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.
Sonata No. 1 Violoncelle, Piano LudwigMasters Publications
Cello and Piano SKU: AP.36-M385591 Arranged by Johannes Brahms and ed./ar...(+)
Cello and Piano
SKU:
AP.36-M385591
Arranged by Johannes
Brahms and ed./arr. by
Janos Starker/ Emilio
Colon. Cello. Starker
Performance Editions.
Book. LudwigMasters
Publications #36-M385591.
Published by
LudwigMasters
Publications
(AP.36-M385591).
ISBN
9798892704243. UPC:
659359801839.
English.
Brahms
famously described this
piece as certainly not
difficult to play, and
while easier than some of
his other very
challenging works, it is
still a quality
performance piece. The
SONATA NO 1 is written as
a solo with more of a
duet feel between the
cello and piano, creating
a beautiful interweaving
of harmony and melody.
This piece written in
three movements shows
Brahms' influence by Bach
in it's more classical
and structured style. A
beautiful selection to
add to any cellist's
repertoire.
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.
Chamber Music Cello SKU: CF.BF161 26 Medium-Level Arrangements for Any...(+)
Chamber Music Cello
SKU: CF.BF161
26 Medium-Level
Arrangements for Any
Combination of String
Instruments. Arranged
by Todd Parrish.
Collection - Part. 48
pages. Carl Fischer Music
#BF161. Published by Carl
Fischer Music (CF.BF161).
ISBN 9781491162187.
UPC:
680160920938.
The
26 masterworks contained
in this collection have
been carefully arranged
for any combination of
string duet. The
selections appear in
chronological order. They
span nearly 200 years
with 22 composers and
feature works from the
Baroque, Classical, and
Romantic periods. The
arrangements are drawn
from a variety of
sources, including piano
and chamber works.
However, the majority of
works were taken from
actual duets originally
written for two
instruments by the
composers themselves.
Each work was selected
for its quality, musical
interest, and
appropriateness. Arranged
specifically for a
chamber setting, the
duets may be performed at
recitals, adjudications,
weddings, and social
events. The various moods
created through these
works will compliment any
occasion.
Opera in tre atti. By George Frideric Handel. Edited by Burrows, Donald. For 2 S...(+)
Opera in tre atti. By
George Frideric Handel.
Edited by Burrows,
Donald. For 2 Soprano
solo, 1 Mezzo-Soprano
solo, 1 Alto solo, 2
Tenor solo, 1 Bass solo,
SATB Chorus, Flute I, II,
Recorder I, II, Oboe I,
II, Bassoon I, II, Horn
I, II, Trumpet I, II,
Violin I-III, Viola,
Bassi (Cello, Contrabass,
Lute, Harpsichord).
(SATB). This edition:
Complete Edition; Urtext
Edition. Hallische
Handel-Ausgabe, Serie II
Band 32. Piano
Reduction/Vocal Score.
235 pages. Published by
Baerenreiter Verlag
(German import).
Martin Ostertag und Boris Bjorn Bagger gewidmet / dedicated to Martin Osterta...(+)
Martin Ostertag und
Boris Bjorn Bagger
gewidmet / dedicated to
Martin Ostertag and Boris
Bjorn Bagger.
Composed by Raimo Kangro
(1949-2001). Duration
21'00. Published by
Edition 49
(E4.E49-90226-01).
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
SKU: HL.49014459 Composed by John Horton. Edited by John Horton. This edi...(+)
SKU: HL.49014459
Composed by John Horton.
Edited by John Horton.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical.
Teacher's edition. 92
pages. Schott Music #ED
11131. Published by
Schott Music
(HL.49014459).
SKU: HL.49014460 Composed by John Horton. Edited by John Horton. This edi...(+)
SKU: HL.49014460
Composed by John Horton.
Edited by John Horton.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical.
Student book. 86 pages.
Schott Music #ED
11131-01. Published by
Schott Music
(HL.49014460).
