Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

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 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.

String Quartet - intermediate

SKU: BT.DHP-1175785-070

Composed by John Lennon and Paul McCartney. Arranged by Anthony Gröger. De Haske Pops for String Quartet. Set (Score and Parts). Composed 2017. 12 pages. De Haske Publications #DHP 1175785-070. Published by De Haske Publications (BT.DHP-1175785-070).

ISBN 9789043152877. International.

In the entire history of pop and rock, no band has so dominated the music scene as original brit-poppers the Beatles did in the 1960s. For this medley for string quartet, four songs were selected that show the musical range of the Fab Four: from the powerful Help! through the romantic evergreen Yesterday and the rock classic A Hard Dayâ??s Night to the passionate anthem All You Need Is Love.

In de Pop and Rock geschiedenis heeft geen enkele ander band de muziekscene zo gedomineerd als The Beatles tijdens de jaren zestig. In deze medley voor strijkkwartet zijn vier songs geselecteerd die de muzikale verscheidenheid van de Fab Four goed weerspiegelen: van het krachtige Help! via de romantische evergreen Yesterday en de rockklassieker A Hard Dayâ??s Night tot het hartstochtelijke All You Need Is Love.

In der gesamten Geschichte der Pop- und Rockmusik gab es keine andere Band, die die Musikszene so beherrscht hat, wie es bei der britischen Popband The Beatlesâ?? in den 1960er Jahren der Fall war. Für dieses Medley für Streichquartett wurden vier Stücke ausgewählt, welche die musikalische Bandbreite der Fab Fourâ?? (berühmten Vierâ??) zeigen: vom mitreiÃ?enden Help! über den klassischen Evergreen Yesterday und den Rock-Klassiker A Hard Dayâ??s Night bis hin zu der leidenschaftlichen Hymne All You Need Is Love.

Dans lâ??histoire du pop et du rock, aucun groupe nâ??a autant marqué les esprits que le groupe de Britpop The Beatles dans les années 1960. Ce medley pour quatuor cordes regroupe quatre chansons représentant lâ??individualité de ces quatre musiciens : du puissant Help ! en passant par le romantique Yesterday et le classique du rock A Hard Dayâ??s Night jusquâ?? lâ??hymne All You Need Is Love.

By Charles Martin Loeffler. String quartet. For 2 violins, viola, violoncello. Chamber Music. String quartet in late romantic/early contemporary style. Late Romantic/Contemporary. Score and parts. 52 pages. Duration 25:00. Published by Wolfhead Music. (WM107) Level: Advanced.

String quartet (2 violins, viola, cello)

SKU: BA.BA10576-01

Composed by Bohuslav Martinu. Edited by Aleš Brezina. This edition: complete edition, urtext edition. Linen. The Bohuslav Martinu Complete Edition IV/3/2. Complete edition, Score, anthology. Baerenreiter Verlag #BA10576_01. Published by Baerenreiter Verlag (BA.BA10576-01).

ISBN 9790260108363. 33.3 x 26 cm inches. Language: CS, Text Language: CZ. Preface: Brezina, Aleš.

ThePetite Messe solennelleis the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with theStabat mater, the mass is one of the composer's mostimportant sacred works.

The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.

- Choral score based on the Urtext of the seriesWorks of Gioachino Rossini
- Supplements the already existing material available to this work

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.114417330

Composed by Richard Wernick. Premiered by the Juilliard String Quartet, Perelman Theater, Philadelphia Chamber Music Society; Philadelphia, PA. Contemporary. Set of Score and Parts. With Standard notation. Composed February 19 2015. 27+8+8+8+8 pages. Duration 19 minutes. Theodore Presser Company #114-41733. Published by Theodore Presser Company (PR.114417330).

UPC: 680160631841.

Strin g Quartet No. 9 is the fourth that Wernick has written for the Juilliard Quartet. A commission by the Philadelphia Chamber Music Society, Wernick's ninth string quartet was premiered by the Juilliard in November, 2015 and subsequently taken on tour. The first movement's affect (marked 'Assertive, Aggressive') [compares] to Rockport's forbidding coastline in the eyes of the first. settlers. This was an apt analogy since the work's musical language is, in today's vernacular, 'gnarly.' [The second movement]...a 'never-ending throb of repeated notes'...the effect of steadily diminishing life-force, though with a 'final burst of hope from the solo cello.' Again, the composer made intriguing use of many of the different ways stringed instruments can produce sound. Geoffrey Wieting, The Boston Musical Intelligencer.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.11441733S

Composed by Richard Wernick. Premiered by the Juilliard String Quartet, Perelman Theater, Philadelphia Chamber Music Society; Philadelphia, PA. Contemporary. Score. With Standard notation. Composed February 19 2015. 27 pages. Duration 19 minutes. Theodore Presser Company #114-41733S. Published by Theodore Presser Company (PR.11441733S).

UPC: 680160631865.

Strin g Quartet No. 9 is the fourth that Wernick has written for the Juilliard Quartet. A commission by the Philadelphia Chamber Music Society, Wernick's ninth string quartet was premiered by the Juilliard in November, 2015 and subsequently taken on tour. The first movement's affect (marked 'Assertive, Aggressive') [compares] to Rockport's forbidding coastline in the eyes of the first. settlers. This was an apt analogy since the work's musical language is, in today's vernacular, 'gnarly.' [The second movement]...a 'never-ending throb of repeated notes'...the effect of steadily diminishing life-force, though with a 'final burst of hope from the solo cello.' Again, the composer made intriguing use of many of the different ways stringed instruments can produce sound. Geoffrey Wieting, The Boston Musical Intelligencer.

Critical Edition. Composed by Charles Ives (1874-1954). Edited by Malcolm Goldstein. Peermusic Classical. Softcover. Peermusic #70133-759. Published by Peermusic (HL.175547).