Composed by Winton Yuichiro White. Percussion Ensemble. For Marimba (4-mallet) (marimba (5-octave)). Medium. Duration 5:30. Published by C. Alan 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.

Composed by Judith Bingham (1952-). For SSAATTBB choir a cappella. Modern, Choral. Sheet Music. Composed 1997; First Performance: July 18th, 1999 (The Joyful Company of Singers). Duration circa 4 minutes. Edition Peters #EP71152. Published by Edition Peters

SKU: CL.016-0140-00

Waltz. Composed by King. Orchestra. Score and set of parts. Composed 1911. C.L. Barnhouse #016-0140-00. Published by C.L. Barnhouse (CL.016-0140-00).

Medium Voice and Piano

SKU: HL.14029486

Composed by Cyril Scott. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV275892. Published by Music Sales (HL.14029486).

Flute

SKU: CL.074-6036-04

Composed by King. Orchestra Book/Folio (Concert). Flute book. Composed 1910. C.L. Barnhouse #074-6036-04. Published by C.L. Barnhouse (CL.074-6036-04).

CONTENTS: * The Joy Riders March and Two-Step * The Rifle Rangers March and Two-Step * The Avenger March * American Beauty Waltz * Dance of the Imps Characteristic Schottische * The Siren Waltz * Excelsior Galop * The Victor March and Two-Step * Triumph March * My Lady Waltz * Over the Stars Waltz * Roll of Honor March * Love's Way Waltz * Water Lilies Waltz * Evening Shadows Serenade * The Conqueror Overture *.

By Jane Bastien. (Bastien Piano Basics). Bastien Piano. Solo Collections. Level: Level 4. Music Book. Size 232. Published by Neil A. Kjos Music Company.

By Martha Mier. For Piano. Piano Collection. Level: Elementary (grade 1B). Book. 16 pages. Published by Alfred Publishing.

For Choral (SATB). Music Sales America. 20th Century, Choral. 128 pages. Chester Music #CH61615. Published by Chester Music

Piano

SKU: HL.50512178

Composed by W. Alwyn. Lengnick Publishing. Classical. Book Only. 4 pages. Alfred Lengnick & Co #AL0046A. Published by Alfred Lengnick & Co (HL.50512178).

8.25x12.0x0.042 inches.

Edited by Helen Marlais. For Piano. The FJH Pianist's Curriculum. Level: Late Elementary. Book. Published by The FJH Music Company Inc.

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.

Grade 2

SKU: CL.013-0463-00

Waltz. Composed by King. Band. Score and set of parts. Composed 1910. C.L. Barnhouse #013-0463-00. Published by C.L. Barnhouse (CL.013-0463-00).

Low Voice and Piano

SKU: HL.14029485

Composed by Cyril Scott. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV275891. Published by Music Sales (HL.14029485).

High Voice and Piano

SKU: HL.14029484

Composed by Cyril Scott. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV275893. Published by Music Sales (HL.14029484).

Book 2. By Christian Heinrich Hohmann. Arranged by Louis Bostelmann. (Violin). String Method. Size 9x12 inches. 56 pages. Published by G. Schirmer, Inc.

By Catherine Rollin. For Piano. Piano Collection. Level: Intermediate (grade 4/5). Book. 24 pages. Published by Alfred Publishing.

Cello - Intermediate

SKU: FH.VC5

Cello Series, 2013 Edition. Composed by The Royal Conservatory. Cello Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VC5. Published by The Frederick Harris Music Company (FH.VC5).

ISBN 978-1-55440-541-1.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Concertos, Sonatas, and Suites:
Concerto in D Major, op. 213 - Mendelssohn, Ludwig
- First Movement: Allegro moderato
Concertino No. 1 in F Major - Breval, Jean-Baptiste arr. L.-R. Feuillard
- First Movement: Allegro
Suite in G Major - Matz, Rudolf
- Fourth Movement
- Fifth Movement
Sonata in G Major - Bach, Johann Christoph Friedrich arr. Hugo Ruf
- First Movement: Allegretto
Sonata in C Major - De Fesch, Willem arr. Jason Noble
- First Movement: Largo
- Second Movement: Vivace
Sonata - Marcello, Benedetto arr. Alfred Piatti
- First Movement: Largo
- Second Movement: Allegro
Sonata in F Major, RV 41 - Vivaldi, Antonio arr. Kathleen Wood
- First Movement: Largo
- Second Movement: Allegro
Concert Repertoire:
O Canto Do Cysne Negro - Villa-Lobos, Heitor
Frogs Dancing on Water Lilies - Mustonen, Olli
Langsam, op. 102, no. 2 - Schumann, Robert
When Music Sounds - Coulthard, Jean
Wie einst in schoener'n Tagen, op. 64, no. 1 - Popper, David
Bourree, op. 24 - Squire, William Henry
Notturno, op. 59, no. 1 - Goltermann, Georg
Scherzo and Trio - Reger, Max
Lamento - Faure, Gabriel
Lied - Rachmaninoff, Sergei
Unaccompanied Repertoire:
Capriccio No. 5 - Matz, Rudolf
Ricercar No. 3 - Gabrielli, Domenico
Suite in C Major - Matz, Rudolf
- Fourth Movement: Sarabande
- Seventh Movement: Gigue
Suite No. 1 in G Major - Bach, Johann Sebastian
- Third Movement: Courante.

(9 Piano Solos Inspired by Great Works of Art). Composed by Catherine Rollin. For Piano. Book; Graded Standard Repertoire; Piano Collection; Piano Supplemental. Museum Masterpieces. Intermediate; Late Intermediate. 28 pages. Published by Alfred Music

Piccolo (Db)

SKU: CL.073-6002-03

Composed by King. Vintage Band Collections & March Books. Db Piccolo book. Composed 1910. C.L. Barnhouse #073-6002-03. Published by C.L. Barnhouse (CL.073-6002-03).

CONTENTS: * The Joy Riders March and Two-Step * The Rifle Rangers March * The Avenger March * American Beauty Waltz * Dance of the Imps Characteristic Schottische * The Siren Waltz * Excelsior Galop * The Victor March * Triumph March * My Lady Waltz * Over the Stars Waltz * Roll of Honor March * Love's Way Waltz * Water Lilies Waltz * Evening Shadows Serenade * The Conqueror Overture *.

Edited by Helen Marlais. For piano. Method book. 36 pages. Published by The FJH Music Company Inc

Piano

SKU: FP.FHC05

Composed by Cuthbert Harris. Published by Forsyths Publications (FP.FHC05).

ISBN 979-0-57050-123-6.

Cuthbert Harris's albums are loved by teachers and pupils alike for both their playability and the progressive way they challenge and develop the technique of the improving player. Contains short pieces and studies together with questions and answers in the rudiments of music. Suggested grade 2.

By John Robert Poe. For piano. Piano. Level: Elementary. Collection. Published by Neil A. Kjos Music Company.