL.48024890).
UPC:
840126919783.
As a
lesson and lecture piece,
Bertold Hummel's Sonatine
op. 35, created in 1969,
accompanied many young
musicians on their way.
Sold a thousand times all
over the world, it is one
of the composer's
best-known works and has
been included in the
repertoire list for the
'Jugend musiziert'
competition by the German
Music Council. Warmth and
sparkling rhythm
characterize the three
movements: inthe powerful
maestoso, the sonority of
the main theme is
contrasted with a lyrical
side theme; the
recapitulation ends with
an impulsive fugato. The
second movement Elegie
consists of a single
soulful melody about
spherical harmonies of
the piano. As the
highlight in the Finale
vivace, playful
lightness, marching
rhythms and dramatic
increases replace each
other in quick
succession; wild
arpeggios lead to the
end. Originally composed
for violin, versions for
viola and cello were
already familiar. For the
50th birthday, Simrock /
Boosey &
Hawkespresents the work
in a revised, revised
edition. A repertoire
enrichment for beginning
instrumentalists are the
first available versions
for alto and tenor
saxophone, which the
composer made himself in
the 1990s.
Above Chorale SATB SATB A Cappella - Intermédiaire/avancé Schott
Choral (SATB a cappella) - intermediate to advanced SKU: HL.49044697 Comp...(+)
Choral (SATB a cappella)
- intermediate to
advanced
SKU:
HL.49044697
Composed
by Matthew Brown. This
edition: Saddle
stitching. Sheet music.
Choral. Classical,
Contemporary, Native
American. Softcover. 28
pages. Duration 6' 15''.
Schott Music #ED 22001.
Published by Schott Music
(HL.49044697).
ISBN
9790001201919. UPC:
841886023949.
7.5x10.75x0.113 inches.
English.
Matthew
Brown has set texts from
the Dream Songs of the
Native American Wintu
tribe to music. The
typically American style
of composition is
characterized by
spherical sounds.
Tempus Fugit Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024683 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.48024683
Orchestra Study
Score. Composed by
Magnus Lindberg. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 144
pages. Boosey & Hawkes
#M060135880. Published by
Boosey & Hawkes
(HL.48024683).
ISBN
9781784545062. UPC:
888680952570. 8.25x11.75
inches.
TEMPUS
FUGIT was commissioned to
celebrate the centenary
of Finnish independence
on 6 December 2017 and it
received its first
performance in Helsinki
on that day, given by the
Finnish Radio Symphony
Orchestra.
The
composer says that
“if you translate
TEMPUS FUGIT as 'Time
Flies', you could say
that Finland has
travelled a long way
already -but 100 years is
a short time-span, and
living as a human in this
part of the world started
long ago and, we hope,
will continue
formillennia to come.
This relates to my
fascination with Bernd
Alois Zimmermann's
concept of spherical time
- that the past, the
present and the future
are continuously linked
and within reach. You can
also examine the
inter-connection of
musical time in the
earlier works of
Stockhausen such as
Kontakte and Gruppen
which had a big impact on
me as a young composer. A
translation of TEMPUS
FUGIT that I prefer is
'Time in Flight',
offering the idea that
time escapes from us but
bequeaths a tangible
residue, rather like
aplane travelling towards
the distance but leaving
a visible vapour
trail.” This
30-minute score is a
major addition to the
orchestral repertory.
Overture to Scenes
from Goethe's Faust WoO 3
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). The
Faust Overture in its
First Urtext Edition.
Overture; Romantic. Study
Score. 36 pages. Duration
7'. Breitkopf and Haertel
#PB 5545-07. Published by
Breitkopf and Haertel
(BR.PB-5545-07).
ISBN
9790004213551. 6.5 x 9
inches.
The
question Why add music to
such perfect poetry?
preoccupied Schumann long
and intensively. His
first compositional
approach to Goethes Faust
began in 1844, but it was
not until 1851 that he
finally completed the
Scenes. At Liszts
suggestion, Schumann
added an overture in
1853, a symphonic
instrumental introduction
which atmospherically
evokes the action of the
Scenes but has no direct
thematic reference to
them. As an independent
overture, the work has
been played relatively
rarely in concert halls
to this day; the general
prejudice towards
Schumanns late works was
no doubt partly
responsible for this. The
first Urtext edition of
the overture was based on
the autograph score that
was revised by Schumann
and served as the
principal source. It
should give new impulses
to the future reception
of this work which Paul
Dukas hailed as a
miracle, from beginning
to end.
