String
Quartet and
Sythesizer. Composed
by Peter Gregson. Music
Sales America. Classical.
Chester Music #CH87659.
Published by Chester
Music (HL.280829).
9.0x12.0x0.144
inches.
Peter
Gregson's Drone for
String Quartet and Juno
Synthesiser.
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from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
Soprano and String
Quartet Soprano; String
Quartet (String Quartet)
SKU: HL.50601303
Cantata on poems by
Osip Mandelstam Soprano
and String Quartet.
Composed by Elena
Firsova. String Ensemble.
Classical. Softcover. 98
pages. Sikorski #SIK8857.
Published by Sikorski
(HL.50601303).
UPC:
888680954192.
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titles are specialty
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retailers. These items
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warehouse. The shipment
time will be slower than
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from our US warehouse and
may be subject to
delays.
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.
String Quartet No.9 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Music Sales
String Quartet SKU: HL.14031827 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet
SKU:
HL.14031827
Composed
by Per Norgard. Music
Sales America. Classical.
Score. 48 pages. Music
Sales #KP01084. Published
by Music Sales
(HL.14031827).
ISBN
9788759871089.
Danish-English.
Pre
face The three movements
of the quartet may be
perceived as three
different expressions of
an unstable core: an
inherent unrest leads to
frequent changes of
direction. The first
movement is full of
dramatic contrasts: it is
followed by a second
movement, whose basic
mood of meditative rest
is challenged by
occasional centrifugal
utbursts, while the third
movement takes the
inherent conflicts to a
higher level, contrasting
material of introspective
lyricism with excessively
pathetic moods. The final
way out is a retrograde
one, (back) into the
source: through a
constant
accelerando-diminuendo
the piece disappears into
a vanishing point. The
into the source of the
titlemay be visualized as
a reversed
fountain-action: the
broad fan-like spread of
the first movement, a
more coherent-solid
second movement, and
finally - in the third
movement - a return-run,
ever more vehemently,
like a suction into the
spring itself ... The
musical motifs are
varied: there are
traffic-situations (which
I heard!) with stomping
and machine-like rhythms
in different, but
simultaneous tempi, and
there are more abstract
upwards and downwards
half-tone-scales, with
changing accents,
creating glimpses of
melodies. INTO THE
SOURCE, String Quartet
No. 9, was composed on a
double-commission from
the Orion Quartet and the
Vertavo Quartet. The
premiere performances
took places in Santa Fe
in 2002 and in Oslo in
2003. Per Norgard.
String Quartet SKU: HL.14025352 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet
SKU:
HL.14025352
Composed
by Per Norgard. Music
Sales America. Classical.
Set of Parts. 104 pages.
Music Sales #KP01337.
Published by Music Sales
(HL.14025352).
ISBN
9788759885420.
English-Danish.
Pre
face The three movements
of the quartet may be
perceived as three
different expressions of
an unstable core: an
inherent unrest leads to
frequent changes of
direction. The first
movement is full of
dramatic contrasts: it is
followed by a second
movement, whose basic
mood of meditative rest
is challenged by
occasional centrifugal
utbursts, while the third
movement takes the
inherent conflicts to a
higher level, contrasting
material of introspective
lyricism with excessively
pathetic moods. The final
way out is a retrograde
one, (back) into the
source: through a
constant
accelerando-diminuendo
the piece disappears into
a vanishing point. The
into the source of the
titlemay be visualized as
a reversed
fountain-action: the
broad fan-like spread of
the first movement, a
more coherent-solid
second movement, and
finally - in the third
movement - a return-run,
ever more vehemently,
like a suction into the
spring itself ... The
musical motifs are
varied: there are
traffic-situations (which
I heard!) with stomping
and machine-like rhythms
in different, but
simultaneous tempi, and
there are more abstract
upwards and downwards
half-tone-scales, with
changing accents,
creating glimpses of
melodies. INTO THE
SOURCE, String Quartet
No. 9, was composed on a
double-commission from
the Orion Quartet and the
Vertavo Quartet. The
premiere performances
took places in Santa Fe
in 2002 and in Oslo in
2003. Per Norgard.
SKU: HL.50603994 Score and Parts. Composed by Daniel D'Adamo. Stri...(+)
SKU: HL.50603994
Score and Parts.
Composed by Daniel
D'Adamo. String.
Softcover. 88 pages.
Duration 600 seconds.
Chant Du Monde
#CDMMC5013. Published by
Chant Du Monde
(HL.50603994).
ISBN
9781705164679. UPC:
196288068310. 9.0x12.0
inches.
Quatuor No
2 was first performed by
the Tana string quartet
on April 14, 2013, at
Radio France, Paris. I
conceived a piece whose
principal subject was
going to consist in the
description of a
minuscule sonic element.
