| Avalon Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2 SKU: CF.YPS204F
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#YPS204F. Published by
Carl Fischer Music
(CF.YPS204F). ISBN
9781491152928. UPC:
680160910427. Avalo
n–Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King! $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Avalon Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2 SKU: CF.YPS204
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+3+1+1+4+16+2+4 pages.
Duration 2 minutes, 24
seconds. Carl Fischer
Music #YPS204. Published
by Carl Fischer Music
(CF.YPS204). ISBN
9781491152249. UPC:
680160909742. Key: D
minor. Avalonâ€
Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King! $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Composers' Specials - Special Collector's Edition Video - Pas de partitions [DVD] Devine Entertainment Corporation
6-DVD Set. (DVD). Performance video. DVD . Published by Devine Entertainment Co...(+)
6-DVD Set. (DVD).
Performance video. DVD .
Published by Devine
Entertainment
Corporation.
$159.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Easy Country Fake Book Fake Book [Fake Book] - Facile Hal Leonard
Over 100 Songs in the Key of C. By Various. Fake Book (Includes melody line and ...(+)
Over 100 Songs in the Key
of C. By Various. Fake
Book (Includes melody
line and chords).
Softcover. 184 pages.
Published by Hal Leonard.
(1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Series - Country, 2nd Edition Piano, Voix et Guitare [Partition] Hal Leonard
Piano/Vocal/Chords Mixed Folio (Arrangements for piano and voice with guitar cho...(+)
Piano/Vocal/Chords Mixed
Folio (Arrangements for
piano and voice with
guitar chords). Size
6.7x10.5 inches. 48
pages. Published by Hal
Leonard.
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Great Piano Solos - Film Book Piano seul Amsco Wise Publications
A bumper collection of film themes. Great Piano Solos. TV-Film-Musical-Show....(+)
A bumper collection of
film
themes. Great Piano
Solos.
TV-Film-Musical-Show.
Book
Only. Wise Publications
#MUSAM982795. Published
by
Wise Publications
$27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Little Black Songbook: Great Songs Hal Leonard
| | |
| Studio Ghibli 77 Selections [Japanese/English/Chinese] Piano seul - Facile Yamaha
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate S...(+)
Piano - Easy to
Intermediate Levels
SKU:
YM.GTP01101652 The
Ultimate Studio Ghibli
Piano Solo
Collection. Composed
by Joe Hisaishi. Studio
Ghibli. Anime Song;
J-Pop. Book. Yamaha Music
Media #GTP01101652.
Published by Yamaha Music
Media (YM.GTP01101652).
ISBN 9784636113334.
8.75 x 12
inches. Here is the
ultimate, official,
complete edition of
Studio Ghibli Piano Solo
Collection, featuring 77
of Studio Ghibli's
essential musical
masterpieces, fully
supported in three
languages: Japanese,
English and Simplified
Chinese! From 20 of
Studio Ghibli's most
beloved films, including
My Neighbor Totoro,
Princess Mononoke,
Spirited Away, and more,
comes a piano solo
collection featuring 77
iconic songs. In addition
to timeless favorites,
songs from popular
soundtracks such as
Kiki's Delivery Service
and Porco Rosso are
included. Featuring
Studio Ghibli's musical
masterpieces in solo
piano arrangements, this
collection includes the
film's theme songs as
well as fan-favorite
instrumental music. The
difficulty levels range
from easy to
intermediate, making them
accessible to a wide
range of players, and the
simpler arrangements can
be fully enjoyed by
players who can feel the
essence and atmosphere.