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.
Aquatica Orchestre d'harmonie - Intermédiaire/avancé Alfred Publishing
Concert Band - Grade 4 SKU: AP.41961S Composed by Scott Watson. Concert B...(+)
Concert Band - Grade 4
SKU: AP.41961S
Composed by Scott Watson.
Concert Band; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Meters. Score. 28 pages.
Alfred Music #00-41961S.
Published by Alfred Music
(AP.41961S).
UPC:
038081471273.
English.
This
composition opens
atmospherically in
tranquil beauty---like a
serene lake, a calm sea,
or an eerie underwater
scene. After a brief,
meditative transition
scored for four solo
instruments, the piece
bursts into a spirited
6/8 theme that suggests
both water creatures and
craft moving playfully
through the waves. This
title is available in
MakeMusic Cloud.
Overture to Scenes
from Goethe's Faust WoO 3
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Faust
Overture in its
First Urtext Edition
Overture; Romantic. Part.
6 pages. Duration 7'.
Breitkopf and Haertel #OB
5362-27. Published by
Breitkopf and Haertel
(BR.OB-5362-27).
ISBN
9790004341452. 10 x 12.5
inches.
The
question Why add music to
such perfect poetry?
preoccupied Schumann long
and intensively. His
first compositional
approach to Goethes Faust
began in 1844, but it was
not until 1851 that he
finally completed the
Scenes. At Liszts
suggestion, Schumann
added an overture in
1853, a symphonic
instrumental introduction
which atmospherically
evokes the action of the
Scenes but has no direct
thematic reference to
them. As an independent
overture, the work has
been played relatively
rarely in concert halls
to this day; the general
prejudice towards
Schumanns late works was
no doubt partly
responsible for this. The
first Urtext edition of
the overture was based on
the autograph score that
was revised by Schumann
and served as the
principal source. It
should give new impulses
to the future reception
of this work which Paul
Dukas hailed as a
miracle, from beginning
to end.
Overture to the
Opera. Composed by
Carl Maria von Weber.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Apart from fulfilling
its original function in
the opera, the
FreischuetzOverture has long been an
extraordinarily popular
concert piece.
Overture; Romantic. Set
of parts. 60 pages.
Duration 9'. Breitkopf
and Haertel #OB 4481-30.
Published by Breitkopf
and Haertel
(BR.OB-4481-30).
ISBN
9790004311394. 9 x 12
inches.
Apart from
fulfilling its original
function in the opera,
the Freischuetz Overture
has long been an
extraordinarily popular
concert piece. Carl Maria
von Weber excerpts the
central elements of the
operas storyline. The
dense forest, the Wolfs
Glen and Agathes love
aria atmospherically and
thematically stamp the
course of the orchestral
piece, which also
anticipates the happy
ending of the opera
through its brilliant C
major.
Apart from
fulfilling its original
function in the opera,
the Freischuetz Overture
has long been an
extraordinarily popular
concert piece.
Mixed choir, percussion and organ (Organ Score) SKU: HL.49044595 Mixed...(+)
Mixed choir, percussion
and organ (Organ Score)
SKU: HL.49044595
Mixed Choir,
Percussion, and
Organ. Composed by
Rolf Rudin. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed 2004.
Op. 67. 24 pages.
Duration 14'. Schott
Music #ED21851. Published
by Schott Music
(HL.49044595).
ISBN
9790001197809.
9.0x12.0x0.103 inches.
Latin.
Like most of
his compositions, Rolf
Rudin's Latin-language
Ave Crux, Spes Unica
(Hail the Cross, Our Only
Hope) for mixed choir,
percussion and organ was
commissioned for a
special event - in this
case to mark the
inauguration of the new
Bishop of Wurzburg, Dr.
