Chamber Music String Quartet SKU: PR.16400195S Composed by Peter Schickel...(+)
Chamber Music String
Quartet
SKU:
PR.16400195S
Composed
by Peter Schickele. Full
score (study). With
Standard notation.
Theodore Presser Company
#164-00195S. Published by
Theodore Presser Company
(PR.16400195S).
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.
Piano (Piano Solo) SKU: HL.51481620 Piano Solo. Composed by Sergei...(+)
Piano (Piano Solo)
SKU: HL.51481620
Piano Solo.
Composed by Sergei
Prokofiev. Edited by
Claudia Heine. Henle
Music Folios. Classical.
Softcover. 43 pages. G.
Henle #HN1620. Published
by G. Henle
(HL.51481620).
UPC:
196288209157.
9.0x12.0x0.164
inches.
Prokofiev's
Piano Sonatas 6â??8 are
often referred to as
â??war sonatasâ?,
since they were composed
in Russia during World
War II during times of
great hardship. As the
shortest of the three,
no. 7 is entirely focused
on the essentials, and is
certainly Prokofiev's
most famous piano sonata.
Anyone who has heard it
will not forget the hasty
first movement, marked
â??Allegro
inquietoâ?, the
cantabile theme of the
second movement and the
relentless pull of the
machine-like, thudding
finale. The Sonata
appeared in print in 1943
and that same year
received the Stalin Prize
(second category),
including prize-money of
50,000 rubles, which was
welcomed with great joy
in the Prokofiev
household. You can also
derive joy from
Prokofiev's Seventh
Sonata, here critically
edited on the basis of
all the sources, and
produced using Henle's
legendary music
engraving. A preface by
the world's most
prominent Prokofiev
researcher, Simon
Morrison, rounds off the
edition.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 ? 3 languages with a
description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most
beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
SATB/SATB choir - Level 3 SKU: CA.116400 Composed by Samuel Scheidt. Edit...(+)
SATB/SATB choir - Level 3
SKU: CA.116400
Composed by Samuel
Scheidt. Edited by Ursula
Herrmann. German title:
Christ lag in
Todesbanden. Sacred,
Motets; Use during church
year: Holy Week, Easter
and Eastertide. Full
score. Composed 1620.
SSWV 22. Duration 3
minutes. Carus Verlag #CV
01.164/00. Published by
Carus Verlag (CA.116400).
ISBN 9790007001315.
Key: A minor. Language:
German.
Chamber Music Flute, Harp SKU: PR.164001780 For Flute and Harp. Co...(+)
Chamber Music Flute, Harp
SKU: PR.164001780
For Flute and
Harp. Composed by Dan
Welcher. Classical. Set
of Score and Parts. With
Standard notation.
Composed Apr-86. Duration
7 minutes. Theodore
Presser Company
#164-00178. Published by
Theodore Presser Company
(PR.164001780).
UPC:
680160037056.
The
American imagist poet Amy
Lowell (1874-1925)
provided both the title
and the substance for
this brief descriptive
work in her poem Night
Clouds. I had been
commissioned by the
flute/harp duo Chaski to
write a piece that had a
different sound than most
flute and harp pieces.
The image of these
elusive beasts cavorting
through the night, before
the appearance of the
tiger sun, seemed to me
perfectly suited for the
flute and harp and would
give me the chance to
write a work for that
combination that did NOT
have overtones of nymphs
and shepherds. I wanted
to make much use of the
harp's more violent
sounds (beating the
strings and the
soundboard, for instance)
as well as its unusual
and idiomatic effects,
such as pedal glissandi.
For the flute, there are
jet-whistle effects,
extremes of register,
pitch-bending and other
decidedly non-pastoral
gestures. The work was
composed in 1986.
--Dan Welcher.
Chamber Music String Quartet SKU: PR.164001820 In Memoriam. Compos...(+)
Chamber Music String
Quartet
SKU:
PR.164001820
In
Memoriam. Composed by
Peter Schickele. Set of
Score and Parts. With
Standard notation.
46+20+20+18+19 pages.
Theodore Presser Company
#164-00182. Published by
Theodore Presser Company
(PR.164001820).
