[COPYRIGHT RETURNED TO
COMPOSER]. Composed
by Edward Cowie. This
edition: Saddle
stitching. Sheet music.
String. Softcover. 76
pages. Duration 15'.
Schott Music #ED13391.
Published by Schott Music
(HL.49018856).
ISBN
9790220133244. UPC:
884088675028.
9.0x12.0x0.204
inches.
Although
this is technically
Cowie's seventh string
quartet, it replaces his
earlier fourth quartet,
which he came to feel no
longer fit with his
compositional voice. The
quartet fluctuates
between a slow, luminous
sound and fast, agitated
music. Unlike much of
Cowie's work, this music
is abstracted from his
usual preoccupation with
the natural world,
turning instead to look
at an inner landscape.
The composer describes
the emotional force
behind his quartet: The
year 2009 was a terrible
year in which I lost
three close friends to
cancer and an elder
brother to Alzheimer's
disease. It was also a
year in which my wife was
diagnosed with breast
cancer; something from
which she has thankfully
made a great recovery. At
times like these,
emotions are sorely
tested and highlighted.
Four people I loved have
gone, so this music must
remain as testament not
to death, but to the
magnificent fragility and
loveliness of life. It
closes with a gentle and
almost vaporising
'benediction' a kind of
'amen' if you like.
String Quartet No. 1 Quatuor à cordes: 2 violons, alto, violoncelle Subito Music
String Quartet SKU: SU.29120020 For String Quartet. Composed by To...(+)
String Quartet
SKU:
SU.29120020
For
String Quartet.
Composed by Todd Mason.
Score & Parts. Subito
Music Corporation
#29120020. Published by
Subito Music Corporation
(SU.29120020).
String Quartet
No. 1 is a powerful
and harmonically dynamic
string quartet in four
movements. It mixes both
tonal and dissonant
musical landscapes in an
elegant way. The quartet
may also be experienced
as a kind of
coming-of-age story.
After the calm first
movement’s
confident simplicity of
youth, the second
movement reflects the
increasing complications
and conflicts of young
adulthood, with fraught
exploration, the
discovery of possible
romance, and new tensions
now replacing the
youthful calm. The third
movement reflects on
maturity and the
experiences of love and
loss, before the
finale—a set of
complex chromatic
fugues—evokes the
fight against fate and
time to achieve
one’s goals in
life. The
movement’s end
briefly recapitulates the
first movement,
suggesting that
ultimately life comes
full circle as we see the
totality of our
experience. As LA Opus
music critic, John
Stodder, said about this
work, The protagonist
discovers the presence of
life's purpose. String
Quartet Duration: 19'
Composed: 2019 Published
by: Todd Mason.
String Quartet SKU: BR.EB-9271 Composed by Christian Mason. Chamber music...(+)
String Quartet
SKU:
BR.EB-9271
Composed
by Christian Mason.
Chamber music. Edition
Breitkopf. New music
(post-2000); Music
post-1945. Sheet Music.
Composed 2018. Duration
21'. Breitkopf and
Haertel #EB 9271.
Published by Breitkopf
and Haertel (BR.EB-9271).
ISBN 9790004185711. 0
x 0 inches.
I fell
in love with the
remarkable singing of the
Tenores di Bitti on
hearing their recordings
as a student. Their
uniquely intense vocal
timbre, their harmony,
which seemed pure and
rough at once, and the
sense that this music
was, at root, not so much
about performance as
simply being together in
the world, in a community
of spirit. At the time, I
had no intention of using
this music to my own
creative ends, but now,
here we are: Sardinian
Songbook is the second in
a cycle of works for the
Ligeti Quartet, all based
on transcriptions of
music from different
throat-singing
traditions. Like string
quartets, the tenores
usually sing in groups of
four voices, but being
free from instruments
they stand very close
together enabling the
resonances of their
voices to blend and
interact in a special
way. The quartet, of
course, can only sit so
close before their bows
clash, so I have chosen
instead to reflect this
physical closeness
inversely, by getting the
players to stand
increasingly far from one
another as the piece
progresses. In so doing,
the initial state of
sonic blend gives way to
hocketing lines, opening
up the sense of
space.Christian Mason,
2018 The four movements
may be played separately
or as a collection. If
played together the
following order should be
observed (see table of
contents).
World
premiere: Sheffield/UK,
Firth Hall, April 14,
2018, Commissioned by
Ligeti Quartet.
String Quartet SKU: BR.EB-9270 Composed by Christian Mason. Chamber music...(+)
String Quartet
SKU:
BR.EB-9270
Composed
by Christian Mason.
Chamber music. Edition
Breitkopf. New music
(post-2000); Music
post-1945. Sheet Music.
Composed 2018. 28 pages.
Duration 21'. Breitkopf
and Haertel #EB 9270.
Published by Breitkopf
and Haertel (BR.EB-9270).
ISBN 9790004185704. 9
x 12 inches.
