Composed by Fred Ebb, music by John Kander. Arranged by Kirby Shaw. Choir Secula...(+)
Composed by Fred Ebb,
music by John Kander.
Arranged by Kirby Shaw.
Choir Secular. Women's
Choir. Choral Octavo. Pop
Choral. Broadway; Jazz;
Secular. 12 pages.
Published by Alfred Music
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.
(E-Z Play Today #216). By Frank Sinatra. For Organ, Piano/Keyboard, Electron...(+)
(E-Z Play Today #216). By
Frank Sinatra. For Organ,
Piano/Keyboard,
Electronic
Keyboard. E-Z Play Today.
Softcover. 256 pages.
Published by Hal Leonard
Belle of Chicago Orchestre d'harmonie [Conducteur] Wingert-Jones Publications
Composed by John Philip Sousa (1854-1932). Arranged by Frank Byrne. Concert Band...(+)
Composed by John Philip
Sousa (1854-1932).
Arranged by Frank Byrne.
Concert Band Music.
Concert Band Series.
Concert March. Full
score. Published by
Wingert-Jones
Publications
(WJ.3010022).
Ten Years of Popular Hits Arranged for EASY PIANO. Arranged by Dan Coates. For P...(+)
Ten Years of Popular Hits
Arranged for EASY PIANO.
Arranged by Dan Coates.
For Piano. Piano - Easy
Piano Collection. Decade
by Decade. Nostalgia;
Pop. Level: Easy Piano.
Book. 144 pages.
Published by Alfred
Publishing.
Composed by Fred Ebb, music by John Kander. Arranged by Kirby Shaw. Choir Secula...(+)
Composed by Fred Ebb,
music by John Kander.
Arranged by Kirby Shaw.
Choir Secular. This
edition: SoundTrax CD.
CD; Choral Octavo. Pop
Choral. Broadway; Jazz;
Secular. Published by
Alfred Music
SKU: GI.G-CD-323 Ars Antiqua Choralis, Volume 3. Composed by Richa...(+)
SKU: GI.G-CD-323
Ars Antiqua Choralis,
Volume 3. Composed by
Richard Proulx. Ars
Antiqua Series. Sacred.
CD. GIA Publications
#323. Published by GIA
Publications
(GI.G-CD-323).
Choral
masterworks from the 15th
to 18th centuries, all
beautifully recorded in
the splendor of St.
Clement Church, Chicago
by the Cathedral Singers
under the direction of
Richard Proulx. All music
on this volume is for the
Christmas season.
(Guitar Play-Along Volume 146). By Robert Johnson. For Guitar. Guitar Play-A...(+)
(Guitar Play-Along Volume
146). By Robert Johnson.
For
Guitar. Guitar
Play-Along.
Softcover with CD. Guitar
tablature. 80 pages.
Published by Hal Leonard
Performed by Robert Johnson. Piano/Vocal/Chords Songbook (Arrangements for piano...(+)
Performed by Robert
Johnson.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 216 pages.
Published by Hal Leonard.
SKU: SU.80300149 Composed by Johann Adolph Hasse. Vocal/Choral, Sacred Ch...(+)
SKU: SU.80300149
Composed by Johann Adolph
Hasse. Vocal/Choral,
Sacred Choral, Strings,
String Ensemble.
Accompanied by continuo.
Choral Octavo. Treble
Clef Music Press
#80300149. Published by
Treble Clef Music Press
(SU.80300149).
In this opening
movement from a major
baroque work from the
Venetian ospedali
repertoire, the choir's
sustained, mostly
homophonic chords are
interwoven with angular
chromatic lines in the
upper strings. The lower
strings and continuo
support this texture with
detached repeated chords,
to make a rich texture of
complementary independent
parts. Edited by Ralph
Hunter from the
composer's autograph
manuscript, this piece
was sung by the 1999 ACDA
National Women's Honor
Choir in Chicago. SSAA,
strings, and continuo
(score and parts
available); Latin; 8
pages, plus literary
translation and editorial
notes; duration: 4:30
min.; range: g to g;
difficulty: easy-medium.
Instrumental parts:
Violin 1.....TC-149-VLN1;
Violin 2.....TC-149-VLN2;
Viola.....TC-149-VLA;
Cello/Bass.....TC-149-VC;
Continuo
realization.....TC-149-CO
NT; Full
score.....TC-149-ORCH
SSAA, strings & continuo
Published by: Treble Clef
Music Minimum order
quantity: 8 copies.
Band concert band - Grade 5 SKU: KJ.WB139 Composed by Christopher Salerno...(+)
Band concert band - Grade
5
SKU: KJ.WB139
Composed by Christopher
Salerno. Conservatory
Editions. Score and set
of parts. Neil A. Kjos
Music Company #WB139.
Published by Neil A. Kjos
Music Company (KJ.WB139).
