Primary Colours Quatuor à cordes: 2 violons, alto, violoncelle Chester
Score and Parts String Quartet (Score & Parts) SKU: HL.257826 String Q...(+)
Score and Parts String
Quartet (Score & Parts)
SKU: HL.257826
String Quartet.
Composed by Peter
Gregson. Music Sales
America. Classical.
Softcover. Chester Music
#CH86966. Published by
Chester Music
(HL.257826).
ISBN
9781540015716. UPC:
888680724504.
9.0x12.0x0.076
inches.
Peter
Gregson's Primary Colours
arranged for String
Quartet.
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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.
Harp, Flute, Clarinet, String Quartet SKU: HL.14023298 Composed by Per No...(+)
Harp, Flute, Clarinet,
String Quartet
SKU:
HL.14023298
Composed
by Per Norgard. Music
Sales America. Score.
Music Sales #KP01431.
Published by Music Sales
(HL.14023298).
ISBN
9788759871591.
English.
Per
Norgard 's Gennem Torne /
Through Thorns (2003)
Harp Concerto No. 2 -
Passage for Harp Solo
with Flute, Clarinet and
String Quartet. Premiered
by Tine Rehling (Harp)
and the Esbjerg Ensemble,
conducted by Kaisa Roose
at the Concert Hall of
the Western Jutland
Academy of Music,
Esbjerg, 28th January
2004. Programme Note
THROUGH THORNS has a
duration of about 20
minutes, in one
continuous movement, thus
the subtitle passage. The
work is scored for harp
solo, flute, clarinet and
string quartet. The title
is borrowed from the
lines from an old Virgin
Mary Hymn: Mary wanders
through thorns, a hymn
which ends with the
following line: then
roses grew forth amongst
thethorns. I only came
across the poem after
finishing the
composition, the passage
of which is a journey of
sometimes dramatic
events, concluding with a
rose-blooming, as does
the hymn. For
THROUGH THORNS to borrow
its title from a Virgin
Mary Hymn has to do with
the musical material and
current of the piece,
which brings motives from
an earlier choral piece
of mine, FLOS UT ROSA
(Latin for a flower like
a rose), and the rose in
question is of course the
one which grew forth when
the Virgin Mary gave
birth to the Infant Jesus
in a hitherto unheard-of
fashion, a NOVA GENITURA
(new birth), which is the
title of another work of
mine that also derives
its material from my
original rose-melody from
1975. THROUGH
THORNS is dedicated to
Tine Rehling, and
together with her I have
tried to expand the
sonorities of the harp,
by exploring existing
techniques and their more
remote regions, in order
to gain access to new
territory and new
soundscaoes, as realised
by the constantly
experimentally-minded and
virtuoso player.
Per Norgard, 2004.
 .
Voice and String Quartet SKU: AP.36-M216291 Composed by Various. Edited b...(+)
Voice and String Quartet
SKU: AP.36-M216291
Composed by Various.
Edited by Mary Sue Hyatt
and Translations by
Giovanna Jackson.
Arranged by Albert Vinci,
Translations by Giovanna
Jackson, and ed. Mary Sue
Hyatt. Performance Music
Ensemble; Voice and
String Quartet. Master
Vocal Series. Score and
Part(s). Alfred Music
#36-M216291. Published by
Alfred Music
(AP.36-M216291).
UPC:
660355117718.
English.
While the
song text remains in
Italian, loving
translations of these
songs have been created
by Giovanna Jackson to
aid in a singers
interpretation.Three
songs are included in
this second set: Il mio
bel foco (Marcello); Se
tu m'ami, se sospiri
(Pergolesi); Come raggio
di sol (Caldara). Each
song has been arranged by
Albert C. Vinci and
edited by Mary Sue Hyatt
to be performed with a
string quartet or string
orchestra. Both the
string quartet and string
orchestra versions are
available from the
publisher.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Voice and String Quartet SKU: AP.36-M213491 Composed by Various. Edited b...(+)
Voice and String Quartet
SKU: AP.36-M213491
Composed by Various.