I fell
in love with the
remarkable singing of the
Tenores di Bitti on
hearing their recordings
as a student. Their
uniquely intense vocal
timbre, their harmony,
which seemed pure and
rough at once, and the
sense that this music
was, at root, not so much
about performance as
simply being together in
the world, in a community
of spirit. At the time, I
had no intention of using
this music to my own
creative ends, but now,
here we are: Sardinian
Songbook is the second in
a cycle of works for the
Ligeti Quartet, all based
on transcriptions of
music from different
throat-singing
traditions. Like string
quartets, the tenores
usually sing in groups of
four voices, but being
free from instruments
they stand very close
together enabling the
resonances of their
voices to blend and
interact in a special
way. The quartet, of
course, can only sit so
close before their bows
clash, so I have chosen
instead to reflect this
physical closeness
inversely, by getting the
players to stand
increasingly far from one
another as the piece
progresses. In so doing,
the initial state of
sonic blend gives way to
hocketing lines, opening
up the sense of
space.Christian Mason,
2018 The four movements
may be played separately
or as a collection. If
played together the
following order should be
observed (see table of
contents).
World
premiere: Sheffield/UK,
Firth Hall, April 14,
2018, Commissioned by
Ligeti Quartet.
String Quartet (2vl,va,vc) SKU: BR.EB-9259 Composed by Manuela Kerer. Cha...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9259
Composed
by Manuela Kerer. Chamber
music; stapled. Edition
Breitkopf.
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017
Music
post-1945; New music
(post-2000). Full score.
Composed 2016/17. 32
pages. Duration 15' -
18'. Breitkopf and
Haertel #EB 9259.
Published by Breitkopf
and Haertel (BR.EB-9259).
ISBN 9790004185599. 9
x 12 inches.
When
Hugo Ticciati asked me to
write a new piece for his
quartet, I was
immediately enthusiastic
about this project. I
love how Hugo and his
O/MODERNT String Quartet
unite old and new music
in a completely natural
way. So, I was absolutely
excited about Hugo`s idea
of having my piece based
on two of my idols, Bach
and Beethoven,
deconstructing the one
and constructing the
other. With all my
respect for these great
composers I gave to the
piece a very personal
inner part consisting of
my own music that
influenced and inspired
the other parts. For the
whole piece I felt very
close to Beethoven, who
said: To make a fugue is
not art, which [is
something] I have made
dozens of times in my
study. But the
imagination will assert
its rights and must come
today, in light of the
old traditional form, to
another truly poetic
element. De/Con is a
travel into different
centuries with different
sound-languages. For me,
it was like having a
wonderful constructive
discussion with Johann
Sebastian Bach and Ludwig
van Beethoven, each of us
trying to speak our own
language, approaching the
others step by step. The
piece could be defined as
a Love Letter to two of
the greatest composers
ever. De/Con could be
preceded by (parts of)
Johann Sebastian Bach's
Die Kunst der Fuge (The
Art of the Fugue) and
succeeded by Ludwig van
Beethoven's Grosse Fuge
(Great Fugue). Ideally,
then, all parts should be
played attacca. It could,
but it hasn't to be
played with these two
pieces. (Manuela
Kerer)
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017.
String Quartet (2vl,va,vc) SKU: BR.EB-9260 Composed by Manuela Kerer. Cha...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9260
Composed
by Manuela Kerer. Chamber
music; Folder. Edition
Breitkopf.
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017
Music
post-1945; New music
(post-2000). Set of
parts. Composed 2016/17.
32 pages. Duration 15' -
18'. Breitkopf and
Haertel #EB 9260.
Published by Breitkopf
and Haertel (BR.EB-9260).
ISBN 9790004185605. 9
x 12 inches.
When
Hugo Ticciati asked me to
write a new piece for his
quartet, I was
immediately enthusiastic
about this project. I
love how Hugo and his
O/MODERNT String Quartet
unite old and new music
in a completely natural
way. So, I was absolutely
excited about Hugo`s idea
of having my piece based
on two of my idols, Bach
and Beethoven,
deconstructing the one
and constructing the
other. With all my
respect for these great
composers I gave to the
piece a very personal
inner part consisting of
my own music that
influenced and inspired
the other parts. For the
whole piece I felt very
close to Beethoven, who
said: To make a fugue is
not art, which [is
something] I have made
dozens of times in my
study. But the
imagination will assert
its rights and must come
today, in light of the
old traditional form, to
another truly poetic
element. De/Con is a
travel into different
centuries with different
sound-languages. For me,
it was like having a
wonderful constructive
discussion with Johann
Sebastian Bach and Ludwig
van Beethoven, each of us
trying to speak our own
language, approaching the
others step by step. The
piece could be defined as
a Love Letter to two of
the greatest composers
ever. De/Con could be
preceded by (parts of)
Johann Sebastian Bach's
Die Kunst der Fuge (The
Art of the Fugue) and
succeeded by Ludwig van
Beethoven's Grosse Fuge
(Great Fugue). Ideally,
then, all parts should be
played attacca. It could,
but it hasn't to be
played with these two
pieces. (Manuela
Kerer)
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017.
