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.144402180

After Zurbarán. Composed by James Primosch. Set of Score and Parts. With Standard notation. 20+8+8+8+8 pages. Duration 18 minutes. Merion Music #144-40218. Published by Merion Music (PR.144402180).

UPC: 680160027156. 9.5 x 13 inches.

The concerts and exhibits of the Cleveland Museum of Art were an important formative influence for me during my student days. So when the invitation came to create a new work celebrating this institution on its seventy-fifth anniversary, I was not only happy to accept, but knew immediately that I wanted to write a piece that would somehow relate specifically to the museum. I decided to make the work a reflection on a painting in the museum's collection: Zurbaran's The Holy House of Nazareth. My quartet is not program music in a narrative sense, but rather a kind of meditation that takes its tone from this painting's remarkable integration of intense affect, mysterious repose and secret geometry. Besides Zurbaran's painting, the piece is occupied with a purely musical object of contemplation: the hymn tune Picardy, best known with the text Let All Mortal Flesh Keep Silence. This tune permeates the harmonic and melodic life of the quartet, sometimes appearing in a very simple, straightforward fashion, but often hidden amidst more complex structures. I was attracted to the melody for its musical qualities, but later realized that the hymn's text also resonates with the mood of the painting; the words speak of a reverent awe, of cherubim with sleepless eye, and of the mystery of the Incarnate Word who must suffer: King of kings, yet born of Mary...

Chamber Music String Quartet

SKU: PR.14440218S

After Zurbarán. Composed by James Primosch. Full score. With Standard notation. Duration 18 minutes. Merion Music #144-40218S. Published by Merion Music (PR.14440218S).

UPC: 680160027170. 9.5 x 13 inches.

The concerts and exhibits of the Cleveland Museum of Art were an important formative influence for me during my student days. So when the invitation came to create a new work celebrating this institution on its seventy-fifth anniversary, I was not only happy to accept, but knew immediately that I wanted to write a piece that would somehow relate specifically to the museum. I decided to make the work a reflection on a painting in the museum's collection: Zurbaran's The Holy House of Nazareth. My quartet is not program music in a narrative sense, but rather a kind of meditation that takes its tone from this painting's remarkable integration of intense affect, mysterious repose and secret geometry. Besides Zurbaran's painting, the piece is occupied with a purely musical object of contemplation: the hymn tune Picardy, best known with the text Let All Mortal Flesh Keep Silence. This tune permeates the harmonic and melodic life of the quartet, sometimes appearing in a very simple, straightforward fashion, but often hidden amidst more complex structures. I was attracted to the melody for its musical qualities, but later realized that the hymn's text also resonates with the mood of the painting; the words speak of a reverent awe, of cherubim with sleepless eye, and of the mystery of the Incarnate Word who must suffer: King of kings, yet born of Mary...

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.114410380

Composed by Lowell Liebermann. Saddle, Tape Junction. Set of Score and Parts. With Standard notation. Composed 1998. Opus 60. 48 + 92 pages. Duration 30 minutes. Theodore Presser Company #114-41038. Published by Theodore Presser Company (PR.114410380).

UPC: 680160015160. 9.5 x 13 inches.

My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
My second String Quartet was written twenty years after the first, Opus 4 from 1978.  The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond.  I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements:  Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work.  While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact.  The quartet is pervaded by a sense of seriousness, even mournfulness.  The second movement’s scherzo is an aggressively animated piece of musical machinery.  The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts.  The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.

String quartet

SKU: BO.B.3388

Composed by Jordi Cervello. Instrumental Sets. Duration 10:12. Published by Editorial de Musica Boileau (BO.B.3388).

English comments:
A Bach for string quartet is another evocation of the past, in this case of J.S. Bach's works for violin. Written in 2004, it is a recreation of two of the most important movements in the series of Sonatas and Partitas: The Adagio of the third Sonata and the Prelude of the third Partita (BWV 1005 and 1006, respectively). Jordi Cervello was a violinist and, as such, it should come as no surprise that he once again makes use of compositions written for his instrument. The Adagio, here in common time (the original by Bach is in three-four time), keeps up the constant rhythmic figure of the dotted quaver and semi-quaver throughout the movement, with a calmness that is shrouded in mystery. The second movement, Preludiando, retains the same lively spirit as the original, but explores different moods. Moments of calm, vigour and even some dramatic points give it a new dimension thanks to the fact that it is written for a quartet and to Cervello's original treatment of harmony and counterpoint.