Edited by Mary Sue Hyatt
and Translations by
Giovanna Jackson.
Arranged by Albert C
Vinci/ ed. Mary Sue Hyatt
and Translated by
Giovanna Jackson.
Performance Music
Ensemble. Master Vocal
Series. Score and
Part(s). Alfred Music
#36-M213491. Published by
Alfred Music
(AP.36-M213491).
UPC:
660355072758.
English.
While the
song text remains in
Italian, loving
translations of these
songs have been created
by Giovanna Jackson to
aid in a signers
interpretation. Three
songs are included in
this first set: Caro Mio
Ben (Giordani); Cangia,
Cangia Tue Voglie
(Fasolo); Danza, Danza,
Fanciulla Gentile
(Durante). Each song has
been arranged by Albert
C. Vinci and edited by
Mary Sue Hyatt to be
performed with a string
quartet or string
orchestra. Both the
string quartet and string
orchestra versions are
available from the
publisher.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Composed by Tony Kime.
Performance Music
Ensemble; String Quartet.
Latham Music. Score.
LudwigMasters
Publications
#36-52703016. Published
by LudwigMasters
Publications
(AP.36-52703016).
ISBN
9781633611047. UPC:
654690579621.
English.
More
traditional Scottish
favorites in medley form
(reels, strathspeys,
jigs, hornpipes and slow
airs) including virtuosic
works by Scott Skinner
and new originals from
Tony Kime. Tune list:
Mhairi's Wedding, Dr.
Cameron's Jig, The Bonnie
Lass o' Bonaccord, Lady
Mary Ramsey, Alice
Eileen, The Steam-Boat,
Kelso Square, and The
Mathematician.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
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...
Streichquartett c-Moll Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Avancé Furore Verlag
Composed by Dame Ethel Mary Smyth (1858-1944). Sound Research of Women Composers...(+)
Composed by Dame Ethel
Mary Smyth (1858-1944).
Sound Research of Women
Composers: Music of the
Romantic (R 18). Chamber
music. Score and parts.
Composed 1881. Duration
(33'). Furore Verlag #fue
10067. Published by
Furore Verlag
(FV.FUE-10067).
Chamber Music String Quartet SKU: PR.11441387S Composed by Stacy Garrop. ...(+)
Chamber Music String
Quartet
SKU:
PR.11441387S
Composed
by Stacy Garrop.
Classical. Full score.
With Standard notation.
Composed Summer 2008. 56
pages. Duration 31
minutes. Theodore Presser
Company #114-41387S.
Published by Theodore
Presser Company
(PR.11441387S).
UPC:
680160585694.
Havin
g performed Garrop's
String Quartet No. 2:
Demons and Angels with
much success, it is only
natural that the Biava
Quartet would handle the
premiere of String
Quartet No.3: Gaia. In an
email interview with
Pittsburgh New Music Net,
Biava violist Mary Persin
says, in part, We
received many very
enthusiastic responses
from audience members who
were struck by the
interesting form, as well
as the sonorities created
by using a good deal of
dissonance as well as
harmonics. Watch for a
recording by the Biava
Quartet to be made
available soon. For
advanced performers.
Duration: 32' 30.
Composed by Tony Kime.
Performance Music
Ensemble; String Quartet.
Ludwig Masters. Score and
Part(s). LudwigMasters
Publications
#36-52703015. Published
by LudwigMasters
Publications
(AP.36-52703015).
ISBN
9781633611030. UPC:
660355001734.
English.
More
traditional Scottish
favorites in medley form
(reels, strathspeys,
jigs, hornpipes and slow
airs) including virtuosic
works by Scott Skinner
and new originals from
Tony Kime. Tune list:
Mhairi's Wedding, Dr.
Cameron's Jig, The Bonnie
Lass o' Bonaccord, Lady
Mary Ramsey, Alice
Eileen, The Steam-Boat,
Kelso Square, and The
Mathematician.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] 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...