Composed by Johann
Rosenmuller. Edited by
Hans Grischkat, Albrecht
Tunger. German title:
Herr, mein Gott, ich
danke dir. Sacred vocal
music, Cantatas, Psalms,
German, Praise and
thanks. Choral Score. 8
pages. Carus Verlag #CV
10.164/05. Published by
Carus Verlag
(CA.1016405).
Cello SKU: KU.OCT-10164_VC Composed by Carl Philipp Emanuel Bach. Edited ...(+)
Cello
SKU:
KU.OCT-10164_VC
Composed by Carl Philipp
Emanuel Bach. Edited by
Istvan Mariassy. Bach
format (230 x 302). Wtq
164. Staple Bound. Part.
7 pages. Edition
Kunzelmann #OCT-10164_VC.
Published by Edition
Kunzelmann
(KU.OCT-10164_VC).
Chamber Music violin, piano SKU: PR.164002230 For violin and Orchestra...(+)
Chamber Music violin,
piano
SKU:
PR.164002230
For
violin and Orchestra.
Composed by Dan Welcher.
Set of Score and Parts.
With Standard notation.
66 pages. Duration 25
minutes. Theodore Presser
Company #164-00223.
Published by Theodore
Presser Company
(PR.164002230).
Chamber Music String Quartet SKU: PR.16400224S Composed by Peter Schickel...(+)
Chamber Music String
Quartet
SKU:
PR.16400224S
Composed
by Peter Schickele. Full
score. With Standard
notation. Theodore
Presser Company
#164-00224S. Published by
Theodore Presser Company
(PR.16400224S).
Chamber Music Bassoon, Piano SKU: PR.164001290 For Solo Bassoon and Sm...(+)
Chamber Music Bassoon,
Piano
SKU:
PR.164001290
For
Solo Bassoon and Small
Orchestra. Composed
by Dan Welcher. Saddle.
Set of Score and Parts.
With Standard notation.
43+11 pages. Duration 20
minutes. Theodore Presser
Company #164-00129.
Published by Theodore
Presser Company
(PR.164001290).
Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet
SKU:
PR.16400222S
Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S).
UPC:
680160037841.
This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher.
Chamber Music String Quartet SKU: PR.164001960 Composed by Dan Welcher. C...(+)
Chamber Music String
Quartet
SKU:
PR.164001960
Composed
by Dan Welcher.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 1987.
56+19+18+19+20 pages.
Duration 26 minutes.
Theodore Presser Company
#164-00196. Published by
Theodore Presser Company
(PR.164001960).
Viola SKU: KU.OCT-10164_VA Composed by Carl Philipp Emanuel Bach. Edited ...(+)
Viola
SKU:
KU.OCT-10164_VA
Composed by Carl Philipp
Emanuel Bach. Edited by
Istvan Mariassy. Bach
format (230 x 302). Wtq
164. Folded. Part. 6
pages. Edition Kunzelmann
#OCT-10164_VA. Published
by Edition Kunzelmann
(KU.OCT-10164_VA).
Chamber Music Contrabass, Flute, Harpsichord, Percussion SKU: PR.164002210(+)
Chamber Music Contrabass,
Flute, Harpsichord,
Percussion
SKU:
PR.164002210
Composed
by Peter Schickele. Set
of Score and Parts. With
Standard notation.
12+3+4+3+3 pages.
Duration 4 minutes.
Theodore Presser Company
#164-00221. Published by
Theodore Presser Company
(PR.164002210).
Chamber Music String Quartet SKU: PR.16400182S Composed by Peter Schickel...(+)
Chamber Music String
Quartet
SKU:
PR.16400182S
Composed
by Peter Schickele. Full
score. With Standard
notation. Theodore
Presser Company
#164-00182S. Published by
Theodore Presser Company
(PR.16400182S).
Violin 1 SKU: KU.OCT-10164_VL1 Composed by Carl Philipp Emanuel Bach. Edi...(+)
Violin 1
SKU:
KU.OCT-10164_VL1
Composed by Carl Philipp
Emanuel Bach. Edited by
Istvan Mariassy. Bach
format (230 x 302). Wtq
164. Folded. Part. 8
pages. Edition Kunzelmann
#OCT-10164_VL1. Published
by Edition Kunzelmann
(KU.OCT-10164_VL1).