Chamber Music Cello, Flute SKU: PR.114422590 Composed by Chen Yi. Set of ...(+)
Chamber Music Cello,
Flute
SKU:
PR.114422590
Composed
by Chen Yi. Set of Score
and Parts. 8+2+2 pages.
Duration 2:30. Theodore
Presser Company
#114-42259. Published by
Theodore Presser Company
(PR.114422590).
ISBN
9781491134771. UPC:
680160685493.
Chen
Yi describes the cheery
interplay of HAPPY TUNE
as one instrument playing
a lively melody, while
the other plays a vivid
rhythmic pattern as
accompaniment. The pair
of instruments imitates
primitive Chinese folk
song singing, as well as
the traditional wind
instrument sheng, a mouth
pipe organ. One of the
composer’s
favorite themes to
develop for different
textures, HAPPY TUNE is a
variant from Chen
Yi’s Three
Bagatelles from China
West, both versions
appearing in several
scorings. Composed to
celebrate the 25th
Anniversary of the Great
Lakes Chamber Music
Festival, HAPPY TUNE was
originally written as a
violin/viola duet for Kim
Kashkashian and Tien-Hsin
Cindy Wu, and premiered
at the festival on June
16, 2018. The flute/cello
adaptation was created in
2021.I fondly remember
being invited by the
GLCMF (directed by Prof.
James Tocco) to be the
dual Stone
Composers-in-Residence
with my husband Zhou
Long, along with the
Stone Composer Fellow
Nicholas Omiccioli in
2011. We had a dozen of
our chamber works
performed excellently by
the outstanding chamber
ensembles and musicians
during the week, meeting
enthusiastic audiences
and supporters of new
music in various venues
at the festival. The
experience was truly
inspiring, and I created
HAPPY TUNE to honor the
GLCMF, with hopes to
carry on the high spirit
in our new music
society.In this duet,
when one instrument plays
a lively melody, the
other plays a vivid
rhythmic pattern in the
accompaniment. The pair
of string instruments
imitates the sound of
primitive Chinese folk
song singing, as well as
the Chinese traditional
wind instrument sheng, a
mouth pipe organ.
Composed by Tracey Barker
& Mark Harris. Arranged
by Steven V. Taylor.
Anthems. Contemporary and
Sacred. Orchestration on
CD-ROM. Published by
Lillenas Publishing
Company
(LP.765762195400).
UPC:
765762195400.
Arran
ged by Steven V. Taylor,
this new song, penned by
Tracey Barker and
Christian music veteran
Mark Harris speaks of the
woman at the well.
Arranged for duet feature
with choir, this is a
very special song of
complete surrender.
Vocal Duet (2 Med. Voices) SKU: HP.9141 Composed by Ken Medema. Arranged ...(+)
Vocal Duet (2 Med.
Voices)
SKU:
HP.9141
Composed by
Ken Medema. Arranged by
Arr. By Jack Schrader.
Piano Accompaniment with
Optional Orchestra. Vocal
Score. 12 pages. Hope
Publishing Company #9141.
Published by Hope
Publishing Company
(HP.9141).
UPC:
763628191412.
Origi
nal anthem Jack
Schrader's blues-gospel
setting of this ever
popular Ken Medema song
continues to be one of
the top-selling choral
pieces in our catalog.
Available in multiple
voicings. The
Orchestration by Don Hart
contains a Conductor's
Score and parts for:
Flute, Oboe, Clarinet,
Horn 1 & 2, Trumpets 1, 2
& 3, Trombone 1 & 2,
Trombone 3 & Tuba,
Percussion 1 & 2, Harp,
Rhythm, Violin 1 & 2,
Viola, Cello, and
Bass.
Arrangement for
chamber orchestra.
Composed by Gioachino
Rossini. Arranged by
Joachim Linckelmann.
Carus sheet music series:
Great choral works in
small scorings. Stabat
Mater, Arr. Fur
Kammerensemble. Sacred
vocal music. Full score.
200 pages. Duration 66
minutes. Carus Verlag #CV
70.089/50. Published by
Carus Verlag
(CA.7008950).