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.
Composed by Sheila
Sandys-Wunsch.
Performance Music
Ensemble; String Quartet.
Latham Music. Score.
LudwigMasters
Publications
#36-52703030. Published
by LudwigMasters
Publications
(AP.36-52703030).
ISBN
9781682962428. UPC:
660355173073.
English.
Volume 3
explores major and minor
keys up to 2 flats,
violin 1 will play to 3rd
position and the cello
part also has minimal
shifting. The nine tunes
are very accessible
rhythmically and these
are quite appropriate for
an accomplished middle
school group. Contents:
Linstead Market, I Love
My Love, Still, Still,
Still, Danny Boy, Down By
the Salley Gardens, Jack
Was Every Bit a Sailor,
Bourree (Stoltzer), and
Minuet and Gigue
(Handel).
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 Sheila
Sandys-Wunsch.
Performance Music
Ensemble; Quartet; String
Quartet. Latham Music.
Score and Part(s). Latham
Music Enterprises
#36-52703029. Published
by Latham Music
Enterprises
(AP.36-52703029).
ISBN
9781682962411. UPC:
746241228789.
English.
Volume 3
explores major and minor
keys up to 2 flats,
violin 1 will play to 3rd
position and the cello
part also has minimal
shifting. The nine tunes
are very accessible
rhythmically and these
are quite appropriate for
an accomplished middle
school group. Contents:
Linstead Market, I Love
My Love, Still, Still,
Still, Danny Boy, Down By
the Salley Gardens, Jack
Was Every Bit a Sailor,
Bourree (Stoltzer), and
Minuet and Gigue
(Handel).
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 (Parts) SKU: HL.14037707 Parts. Composed by Kevin V...(+)
String Quartet (Parts)
SKU: HL.14037707
Parts. Composed by
Kevin Volans. Music Sales
America. Contemporary.
Softcover. Composed 2010.
80 pages. Chester Music
#CH7452501. Published by
Chester Music
(HL.14037707).
ISBN
9781849385916. UPC:
884088578626.
8.25x11.75x0.262
inches.
Kevin
Volans' String Quartet
No. 9: Shiva Dances was
commissioned by BBC Radio
3 and first performed by
the Smith Quartet at the
2004 Huddersfield
Contemporary Music
Festival.
Kevin
Volans (the composer)
notes on the
piece: In the past
I have been interested in
trying to go beyond
historicism (1970s),
beyond style(1980s) and
beyond form (1990s) in my
work. Looking back over
the music of the
twentiethcentury I was
struck by the fact the
nearlyall of it is
extremely 'busy', almost
cluttered. Italmost
seemed that composers
felt compelled to look
industrious. In the new
millennium Ithought it
would be interesting to
try and eliminate
content. I also aspired
to movingfrommusic (sound
as art) to art (art as
sound). This, of course,
has already been done by
a numberof composers
(many from New York -
Phil Niblock and La Monte
Young, to name but two),
butit was something I had
never tried.AlthoughI
found it annoying that
the label 'minimalist'
was given to my
African-based work,and
fearing this would make
the label stick, I set
out to write a piece
which reflected my loveof
minimal painting and
architecture. The
Japanesehave a term
'wabi' meaning
'voluntarypoverty' or
'emptiness' to describe
their restrained minimal
aesthetic, an aesthetic
which,however, pays
greatest attention to the
quality of material and
fine detail. I like to
think thatthelack of
excessive pitch material
in this piece reflects a
kind of voluntary
poverty.When Shiva is
portrayed dancing (as
Nataraj) He is depicted
in a circle of flames
crushing asmall figure -
the ego - underfoot.You
get theimpression He
dances on the spot, not
movingaround at all. I
like that. The piece
is dedicated to Pablo
Pascual
Cilleruelo.
Songs without Words Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.14440652S For String Quartet....(+)
Chamber Music String
Quartet
SKU:
PR.14440652S
For
String Quartet.
Composed by Felix
Bartholdy Mendelssohn.
Arranged by Paul Salerni.
Romantic. Full score.
With Standard notation.
Composed 2014. 12 pages.
Duration 10 minutes.
Theodore Presser Company
#144-40652S. Published by
Theodore Presser Company
(PR.14440652S).
UPC:
680160634002. 9 x 12
inches.
Salerni,
whose recent works
include two one-act
operas (Tony Caruso's
Final Broadcast and The
Life and Love of Joe
Coogan), turns to the
piano works of
Mendelssohn and fashions
four beautiful string
quartet arrangements.
While Consolations is
lush and languid,
Hunting-Song and Unrest
will require a tight
rhythmic control.
Includes Consolation, Op.
30, No. 3; Hunting-Song,
Op. 19, No. 3; Venetian
Boat-Song No. 1, Op. 19,
No. 6; Unrest, Op. 30,
No. 2.