Strings.
Disney. Score & Parts.
Yamaha Music Media
#GTW259010. Published by
Yamaha Music Media
(YM.GTW259010).
ISBN
9784636259018.
5
Popular Disney pieces
arranged for String
Quartet. 5Shou Di Shi
Ni Re Men Ge Qu De Xian
Le Si Zhong Zou Bian Pei
Ban .
1.
Bibbidi-Bobbidi-Boo; 2.
Winnie the Pooh; 3.
Zip-A-Dee-Doo-Dah; 4.
Love Is a Song; 5. Dream
Is a Wish Your Heart
Makes 1. Mo Fa Zhi Ge
; 2. Xiao Xiong Wei Ni ;
3. Huan Le Zhi Ge ; 4. Ai
Shi Yi Shou Ge ; 5. Meng
Jiu Shi Ni Xin Zhong De
Yuan Wang.
From THE LION KING. Composed by Elton John. Arranged by Nico Dezaire. De Haske...(+)
From THE LION KING.
Composed
by Elton John. Arranged
by
Nico Dezaire. De Haske
Pops
for String Quartet. Pop
and
Rock. Set (Score and
Parts).
Composed 2020. 6 pages.
De
Haske Publications #DHP
1206264-070. Published by
De
Haske Publications
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.
String quartet (P/ST) - difficult SKU: HL.49033214 Composed by Tatjana Ko...(+)
String quartet (P/ST) -
difficult
SKU:
HL.49033214
Composed
by Tatjana Komarova. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Score and
Parts. Composed 2002. 62
pages. Duration 20'.
Schott Music #ED 9635.
Published by Schott Music
(HL.49033214).
ISBN
9790001135283.
When
some time ago I looked at
works by the painter Egon
Schiele whom I admire
very much, I thought
which paintings would
have been painted by this
artist, had he not died
much too early. I
envisioned the works he
had never painted. Isn't
it impressive with what
modest means he achieves
maximum emotional effect?
It was this thought, too,
that accompanied me
during my work on this
piece - though painting
techniques cannot be
directly reflected in the
music, of course. Tatjana
Komarova.
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.
Vision of Orpheus Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music Guitar, string quartet SKU: PR.14440540S For Guitar and ...(+)
Chamber Music Guitar,
string quartet
SKU:
PR.14440540S
For
Guitar and String
Quartet. Composed by
David Leisner.
Contemporary. Full score.
With Standard notation.
Composed 2000. Duration
18 minutes. Theodore
Presser Company
#144-40540S. Published by
Theodore Presser Company
(PR.14440540S).
UPC:
680160590711. 8.5 x 11
inches.
Leisner's
Vision of Orpheus has
brought world-class
guitarist Jason Vieaux to
comment, It's not easy to
write substantial,
intelligent, deeply
emotional music that
maintains its appeal to a
wide range of listeners.
David's first-rate! Read
many more comments and
listen to the work at
WQXR. This is Leisner in
his element, writing for
his instrument. For
advanced performers.
Duration: 18'.
String quartet String Quartet SKU: PR.14440538S For String Quartet...(+)
String quartet String
Quartet
SKU:
PR.14440538S
For
String Quartet.
Composed by David
Leisner. World Premiere:
iO Quartet; Greenwich
House, New York, NY.
Contemporary. Full score.
With Standard notation.
Composed 5-Dec. 8 pages.
Duration 9 minutes.
Theodore Presser Company
#144-40538S. Published by
Theodore Presser Company
(PR.14440538S).
UPC:
680160589456.
Leisn
er ponders life from
nothingness, its force of
presence, and its return
to nothingness, using
sustained strings and
increasing/decreasing
intensity as a basis upon
which to build his
impressions. The quartet
progresses from
near-silence to full-on
life-force, before slowly
dying away. For advanced
performers. Duration:
9'.
Bloom Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Theodore Presser Co.
(For String Quartet). By David Leisner (1953-). String quartet. For Violin I, Vi...(+)
(For String Quartet). By
David Leisner (1953-).
String quartet. For
Violin I, Violin II,
Viola, Cello. World
Premiere: iO Quartet;
Greenwich House, New
York, NY. Contemporary.
Score and part(s).
Standard notation.
Composed DECEMBER 2005. 8
+ 8 pages. Duration 9
minutes. Published by
Theodore Presser Company
For String Quartet. Composed by Michael Giacchino. Arranged by Robert Longfi...(+)
For String Quartet.
Composed
by Michael Giacchino.
Arranged
by Robert Longfield. Pops
For
String Quartet. Disney,
Movies. Softcover.
Duration
160 seconds. Published by
Hal
Leonard
Score and Parts String Quartet (Score & Parts) - Grade 3-4 SKU: HL.4492583(+)
Score and Parts String
Quartet (Score & Parts) -
Grade 3-4
SKU:
HL.4492583
Composed
by Kristen Anderson-Lopez
and Robert Lopez.
Arranged by Larry Moore.
Pops For String Quartet.
Disney, Movies.
Softcover. Published by
Hal Leonard (HL.4492583).
UPC: 840126924077.
9.0x12.0x0.048
inches.
This is the
pivotal song from 2019's
Frozen II, when the
heroine Elsa realizes
that she will have to
leave her comfortable
surroundings to seek her
higher purpose. Requiring
third position for the
first violin, this string
quartet arrangement by
Larry Moore will propel
your students into the
next stage of their
success!
For String Quartet. Composed by Lin-Manuel Miranda. Arranged by Larry Moore. P...(+)
For String Quartet.
Composed
by Lin-Manuel Miranda.
Arranged by Larry Moore.
Pops
For String Quartet.
Disney,
Movies. Softcover.
Duration
180 seconds. Published by
Hal
Leonard