| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
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. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
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. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 4 (mere) Bagatelles For String Quartet Score And Parts Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet - difficult SKU: HL.49017839 For string quartet. Co...(+)
String quartet -
difficult SKU:
HL.49017839 For
string quartet.
Composed by Joe Duddell.
This edition: Saddle
stitching. Sheet music.
String. Score and parts.
Composed 2007. 28 pages.
Duration 5'. Schott Music
#ED13181. Published by
Schott Music
(HL.49017839). ISBN
9790220130632.
9.0x12.0x0.104
inches. Duddell's
short string quartet made
up of four mere
bagatelles is a treat for
both players and
audiences. First
performed by the Psophos
Quartet at the 2007
Presteigne Festival and
recently transcribed for
string orchestra, Duddell
embraces the historical
weight of the prestigious
string quartet medium by
alluding to a wealth of
masterpieces by Mozart,
Stravinsky, Debussy,
Beethoven, Tippett and
Webern. Despite these
acknowledged references,
the music is still
distinctly Duddell's,
with catchy melodic
lines, tender harmonies
and rhythmic energy. This
is a fantastic new work
for young quartets
interested in new
repertoire. $27.99 - Voir plus => Acheter | | |
| String Quartets Quatuor à cordes: 2 violons, alto, violoncelle CD Sheet Music
SKU: SU.00220547 Composed by Franz Joseph Haydn. Chamber Music, String Tr...(+)
SKU: SU.00220547
Composed by Franz Joseph
Haydn. Chamber Music,
String
Trio/Quartet/Quintet. CD
(PDF Scores). CD Sheet
Music #00220547.
Published by CD Sheet
Music (SU.00220547).
A comprehensive
and unparalleled
collection that brings
together both familiar
and lesser-known vocal
and rhythmic exercises,
vocalizes, and methods
from the 18th, 19th and
early 20th century by 19
pedagogical masters,
including: Abt, Concone,
Dannhauser, Lablache,
Lamperti, Marchesi,
Rossini, Sieber, Vaccai,
and Viardot. Configured
in alternate keys for all
voice types; suitable for
all technical levels Also
includes: composer
biographies and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 3000+ pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| IV. Streichquartett (2009) Quatuor à cordes: 2 violons, alto, violoncelle Barenreiter
2 violins, viola, cello (Violins (2), Viola, Violoncello) SKU: BA.BA09378 ...(+)
2 violins, viola, cello
(Violins (2), Viola,
Violoncello) SKU:
BA.BA09378 Composed
by Manfred Trojahn.
Stapled. Score. Composed
2009. 43 pages. Duration
21 minutes. Baerenreiter
Verlag #BA09378_00.
Published by Baerenreiter
Verlag (BA.BA09378).
ISBN 9790006539086.
32.5 x 25.5 cm
inches. A modern
sequel to the music of
the Romantic era.
The first
movement hints at the
chromatic of
“Tristanâ€;
cantilena lines convey a
mournful scene. It is
succeeded by a brilliant
scherzo with the cryptic
title “Erste fremde
Szene†(First
Foreign/Unknown Scene
– one is invited
to solve this riddle),
while the third movement,
with its singing quality,
is related to the first.
The final movement, a
“Zweite fremde
Szeneâ€
(“Second
Foreign/Unknown
Sceneâ€), alludes to
the “last
dance†tradition,
with its ironic
undertones and the
copious use of sixths,
counterpointed with
tarantella rhythms.
A rewarding,
striking work, equally
valuable for concerts
combining older
compositions with new
works as for contemporary
music programmes.
$51.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144402180 After Zurbarán. ...(+)
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... $75.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.14440218S After Zurbarán. ...(+)
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... $32.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Subject Quatuor à cordes: 2 violons, alto, violoncelle Carl Fischer
Chamber Music String Quartet SKU: CF.BE11F Composed by Jason Eckardt. Ful...(+)
Chamber Music String
Quartet SKU:
CF.BE11F Composed by
Jason Eckardt. Full
score. 78 pages. Duration
16 minutes. Carl Fischer
Music #BE11F. Published
by Carl Fischer Music
(CF.BE11F). ISBN
9780825888595. UPC:
798408088590. 8.5 x 11
inches. Beginning
in the 1950s, the CIA
became very interested in
psychological research
beingconducted on the
effects of sensory
deprivation on humans.
The research, that
suggestedrapid regression
in those tested, provided
a framework for sections
of what would later
beknown as the KUBARK
manual, the first a
series of US-government
documents thatprovided
techniques for
interrogating detainees.
These methods involved
radicallyaltering a
detainee’s sense
of time and
environment.Among these
techniques, some
developed independently
of the manuals by
interrogators,were the
manipulation of light and
sound. In order to weaken
the resolve of a
detaineeand prolong
“capture
shock,†complete
sensory deprivation
followed by blasts of
light ornoise, or very
loud music, proved
effective. So much so
that variations and
combinationsof these
techniques were widely
used by the United States
as well as both its
allies andenemies in
Vietnam, Latin America,
Northern Ireland, and the
Middle East.Though the
idea of sound as a weapon
is at least as old as the
account of
Joshua’s siegeof
Jericho, it was only
recently deemed
“inhuman and
degrading†for the
purposes ofinterrogation
by the European Court of
Human Rights in the 1978
case “Ireland v.
theUnited
Kingdom.â€. Accid
entals apply only to the
notes they precede with
the exception of tied or
consecutively repeated
notes.Tempi are
consistent throughout the
meter changes (Le.,
~'=),)=)l, etc.).Grace
notes are always to be
played as fast as
possible. Each grace note
in a group should be of
the same duration.
Gracenotes curtail the
previous measured note's
duration with the
exception noted
below.Approximate
duration: 16 minutes. $41.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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