The book cover features
official Studio Ghibli
artwork. The book is
supported in Japanese,
English and Chinese. This
single volume offers a
comprehensive, special
collector's edition for
enjoying the music of
Studio Ghibli. Studio
Ghibli 77 Selections is
sure to take you on a
musical journey through
20 Studio Ghibli
films! $26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| A Little Violin Music in Memory of Elijah McClain Violon Merion Music
Chamber Music Violin SKU: PR.144407380 Composed by Ellen Taaffe Zwilich. ...(+)
Chamber Music Violin
SKU: PR.144407380
Composed by Ellen Taaffe
Zwilich. Performance
Score. 4 pages. Duration
4 minutes. Merion Music
#144-40738. Published by
Merion Music
(PR.144407380). ISBN
9781491133903. UPC:
680160683475. 9 x 12
inches. In her
powerful Foreword to the
music, violinist Kelly
Hall-Tompkins has
written: “There are
great works which give
voice to important
moments for generations,
and this is one of
them.†The tragedy
of Elijah
McClain’s murder
has moved us all, and for
many musicians the image
of this gentle young man
playing his violin for
kittens at an animal
shelter has added a
poignant extra layer.
Zwilich was a
professional violinist
before turning
exclusively to composing,
and A LITTLE VIOLIN MUSIC
is a memorial from the
heart of one violinist to
another. [THESE NOTES
MAY NOT BE REPRODUCED
OUTSIDE OF THE
PUBLICATION; OK TO QUOTE
A BIT AND GIVE AUTHOR
CREDIT]We often research
important pieces of music
to gain some glimpse into
the mind of the composer
by understanding the
times in which a piece
was written. The times
that brought this piece
into being, 2020, has
been a year like no other
in our lifetimes.With the
suffering of a once in a
century pandemic raging
in ever higher waves, and
millions of people around
the world confined to
their homes with a shared
attention span for the
first time in
generations, we watched
in horror the 8 minute 46
second killing of George
Floyd, a man previously
unknown to us, but now
unwillingly joining a
long list of names of
unarmed African Americans
killed by police. The
anguished backlash of
citizens around the
world, from Japan to New
Zealand to Germany to the
United States, of every
age, color, and creed,
has rallied for weeks and
months on end to demand
enough and that
“Black Lives
Matter.â€And yet, in
the midst of it all is an
America starkly divided
against itself with some
defiantly pushing back,
emboldened by
authoritarian-style
government actions
against its own citizens
occurring all over the
country. It is against
this backdrop that we
ever had a chance to know
of Elijah McClain. Here
in quarantine I sometimes
practice my scales in
front of the news. And
one day the mirror image
looking back at me from
the screen was a slight
young man, warm, affable
brown eyes, and also a
violin under his chin.
The newsreel-style camera
pan so familiar now, I
knew the only reason we
were gazing upon his
unfamous face was that he
too had been killed by
police nearly a year
before. But the
revelation of it in the
broadcast hit me
particularly hard.Ellen
Taaffe Zwilich, who is
not only one of the great
composers of our time, is
also a dear friend, and
called me the next day,
also deeply saddened by
the news. It was from
Ellen that I learned that
Elijah used to play for
the kittens at the local
animal shelter so they
wouldn’t be
lonely. This kind, gentle
soul was aggressively
taken into police custody
while saying, “I am
an introvert. Please
respect the boundaries
that I am speaking...
I’m going
home.†He was never
seen alive again.Ellen
and I spoke of the
sadness and the injustice
of this several times.
She felt a powerful
calling to contribute
something in a statement
and the result is the
piece you now hold in
your hands. I am deeply
honored to be the
dedicatee of the piece,
to have worked together
with Ellen on some of the
final details, and to pen
this score note. As an
invited alumna of the
Eastman School of Music,
I premiered the work for
their virtual event on
Diversity and Inclusion.
Each time I play it,
there is a persistent
lump in my throat because
Ellen has captured
something poignant and
powerful here.There are
great works which give
voice to important
moments for generations,
and this is one of them.
We humbly offer this
piece in memory of Elijah
McClain.Foreword ©
2021 by Kelly
Hall-Tompkins. Used by
permission. $9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Conga Book Conga [Partition + CD] - Intermédiaire Mel Bay
Composed by Herwig Stieger. Music Styles and Regions, Latin American, Percussion...(+)
Composed by Herwig
Stieger. Music Styles and
Regions, Latin American,
Percussion: Hand
Percussion and Bodhran,
Method. Book/CD Set. 143
pages. Published by Mel
Bay Publications, Inc
(MB.610477).
