For Viola. By Various. Instrumental Folio. Pop, Standards. Softcover. Published by Hal Leonard

Traditional Irish and American Fiddle Tunes Arranged for Viola. by Michael Hoffheimer. Level: Intermediate. Book. Size 8.56x11.75. 88 pages. Published by Mel Bay Pub., Inc.

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

Composed by Various. Instrumental Solo. Softcover. 104 pages. Published by Hal Leonard

By Various. Instrumental Folio. Softcover. 146 pages. Published by Hal Leonard.

Arranged by Deborah Greenblatt. Viola Duet. For 2 violas. Tunes for Two. Folk. Songbook. Standard Notation. 58 pages

Classic Rock for the String Orchestra (Viola). Arranged by Bob Phillips and Daryl Silberman. Book; CD; Play-Along; String Orchestra Collection. Rock. 40 pages. Published by Alfred Music (AP.40738).

(Viola). Arranged by Various. For Viola. Book; CD; Play-Along; String Series. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

Edited by Joel Lish & Jan Kelley. Arranged by Daniel Kelley. For Viola and Cello (or Bassoon). Duets. Music for Two. Gilbert & Sullivan, Irish, Rags. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.

Arranged by Marshall Ocker. For String Quartet. Includes set of performance parts (violin I and II, viola, violincello) and full score. Christmas and holiday. 73 pages. 9x12 inches. Published by Amp.

Viola Part. By Various. Arranged by Marshall Ocker. Orchestra. Size 9x12 inches. 32 pages. Published by Associated.

(Cello). Arranged by Various. For Cello. Book; CD; Play-Along; String Series. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

(Violin). Arranged by Various. For Violin. Book; CD; Play-Along; String Series. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

(Alto Sax). Arranged by Various. For Alto Sax. Book; CD; Instrumental Series; Play-Along. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

(Horn in F). Arranged by Various. For Horn in F. Book; CD; Instrumental Series; Play-Along. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

(Flute). Arranged by Various. For Flute. Book; CD; Instrumental Series; Play-Along. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

Clarinet. Arranged by Various. Book; CD; Instrumental Series; Play-Along. Top Hits Instrumental Solos. Broadway; Movie; TV. 76 pages. Published by Alfred Music (AP.45168).

(Tenor Sax). Arranged by Various. For Tenor Sax. Book; CD; Instrumental Series; Play-Along. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

(Trumpet). Arranged by Various. For Trumpet. Book; CD; Instrumental Series; Play-Along. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

(Trombone). Arranged by Various. For Trombone. Book; CD; Instrumental Series; Play-Along. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

By Many. Text: Many. For Hymnal Extender. Hymns; Sacred. Published by Jackman Music Corporation.
Level: Medium Easy.

18 Festival Solos with Piano Accompaniment. Composed by Tyler Arcari and Larry Clark. Edited by Diana Traietta. Solo and Ensemble Music. Solo Performnace Collection. Collection. Wingert-Jones Publications #SB2224. Published by Wingert-Jones Publications

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.