ISBN
9790007167646. Text
language:
Latin.
Following
his early departure from
the opera stage in 1829,
besides chamber music
Gioachino Rossini
composed only larger
scored works of church
music. The Stabat Mater
is among these. It was
composed in two different
phases between 1831 and
1841 and received its
premiere in Paris in
1842. The text is
fashioned as a prayer
describing Mary's pain in
the face of the crucified
Christ. Time and again
the vivid language of
this text, a Latin poem
probably from the 13th
century, has inspired
settings by composers
including illustrious
names such as Pergolesi,
Joseph Haydn and Verdi.
In 10 movements Rossini
unites different forms
such as aria, duet,
quartet and chorus, an
operatic aria-like style
of writing as well as a
strict a cappella style
resulting in one of the
highpoints of this genre.
For this arrangement, the
vocal score (CV
70.089/03), choral score
(CV 70.089/05) and parts
for strings and timpani
from the original
orchestral version can
also be used. Score
available separately -
see item CA.7008900.
Chamber Ensemble - early intermediate SKU: BT.EMBZ14884 For Young Musi...(+)
Chamber Ensemble - early
intermediate
SKU:
BT.EMBZ14884
For
Young Musicians.
Composed by Jávori
Ferenc. Educational Tool.
Set (Score & Parts).
Composed 2014. 70 pages.
Editio Musica Budapest
#EMBZ14884. Published by
Editio Musica Budapest
(BT.EMBZ14884).
English-Hungarian.
Klezmer Miniatures has
been compiled for young
musicians who, by playing
an instrument, would like
to become acquainted with
the musically-varied
world of Klezmer. The
series comprises two
duos, four trios and two
quartets, which can be
performed with different
combinations of
instruments - violin,
clarinet, flute, cello,
double bass, bass guitar
and trumpet. The
composer, Ferenc
Jávori, is a major
figure of world music in
Europe and is a prolific
composer, orchestrator
and performer. He is the
founder and leader of the
Budapest Klezmer Band.
Jávori was born into a
Hungarian-Jewish
community in Munkács
(Mukacheve, Ukraine),
where the years before
the Second World
Warwitnessed a golden age
of Klezmer, the
traditional, instrumental
folk music of
Yiddish-speaking Jewish
communities. He has
collected and compiled
numerous melodies and
songs from the last
representatives of this
formerly vibrant musical
culture. Each of the
Klezmer Miniatures
reflects a different
traditional genre of
Klezmer. In these pieces
Jávori has used
certain motifs from
Moisei Beregosky's folk
music collection.
Klezmer
Miniatures has been
compiled for young
musicians who, by playing
an instrument, would like
to become acquainted with
the musically varied
world of Klezmer. The
series comprises two
duos, four trios and two
quartets, which can
beperformed with
different combinations of
instruments - violin,
clarinet, flute, cello,
double bass, bass guitar
and trumpet.
The
composer, Ferenc
Jávori, is a major
figure of world music in
Europe and is a prolific
composer, orchestrator
and performer. Each of
the Klezmer Miniatures
reflects a different
traditional genre of
Klezmer.
Die
Klezmer-Miniaturen
entstanden für junge
Musiker, die sich beim
Spielen auf ihrem
Instrument mit der
vielfältigen Musikwelt
des Klezmer vertraut
machen wollen. Diese
Ausgabe umfasst zwei
Duos, vier Trios und zwei
Quartette, die sich
inunterschiedlichen
Besetzungen sowohl auf
der Violine als auch auf
der Klarinette, der
Flöte, dem Cello, dem
Kontrabass, der
Bassgitarre und der
Posaune vortragen
lassen.
K
lezmer Miniatures
è pensato per tutti i
giovani musicisti
interessati a
familiarizzare con lo
stile della musica
Klezmer. Questa raccolta
include duetti, trii e
quartetti che offrono
molteplici combinazioni
strumentali (Violino,
Clarinetto,Flauto,
Violoncello,
Contrabbasso, Chitarra
basso e Tromba).