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.

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.

By Edward Huws Jones. (Violin). Boosey and Hawkes Chamber Music. Size 9x12 inches. 30 pages. Published by Boosey and Hawkes.

by Bonnie Rideout. For fiddle and violin. Maggie's Music. Scottish. Level: Beg-Intermediate. Book. Solos. Size 8.75x11.75. 64 pages. Published by Mel Bay Pub., Inc.

Instrumental Play-Along. By Queen. Instrumental Play- Along. Rock. Softcover Audio Online. 24 pages. Published by Hal Leonard

From My Life. By Bedrich Smetana. (Study Score). Schott. Size 5.25x7.5 inches. 51 pages. Published by Eulenburg Germany (Schott).

2 to 6 instruments

SKU: LM.VV194

Composed by Alfred Herzog. Musique d'Ensembles. Classical. Score and CD. Editions Van de Velde #VV194. Published by Editions Van de Velde (LM.VV194).

ISBN 9790560051949.

Les premiers pas (piano, perc., violoncelle, violon et flute) - Petite abeille (piano, violon et flute) - Conte de grand' mere (piano, violoncelle, violon, clarinette et flute) - Sur cinq notes (piano, perc., violoncelle, clarinette et flute) - Petite valse en trio (piano, violoncelle et violon) - Beau mois de Mai (piano, violon et flute) - Les marionnettes (piano, clarinette et flute) - Jingle bells (piano, perc., violoncelle, violon, clarinette et flute) - Petite berceuse (piano, violoncelle, violon et flute) - Chant du soir (piano et flute) - Little girl (piano, perc., violoncelle et clarinette) - Valse Alsacienne (piano, perc., clarinette et flute) - Rock a my soul (piano, perc., violoncelle et clarinette) - So viele Sterne (piano, perc., violoncelle, violon, clarinette et flute ) - Taler, Taler... (piano, violon et clarinette) - Greensleeves (piano, violoncelle, violon et clarinette) - My Bonnie (piano, violoncelle, violon, clarinette et flute) - Melodie Irlandaise (piano, violoncelle, violon et clarinette) - Suzannah (piano, perc., violoncelle, violon, clarinette et flute) - When the Saints (piano, perc., violoncelle, violon, clarinette et flute).

Transcribed by Bill Guest. For Fiddle. Transcribed Solos. Rounder Records. Old Time. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 56 pages. Published by Mel Bay Publications, Inc.

With chords suitable for all melody instruments. By Dave Mallinson. For Fiddle. Songbook. Mally's Presents. Celtic/Irish. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 44 pages. Published by Mel Bay Publications, Inc.

Choral (highlights)

SKU: HL.48186479

Composed by Isabelle Aboulker. Leduc. Softcover. 16 pages. Alphonse Leduc #AL30743. Published by Alphonse Leduc (HL.48186479).

UPC: 888680829209. 9x12 inches.

“Foll owing on the success of her two operatic works for children and teens ' Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) ' Isabelle Aboulker once again hits the bull's eye with Myla and the Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for narrator, children's choir and instrumental accompaniment, was awarded the 'Music for Young Performers Prize' by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for narrator, children's choir and piano (AL 30 732)' for narrator, children's choir and trio (clarinet in B b, cello and piano: AL 30 733)' for narrator, children's choir and instrumental ensemble(flute, oboe, clarinet in B b, bassoon, horn, trumpet in C, trombone, percussion, 2 violins, alto, cello, bass: AL 30 734)Choral score: AL 30 743 &rdquo.

Piano (Piano)

SKU: HL.48186472

Composed by Isabelle Aboulker. Leduc. Softcover. 32 pages. Alphonse Leduc #AL30732. Published by Alphonse Leduc (HL.48186472).

Following on the success of her two operatic works for children and teens ? Douce et Barbe Bleue, Les Fables Enchantees, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant?s short story The Dumpling (2014) ? Isabelle Aboulker once again hits the bull?s eye with Myla and the Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for narrator, children?s choir and instrumental accompaniment, was awarded the ?Music for Young Performers Prize? by the French Music Publishers Association. Both in the French version and Marci Meth?s excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she?d cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions:? for narrator, children?s choir and piano (AL 30 732)? for narrator, children?s choir and trio (clarinet in B b, cello and piano: AL 30 733)? for narrator, children?s choir and instrumental ensemble (flute, oboe, clarinet in B b, bassoon, horn, trumpet in C, trombone, percussion, 2 violins, alto, cello, bass: AL 30 734) Choral score: AL 30 743 .

