8 Famous Opera Themes arranged for String Quartet. Composed by Various. Ar...(+)
8 Famous Opera Themes
arranged for String
Quartet.
Composed by Various.
Arranged by Barrie
Carson-
Turner. String.
Softcover.
Schott Music #ED13794.
Published by Schott Music
Composed by Lynne Latham.
Performance Music
Ensemble. Latham Music.
Score. Latham Music
Enterprises #36-52703177.
Published by Latham Music
Enterprises
(AP.36-52703177).
ISBN
9781621569367.
English.
Some of
the best loved operatic
tunes are featured in
this collection arranged
by Lynne Latham. Ideal
for the advanced quartet,
players will find
performances of these
Opera Favorites
fulfilling and enjoyable.
Included: 1. O mio
babbino caro from Gianni
Schicchi (Puccini), 2.
The Flower Song from
Lakme (Delibes), 3. Der
Vogelfänger from The
Magic Flute (Mozart), 4.
Bei Männern from The
Magic Flute (Mozart), 5.
Barcarolle from Tales of
Hoffman (Offenbach), 6.
Habanera from Carmen
(Bizet), 7. The
Toreador's Song from
Carmen (Bizet), 8.
Meditation from Thaïs
(Massenet).
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.
Opera Odyssey Quatuor à cordes: 2 violons, alto, violoncelle [Set de Parties séparées] - Avancé Last Resort Music Publishing
(26 Arrangements of Opera Favorites). By Various. Arranged by Joel Lish. For Str...(+)
(26 Arrangements of Opera
Favorites). By Various.
Arranged by Joel Lish.
For String Quartet.
Quartets. Advanced. Set
of 4 parts. Published by
Middle Fiddle Music
String quartet (2vn.va.vc) SKU: HL.49045305 Score and Parts. Compo...(+)
String quartet
(2vn.va.vc)
SKU:
HL.49045305
Score
and Parts. Composed
by Tobias Picker. This
edition: Folder. Sheet
music. Edition Schott.
Softcover. Composed 2008.
98 pages. Duration 13'.
Schott Music #ED31095.
Published by Schott Music
(HL.49045305).
ISBN
9781495082405. UPC:
888680656539.
9.0x12.0x0.256
inches.
Following
the premiere of my opera
An American Tragedy at
the Metropolitan Opera,
the President of the
Manhattan School of
Music, Robert Sirota,
called me and told me
that the American String
Quartet had asked him to
commission me as part of
the school's 90th
anniversary celebration.
I was very excited
because this meant that
the first new music I
would compose after my
largest piece ever would
be a string quartet for
my alma mater. I embraced
the chance to return to
chamber music with gusto
because I saw this not
only as an opportunity to
incorporate everything
I'd learned writing four
grand operas into an
intimate yet profound
genre but also as the
starting point of a new
direction in my
compositional thinking.
20 years separate my
first and second quartet
and it is not difficult
to hear the evolution
between the two. Tobias
Picker.
The Music of the Night Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1185855-070 From The Phantom...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1185855-070
From The Phantom of
the Opera. Composed
by Andrew Lloyd Webber.
Arranged by Nico Dezaire.
De Haske Pops for String
Quartet.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2018. 8 pages. De Haske
Publications #DHP
1185855-070. Published by
De Haske Publications
(BT.DHP-1185855-070).
ISBN 9789043153911.
English-German-French-Dut
ch.
The Phantom
of the Opera is,
without doubt, one of the
great classics of our
time. The stage
production of this tale,
exciting and mysterious
in equal measure, has now
captivated over a million
theatre-goers. The
phantom sings the song
The Music of the
Night to the
beautiful Christine, who
he has just kidnapped
into his realm, as if
entrancing her. This
enchanting mood is so
authentically recreated
in Nico Dezaire’s
sensitive arrangement for
string quartet that it
feels like listening to
the singer perform the
original version from the
musical.
De
musical The Phantom of
the Opera is zonder
twijfel een van de grote
klassiekers van onze
tijd. De theaterversie
van dit spannende en
tegelijk mysterieuze
verhaal heeft in de loop
der tijd al een
miljoenenpubliek
getrokken. Met het lied
The Music of the
Night brengt het
spook de mooie Christine,
die hij zojuist naar zijn
rijk heeft ontvoerd, als
het ware in trance. De
betoverende sfeer wordt
in dit gevoelige
strijkkwartetarrangement
van de hand van Nico
Dezaire zo authentiek
overgebracht, dat het
voelt alsof je luistert
naar de zanger in de
originele versie uit de
musical.