The Puckish
Poltergeist, a
programmatic work based
on the pranks of a
devious poltergeist,
contrasts the terrifying
and the comical. Through
the use of rapid meter
changes, simultaneous
duple and triple rhythmic
patterns, and contrasting
textural scoring, the
composer vividly conjures
to mind frightened castle
dwellers as they run from
varied assortments of
flying furniture and
kitchen utensils, and the
slightly bent puck, as he
plays his little
'pranks.' Composed in the
spring of 1991, The
Pucking Poltergeist was
premiered in Chicago at
the 45th Mid-West
International Band and
Orchestra Clinic by the
VanderCook College of
Music Symphonic Band
under the direction of
Roger Rocco. It
subsequently received a
performance by the United
States Military Band at
West Point Acadamy. In
February of 1993, it was
featured as one of five
works selected for the
Symposium XVII for New
Band Music at Old
Dominion University in
Norfolk, Virginia.
7 bassoons, 1 contra bassoon, 1 trumpet in Eb, full conductor score - Grade 4 (+)
7 bassoons, 1 contra
bassoon, 1 trumpet in Eb,
full conductor score -
Grade 4
SKU:
CL.CTS-7956-00
Composed by Franz Joseph
Haydn. Arranged by P.
Wood. Ensemble. Composed
2020. Claude T. Smith
Publications
#CTS-7956-00. Published
by Claude T. Smith
Publications
(CL.CTS-7956-00).
This unique,
delightful arrangement of
the Haydn Concerto for
Trumpet accompanied by
bassoon ensemble was
first performed by
trumpeter, John Hagstrom,
of the Chicago Symphony
with the Sooner
Bassooners, Rod Ackmann,
director.
Composed by Fred Ebb, music by John Kander. Arranged by Kirby Shaw. Choir Secula...(+)
Composed by Fred Ebb,
music by John Kander.
Arranged by Kirby Shaw.
Choir Secular. 3-Part
Mixed Choir (SAB). Choral
Octavo. Pop Choral.
Broadway; Jazz; Secular.
12 pages. Published by
Alfred Music
Guitar SKU: GI.G-9538G Traditional Hymns for Contemporary Ensembles(+)
Guitar
SKU:
GI.G-9538G
Traditional Hymns for
Contemporary
Ensembles. Arranged
by Tony Alonso S.J. This
edition: Guitar edition.
Sacred. Guitar part. With
guitar chord names. 52
pages. GIA Publications
#9538G. Published by GIA
Publications
(GI.G-9538G).
UPC:
785147953876.
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Revival is a long overdue
resource that provides
fresh accessible
arrangements of classic
hymns for contemporary
ensembles. Each
arrangement is scored for
SAB choir, piano, guitar,
and optional instrumental
parts. For added texture,
the final stanza of each
hymn includes an
alternate harmonization
of the accompaniment with
a soprano descant. These
fourteen arrangements
will open a whole new set
of treasured hymns to
piano and guitar based
ensembles. Compatible
with the versions founds
in GIA’s most
recent hymnals, each of
these arrangements is
intended to support and
inspire the sung prayer
of the assembly. Every
one will find a
comfortable home in your
repertoire throughout the
liturgical year! A
special spiral bound
edition of Revival is
also available. This
edition is perfect for
accompanists who would
also like to use these
hymn arrangements as
preludes, interludes, or
postludes. Collections
like Revival are
not simply a way for
contemporary ensembles to
plant deeper roots and
tap into more traditional
repertoires. It is a way
for all of us to hear old
hymns with new ears, in a
new way. --Fr. Anthony
Ruff, OSB, Associate
Professor of Theology at
St. John's Abbey Quote
from Pray Tell
Blog. Click here to
read full article Tony
Alonso’s Revival
offers us fourteen
wonderfully arranged
familiar
hymns—musically
accessible and a delight
to sing. Flexibly crafted
for voices, piano and
guitar with lovely
optional descants, this
is an ecumenical gift and
bridge-builder between
classical and
contemporary approaches
to hymns in the liturgy.
It should be in every
parish’s working
library. --Don Saliers,
Professor of Theology and
Worship at the Candler
School of Theology In his
new collection, Revival,
Tony Alonso marks the
500th anniversary of a
great divide in the
church by bridging the
chasm between Catholic
and Protestant,
contemporary and
traditional, Appalachian
and European. His
arrangements for voices,
piano, and
guitar—with
options for using other
instruments as
well—allow for
improvisation and
adaptation while
remaining accessible for
a wide range of
musicians. Although these
hymns are designed to be
used by contemporary
ensembles, they lend
themselves to use in a
variety of worshiping
contexts. Alonso's
arrangements will entice
you to sing
along--Revival is a great
gift to the whole church!
--Kimberly Bracken Long,
Editor of Call to
Worship: Liturgy, Music,
Preaching, & the Arts
Tony Alonso’s,
Revival, is an invaluable
resource to help find
common ground among
“contemporaryâ€
and
“traditionalâ€
choirs and ensembles by
making hymnody
approachable to those who
may have shied away from
it for stylistic reasons.
It is also a great
educational tool for
organists and pianists
who are seeking ways to
improve their
improvisatory keyboard
skills by modeling
accompaniment styles and
improvisatory patterns
that support and enhance
the singing of
traditional hymns.
​--​Dominic
Trumfio, Associate
Director of Worship Music
at Old St. Patrick's
Church, Chicago.