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Roy Clark's Big Note Songbook for Guitar (with poster and decals) Guitare notes et tablatures [Partition + DVD] Santorella Publications
Composed by Roy Clark. This edition: Paperback. Instructional. Method. Book and ...(+)
Composed by Roy Clark.
This edition: Paperback.
Instructional. Method.
Book and DVD. With Text
Language: English; Big
Note notation, chords and
tablature. 208 pages.
Published by Santorella
Publications
$29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sitting In -- Jazz Piano Piano seul [Partition + DVD] Alfred Publishing
(Backing Tracks and Improv Lessons). Composed by Noah Baerman and Jen Allen....(+)
(Backing Tracks and
Improv
Lessons). Composed by
Noah
Baerman and Jen Allen.
For
Keyboard; Piano. Book;
DVD;
Keyboard/Piano;
Method/Instruction.
Complete
Method. Jazz. Beginner.
80
pages. Published by
Alfred
Music
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Solid Rock Hits 2 Easy Music Sales
| | |
| The Great American Country Songbook
Guitare notes et tablatures [Partition] - Facile Hal Leonard
For guitar and voice. Format: guitar tablature songbook. With guitar tablature, ...(+)
For guitar and voice.
Format: guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names,
guitar chord diagrams and
strum and pick patterns.
Country. Series: Easy
Guitar. 120 pages. 9x12
inches. Published by Hal
Leonard.
(6)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Variations on "America" Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370). ISBN
9781491135075. UPC:
680160686247. Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 5 Concert Pieces from Enjoy the Recorder Schott
Alto Recorder Part Alto Recorder; Recorder SKU: HL.49003130 Alto Recor...(+)
Alto Recorder Part Alto
Recorder; Recorder
SKU: HL.49003130
Alto Recorder and
Piano. Composed by
Brian Bonsor. This
edition: Saddle
stitching. Sheet music.
Edition Schott. (Enjoy
the Recorder s. unter
Rubrik: Schulen - Etuden
- Studienwerke / Schulen
fur Sopran /
Tenor-Blockflote).
Classical. Individual
part. 7 pages. Schott
Music #ED12346-01.
Published by Schott Music
(HL.49003130). ISBN
9790220115479. UPC:
884088072933.
8.25x11.0x0.032
inches. '...this
work is likely to become
a standart work very
quickly and is to be
recommended to all
schools where recorder
studies are undertaken'
(Oliver James, Contact
Magazine). $4.99 - Voir plus => Acheter | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] 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 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle 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 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Musical Theatre Songs of the 2010s: Women's Edition Piano, Voix Hal Leonard
37 Songs from 33 Shows and Films. Composed by Various. Vocal Collection. Broad...(+)
37 Songs from 33 Shows
and
Films. Composed by
Various.
Vocal Collection.
Broadway,
Musicals. Softcover. 288
pages. Published by Hal
Leonard
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Storm Clouds Orchestre d'harmonie [Conducteur] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.024-3871-01 Young Concert Band. Rising Band Series for De...(+)
Grade 1 SKU:
CL.024-3871-01 Young
Concert Band. Rising Band
Series for Developing
Bands! Audio recording
available separately
(item CL.WFR362). Extra
full score. Composed
2009. Duration 1 minute,
45 seconds. C.L.
Barnhouse #024-3871-01.
Published by C.L.
Barnhouse
(CL.024-3871-01).
This exciting
new work has all the
magical ingredients
necessary to bring about
a rewarding experience
for both audience and
musicians alike.
Instruments scored where
they sound best,
interesting melodic lines
and rhythmic percussion
parts all combine to
create a composition that
will deliver musical
impact from beginning to
end. A guaranteed
winner! $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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