Das
Phantom der Oper
gehört zweifellos zu
den ganz großen
Musical-Klassikern
unserer Zeit. Die
Bühnenversion dieser
ebenso spannenden wie
mystischen Geschichte hat
schon ein
Millionenpublikum in
seinen Bann gezogen. Mit
dem Lied The Music of
the Night singt das
Phantom die schöne
Christine, die er soeben
in sein Reich entführt
hat, gleichsam in Trance.
Eben diese Stimmung
lässt Nico Dezaire in
seiner einfühlsamen
Bearbeitung für
Streichquartett so
glaubwürdig wieder
aufleben, dass es sich so
anfühlt, als höre
man dem Sänger der
originalen
Musical-Fassung
zu.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
String quartet SKU: FG.55011-498-2 Composed by Kimmo Hakola. Parts. Fenni...(+)
String quartet
SKU:
FG.55011-498-2
Composed by Kimmo Hakola.
Parts. Fennica Gehrman
#55011-498-2. Published
by Fennica Gehrman
(FG.55011-498-2).
ISBN
9790550114982.
Kimm
o Hakola's String Quartet
No. 4 op. 95 (2016) was
commissioned by the
Kimito Island Music
Finland and it's
dedicated to the Meta4
Quartet. In composer's
words, it is the
floundering, playful, if
necessary defiantly
dramatic, surprising,
capricious and
unrestrained tour de
force of a youthful
entity.Kimmo Hakola has
gone through a number of
styles and influences in
his career as a composer,
his idiom expanding at
times to embrace
Romanticism, Orientalism
and klezmer. He has
attained international
recognition with an
output that spans various
genres from intimate solo
works to full-length
operas such as La Fenice
(2011) commissioned by
the Savonlinna Opera
Festival. Many of his
works are expansive and
epic: his Piano Concerto
(1996), for instance,
clocks in at 55 minutes.
Hakola says that he sees
music as drama. His
dramas explore almost
Shakespearean extremes,
from moments of raging
'sound and fury' and
violent battles to quiet
moments of meditation and
heart-rending
monologues.
String quartet SKU: FG.55011-497-5 Composed by Kimmo Hakola. Score. Fenni...(+)
String quartet
SKU:
FG.55011-497-5
Composed by Kimmo Hakola.
Score. Fennica Gehrman
#55011-497-5. Published
by Fennica Gehrman
(FG.55011-497-5).
ISBN
9790550114975.
Kimm
o Hakola's String Quartet
No. 4 op. 95 (2016) was
commissioned by the
Kimito Island Music
Finland and it's
dedicated to the Meta4
Quartet. In composer's
words, it is the
floundering, playful, if
necessary defiantly
dramatic, surprising,
capricious and
unrestrained tour de
force of a youthful
entity.Kimmo Hakola has
gone through a number of
styles and influences in
his career as a composer,
his idiom expanding at
times to embrace
Romanticism, Orientalism
and klezmer. He has
attained international
recognition with an
output that spans various
genres from intimate solo
works to full-length
operas such as La Fenice
(2011) commissioned by
the Savonlinna Opera
Festival. Many of his
works are expansive and
epic: his Piano Concerto
(1996), for instance,
clocks in at 55 minutes.
Hakola says that he sees
music as drama. His
dramas explore almost
Shakespearean extremes,
from moments of raging
'sound and fury' and
violent battles to quiet
moments of meditation and
heart-rending
monologues.
Spiritwalking Quatuor à cordes: 2 violons, alto, violoncelle Dunvagen Music Publishers
For String Quartet. Composed by Philip Glass (1937-). Music Sales America...(+)
For String
Quartet. Composed by
Philip Glass (1937-).
Music Sales America.
Classical. Dunvagen Music
Publishers #DU11121.
Published by Dunvagen
Music Publishers
(HL.14048136).
Composed by
Kareem Roustom. E.C.
Schirmer Publishing
#LMP046. Published by
E.C. Schirmer Publishing
(EC.LMP046).
These
Four Dances from
CLORINDA AGONISTES
(Clorinda the warrior)
are taken from a recently
completed dramatic work;
a hybrid opera & dance
theatre work currently of
the same title. The name
Clorinda comes from
Monteverdi’s opera
Il Combattimento di
Tancredi e Clorinda
, whose libretto is from
the epic poem by Tasso
titled, Gerusalemme
Liberata (Jerusalem
Liberated). The dramatic
work, which was
commissioned by the
London based Shobana
Jeyasingh Dance company,
the Sadler’s Wells
Theatre and the Royal
Philharmonic Society, was
composed as a companion
piece to
Monteverdi’s
Il
Combattimento.
Contents: I.
Transitions II.
Pursuit III. Shawq
شوق
(Yearning) IV. Unity
(We dance together)