Friedhelm Hofmann. The
dedicatees of the work
composed in 2014 for
four- to eight-part choir
are the (former)
Cathedral's director of
music Martin Berger and
the Choir of the Wurzburg
Cathedral, two musical
institutions of the
region, which allows
conclusions to be drawn
about the high artistic
value of this
composition. Even the
initial musical
expression marking
'Atmospharisch bewegt'
[Atmospherically
emotional] points to the
intense sensual tonal
spheres in which the
award-winning composer
puts both singers and
listeners in this c.
8-minute sacred work
using words by Edith
Stein.
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.
(Reduction for 2 Pianos, 4 Hands). Composed by Robert Schumann. Arranged by Erns...(+)
(Reduction for 2 Pianos,
4 Hands). Composed by
Robert Schumann. Arranged
by Ernst Herttrich. For
Piano, Piano Duet. Henle
Music Folios. Softcover.
G. Henle #HN1139.
Published by G. Henle
Overture to Scenes
from Goethe's Faust WoO 3
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Faust
Overture in its
First Urtext Edition
Overture; Romantic. Part.
8 pages. Duration 7'.
Breitkopf and Haertel #OB
5362-15. Published by
Breitkopf and Haertel
(BR.OB-5362-15).
ISBN
9790004341414. 10 x 12.5
inches.
The
question Why add music to
such perfect poetry?
preoccupied Schumann long
and intensively. His
first compositional
approach to Goethes Faust
began in 1844, but it was
not until 1851 that he
finally completed the
Scenes. At Liszts
suggestion, Schumann
added an overture in
1853, a symphonic
instrumental introduction
which atmospherically
evokes the action of the
Scenes but has no direct
thematic reference to
them. As an independent
overture, the work has
been played relatively
rarely in concert halls
to this day; the general
prejudice towards
Schumanns late works was
no doubt partly
responsible for this. The
first Urtext edition of
the overture was based on
the autograph score that
was revised by Schumann
and served as the
principal source. It
should give new impulses
to the future reception
of this work which Paul
Dukas hailed as a
miracle, from beginning
to end.
Overture to Scenes
from Goethe's Faust WoO 3
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Faust
Overture in its
First Urtext Edition
Overture; Romantic. Part.
6 pages. Duration 7'.
Breitkopf and Haertel #OB
5362-16. Published by
Breitkopf and Haertel
(BR.OB-5362-16).
ISBN
9790004341421. 10 x 12.5
inches.
The
question Why add music to
such perfect poetry?
preoccupied Schumann long
and intensively. His
first compositional
approach to Goethes Faust
began in 1844, but it was
not until 1851 that he
finally completed the
Scenes. At Liszts
suggestion, Schumann
added an overture in
1853, a symphonic
instrumental introduction
which atmospherically
evokes the action of the
Scenes but has no direct
thematic reference to
them. As an independent
overture, the work has
been played relatively
rarely in concert halls
to this day; the general
prejudice towards
Schumanns late works was
no doubt partly
responsible for this. The
first Urtext edition of
the overture was based on
the autograph score that
was revised by Schumann
and served as the
principal source. It
should give new impulses
to the future reception
of this work which Paul
Dukas hailed as a
miracle, from beginning
to end.
Overture to Scenes
from Goethe's Faust WoO 3
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Faust
Overture in its
First Urtext Edition
Overture; Romantic. Part.
6 pages. Duration 7'.
Breitkopf and Haertel #OB
5362-23. Published by
Breitkopf and Haertel
(BR.OB-5362-23).
ISBN
9790004341445. 10 x 12.5
inches.
The
question Why add music to
such perfect poetry?
preoccupied Schumann long
and intensively. His
first compositional
approach to Goethes Faust
began in 1844, but it was
not until 1851 that he
finally completed the
Scenes. At Liszts
suggestion, Schumann
added an overture in
1853, a symphonic
instrumental introduction
which atmospherically
evokes the action of the
Scenes but has no direct
thematic reference to
them. As an independent
overture, the work has
been played relatively
rarely in concert halls
to this day; the general
prejudice towards
Schumanns late works was
no doubt partly
responsible for this. The
first Urtext edition of
the overture was based on
the autograph score that
was revised by Schumann
and served as the
principal source. It
should give new impulses
to the future reception
of this work which Paul
Dukas hailed as a
miracle, from beginning
to end.