Co mentarios del Espanol:
A Bach para cuarteto de cuerda es otra evocacion del pasado, en este caso de la obra para violin de J.S. Bach. Escrita el ano 2004, se trata de una recreacion de dos de los movimientos mas importantes de la serie de Sonatas y Partitas: El Adagio de la tercera Sonata y el Preludio de la tercera Partita (BWV 1005 y 1006 respectivamente). Jordi Cervello fue violinista y, como tal, no debe sorprender que una vez mas se sirva de material compositivo procedente de su instrumento. El Adagio, aqui en compas de cuatro (el original de Bach es de tres) conserva en todo el movimiento la constante figura ritmica de corchea con puntillo y semicorchea, dentro de un clima sereno pero rodeado de misterio. El segundo movimiento, Preludiando, conserva el mismo espiritu vivo del original, pero recorriendo diferentes estados de animo. Momentos de calma, de vigor e incluso dramaticos dan nueva dimension gracias a la escritura cuartetistica y al original tratamiento armonico y contrapuntistico de Cervello. A Bach se estreno en La Pedrera de Barcelona dentro del ciclo Celebracions de la Fundacio Caixa de Catalunya en el ano 2006 con el Quarteto Prometeo.

Chamber Music String Quartet

SKU: CF.BE24

The Planet on the Table. Composed by Martin Bresnick. Folio. Set of Score and Parts. 48+20+16+16+16 pages. Duration 32 minutes. Carl Fischer Music #BE24. Published by Carl Fischer Music (CF.BE24).

ISBN 9781491156780. UPC: 680160915323. 9 x 12 inches. La.

Based on Wallace Stevens' poem The Planet on the Table this string quartet's world is made of the music and sounds of remembered times or of something heard that the composer, Martin Bresnick, liked. The quartet has five movements, each headed by a quotation from one of Stevens' poems as a point of departure or pathway into those remembered sounds and music. What matters is that my music, like his (Stevens') poetry, should bear some lineament or character, some affluence, if only half perceived in the poverty of its sounds, of the planet of which it was part..
Wallace Stevens' poem The Planet on the Table begins - Ariel was glad he had written his poems, They were of a remembered time Or of something seen that he liked. In this string quartet, also entitled The Planet on the Table, my planet is made of the music and sounds of a remembered time or of something heard that I liked. The quartet has five movements, each headed by a quotation from one of Stevens' poems* as a point of departure or pathway into those remembered sounds and music: I. Mrs. Anderson's Swedish Baby II. She Measured the Hour III. Scene 10 Becomes 11 IV. Someone Has Walked Across the Snow V. His Self and the Sun Like Stevens, my self and the sun are one, and my music, like his poetry, although makings of my self, is also makings of the sun. Stevens wrote it was not important that his poetry survive, which is also true of my work. What matters is that my music, like his poetry, should bear some lineament or character, some affluence, if only half perceived in the poverty of its sounds, of the planet of which it was part. *Sources for the titles: I. The Pleasures of Merely Circulating II. The Idea of Order at Key West III. Chaos in Motion and Not in Motion IV. Vacancy in the Park V. The Planet on the Table.
Wallace Stevens' poem The Planet on the Table begins -Ariel was glad he had written his poems,They were of a remembered timeOr of something seen that he liked.In this string quartet, also entitled The Planet on the Table, my planet is made of the music and sounds of a remembered time or of something heard that I liked.The quartet has five movements, each headed by a quotation from one of Stevens' poems* as a point of departure or pathway into those remembered sounds and music:I. Mrs. Anderson's Swedish BabyII. She Measured the HourIII. Scene 10 Becomes 11IV. Someone Has Walked Across the SnowV. His Self and the SunLike Stevens, my self and the sun are one, and my music, like his poetry, although makings of my self, is also makings of the sun. Stevens wrote it was not important that his poetry survive, which is also true of my work.What matters is that my music, like his poetry, should bear some lineament or character, some affluence, if only half perceived in the poverty of its sounds, of the planet of which it was part.*Sources for the titles:I. The Pleasures of Merely CirculatingII. The Idea of Order at Key WestIII. Chaos in Motion and Not in MotionIV. Vacancy in the ParkV. The Planet on the Table.

By Franz Joseph Haydn. Edited by Moser, Dechert. For 2 violin, viola, violoncello. Op.1,Nos.1-6(B|,E|,D,G,B| ,C); Op.2,Nos.1-6(A,E,E|,F,D,B |); Op.3,Nos.1,2,4,6(E,C,B|,A ); Op.20,(Sun)Nos.1-3(E|,C,g ); Op.33,(Quartets with Scherzi)(Jungfern,Bird or Russian)Nos.1,4,5,(b,B|;G ,How do you do?); Op.51,(Seven Last Words):Introduction(d); 7 Sonata. Published by C.F. Peters.