(Chamber Ensemble)

SKU: HL.48186473

Composed by Isabelle Aboulker. Leduc. 44 pages. Alphonse Leduc #AL30733. Published by Alphonse Leduc (HL.48186473).

UPC: 888680828165. 9x12.25 inches.

“Foll owing on the success of her two operatic works for children and teens ' Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) ' Isabelle Aboulker once again hits the bull's eye with Myla and the Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for narrator, children's choir and instrumental accompaniment, was awarded the 'Music for Young Performers Prize' by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions:' for narrator, children's choir and piano (AL 30 732)' for narrator, children's choir and trio (clarinet in B b, cello and piano: AL 30 733)' for narrator, children's choir and instrumental ensemble (flute, oboe, clarinet in B b, bassoon, horn, trumpet in C, trombone, percussion, 2 violins, alto, cello, bass: AL 30 734) Choral score: AL 30 743 &rdquo.

(Chamber Ensemble)

SKU: HL.48186474

Composed by Isabelle Aboulker. Leduc. 94 pages. Alphonse Leduc #AL30734. Published by Alphonse Leduc (HL.48186474).

UPC: 888680831080. 9x12 inches.

“Foll owing on the success of her two operatic works for children and teens ' Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) ' Isabelle Aboulker once again hits the bull's eye with Myla and the Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for narrator, children's choir and instrumental accompaniment, was awarded the 'Music for Young Performers Prize' by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions:' for narrator, children's choir and piano (AL 30 732)' for narrator, children's choir and trio (clarinet in B b, cello and piano: AL 30 733)' for narrator, children's choir and instrumental ensemble (flute, oboe, clarinet in B b, bassoon, horn, trumpet in C, trombone, percussion, 2 violins, alto, cello, bass: AL 30 734) Choral score: AL 30 743 &rdquo.

Composed by Marten Jansson (1965-). In a folder. Set of parts. 11/11/11/11/8 pages pages. Published by Baerenreiter Verlag (BA.BA7420-22).

2 violins, viola, violoncello

SKU: FG.55011-875-1

Composed by Lotta Wennäkoski. Classical, contemporary. Score & parts. Fennica Gehrman #55011-875-1. Published by Fennica Gehrman (FG.55011-875-1).

Lotta Wennäkoski's Pige (2021-2022) for string quartet was commissioned to be paired with the Death and the Maiden quartet by Franz Schubert (pige is Danish for girl). The composer tells:

The first movement Vorüber, ach, vorüber! is based on the first half of Schubert’s lied lying behind his The Death and the Maiden quartet. The maiden’s song in the beginning of the lied has not found its way to his string quartet, so I wanted to use this material in mine. The second move-ment Daktylus borrows its idea from the haunting pulse of Schubert’s chant of Death. Something fierce and something soundless can be heard here - along with other variants on the dactyl rhythm. For example, I’ve written a lyrically flowing melody based on the same rhythmic pattern (long-short-short).
Schubert’s quartet is wonderful music and of course a cornerstone of the repertoire, and the death and the maiden is a strong, tempting and gloomy motif in art history. On the other hand, I just couldn’t help seeing the motif also as a - somewhat passé - image of an old male desiring the ulti-mately young female body. The third movement thus turns its gaze to the girl herself. Pigen og scrapbogen, The Girl and the Scrapbook, is joyful textural music - compiled of fragments and freely handled quotations that might spring to mind when thinking of a vital girl’s life.


This product includes the full score and the set of parts.

Movements:< br>1. Vorüber, ach, vorüber!
2. Daktylus
3. Pigen og scrapbogen (das Mädchen und das Scrapbuch)

The first movement can also be performed separately as a prologue to The Death and the Maiden string quartet by Franz Schubert.

by Craig Duncan. For fiddle. method. You Can Teach Yourself. All Styles. Level: Beginning. Book/CD Set. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc.

Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.