The description of this
tiny initial material
would be so precise, so
detailed that, deployed
on a much larger scale
than its original one, it
would occupy the entire
duration of the piece. At
that point, I just had to
choose a sound model as
the starting point of the
piece, the sound that
would best characterize
the string instruments
themselves: the noisy
sound produced by the bow
barely coming in contact
with one of the strings,
getting ready to acquire
speed, weight,
acceleration, and
producing a full sound of
a violin, a viola or a
cello... -Daniel
D'Adamo.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
Vistas. Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation. 42 +
112 pages. Duration 25
minutes. Theodore Presser
Company #114-40698.
Published by Theodore
Presser Company
(PR.114406980).
UPC:
680160010806.
Shula
mit Ran’s second
string quartet, subtitled
“Vistas,â€
occupies a large canvas
that is cast in a
traditional fourmovement
mold, where the outer
movements present,
explore, and later return
to the work’s
principal musical
materials, surrounding a
slow movement and
scherzo-type third
movement with a trio. In
addition to tempo-based
titles, the individual
movements have subtitles
that are evocative of
each movement’s
character, as follows: I.
Concentric: from the
inside out II. Stasis
III. Flashes IV.
Vistas. My second
string quartet,
“Vistasâ€, is
a work cast in a
traditional four-movement
formal mold, with the
outer movements,
presenting and later
returning to the
work’s principal
musical materials,
surrounding a slow
movement and a
scherzo-type third
movement.While the four
movements’
“properâ€
names -- Maestoso con
forza, Lento, Scherzo
impetuoso, and
Introduzione; Maestoso e
grande – give some
indication of the general
character of the
individual movements, I
have also subtitled, less
formally, each movement
as follows:Â 1)
Concentric:Â from the
inside out 2)Â
Stasis 3) FlashesÂ
4) Vista. The images
evoked by these titles
tell one, I think, a bit
more about the inner
workings of the
quartet.In the first
movement, a prominently
presented opening pitch
(E) reveals itself, as
the movement unfolds, to
be a center of gravity
from which ever-growing
cycles of activity
gradually evolve.Â
While various important
themes come into being as
the movement progresses,
their impact on the
listener has, I believe,
a great deal to do with
their juxtaposition and
relationship to the
initial central point of
gravity.Stasis is, as the
name implies, a movement
where activity seems, at
times, almost
suspended. Being
also, as Webster’s
Dictionary reminds us,
“a state of static
balance and equilibrium
among opposing tendencies
or forces,†it
develops various
materials, including ones
from the first movement,
without bringing them to
points of
resolution.Flashes is
short and very fast,
evoking in my mind the
quick shimmer of
fireflies, a
“sudden burst of
lightâ€, but also a
“brief
timeâ€. Perhaps,
even, a
“smile�Final
ly, the last movement,
Vista, is not only
“a view or
outlookâ€, but also
“a comprehensive
mental view of a series
of remembered or
anticipated
events.â€Â After
a brief recall of the
opening of the second
movement, this movement
brings back all the
important themes of the
first movement in their
original order. But
just as going back can
never really mean going
back in time, the
movement is much more
than recapitulatory.Â
By cutting through
previously transitory
passages and presenting
the main ideas in a
fashion more direct yet
more evolved, it also
sheds new light on
earlier events, offering
a retrospective, synoptic
view of the first
movement as it brings to
culmination the work as a
whole. “Vistasâ
€ was commissioned by
C. Geraldine Freund for
the Taneyev String
Quartet of what was then
Leningrad. It was the
first commission given in
this country to a Soviet
chamber ensemble since
the 1985 cultural
exchange accord between
the Soviet Union and the
United States.
SKU: HL.50603813 Score and Parts. Composed by Benet Casablancas. S...(+)
SKU: HL.50603813
Score and Parts.
Composed by Benet
Casablancas. String.
Softcover. Duration 660
seconds. Union Musical
Ediciones #UME28535.
Published by Union
Musical Ediciones
(HL.50603813).
ISBN
9781705145913. UPC:
840126992892.
The
String Quartet no. 4,
subtitled Dedication, was
commissioned by the CNDM
of Madrid to celebrate
the 250th Anniversary of
Beethoven and was written
for, and dedicated to,
the Cuarteto Casals
(2017). This one-movement
work, lasting some 11
minutes, is based on a
small motif from the op
quartet. 130 as a tribute
to the German master. The
work, that explores the
full range of the
technical, musical, and
emotional scope of the
quartet medium, has a
ternary arrangement, with
a slow introduction and a
conclusive stretta on the
B-flat note (like the one
that opens Op. 130). Its
course includes marked
contrasts between the
contemplative, lyrical,
static and suspensive
sections - in the manner
of stagnations - and
those with a more lively
tempo, playful and
occasionally festive.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.