| Quartet Sant Petersburg Quatuor à cordes: 2 violons, alto, violoncelle Editorial de Musica Boileau
String quartet SKU: BO.B.3664 Composed by Jordi Cervello. Published by Ed...(+)
String quartet SKU:
BO.B.3664 Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3664).
Cuarteto San
Petersburgo (The Saint
Petersburg Quartet) was
written between January
and March 2011. It owes
its name to the fact that
Saint Petersburg has been
a very significant city
for me. I was invited
there in 1988 to take
part in a big
contemporary music
festival, but my
uninterrupted bond with
the city started on 2002,
thanks to the
negotiations of my friend
and pupil Albert Barbeta.
Since then, I have
constantly travelled
there in order to record
a considerable part of my
repertoire: seventeen
pieces. In addition to
the concerts we went to,
I took the opportunity
during my trips to visit
the well-known
conservatoire where so
many great personalities
from the world of music
composition once taught,
and the place that
launched the most
important violin school
in the whole of Russia:
the school of Leopoldo
Auer. Spending a long
time in Auer's classroom
writing my concert for
violin and orchestra was
an unforgettable
experience for me. His
large portrait motivated
me even
further.
Cuartet
o San Petersburgo evokes
many of the most
cherished and moving
moments that I have had
in this city. It is
structured in four
movements. The first one,
Allegretto-Allegro, opens
with an introduction that
sets forth the two main
themes, amid a soft and
elastic atmosphere. The
Allegro starts vigorously
and in it we find changes
in the tempo and moments
of mystery, as well as
certain seclusion,
returning then to the
emphatic theme where the
counterpoint finds its
place. The movement ends
placidly.
The
Scherzo-marcato that
follows is marked by a
persistent rhythm of
triplets that carries on
from beginning to end.
The tempo does not
change, but brief and
decided themes are
introduced, as well as
passages of counterpoint.
Brief and dissonant
chords are heard
throughout the movement,
which ends
vigorously.
The
third movement, Ut, is a
very special one. For a
while already I had been
playing with the idea of
writing a movement that
was to have the tonality
C as a leitmotiv. This
one is made up by two
slow and static parts. In
the first one, the first
violin plays
pizzicatti-glissandi. In
the second, the first
violin and particularly
the violoncello settle on
C while the other two
instruments produce
descending chromatic
harmonies.
Final
ly, the
Introduccion-Presto (the
Introduction-Presto). It
starts with some bucolic
passages which remind us
of the introduction to
the first movement. A
fast and energetic Presto
suddenly erupts. A kind
of moto perpetuo which
alternates with two
expressive passages and,
towards the end, a viola
and violoncello tremolo,
all of great mystery and
expectation, make way for
a resounding finale
marcato. $38.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
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. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
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. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Strygekvartet Nr. 21 Op.197 Quatuor à cordes: 2 violons, alto, violoncelle Music Sales
String Quartet SKU: HL.14031851 Composed by Vagn Holmboe. Music Sales Ame...(+)
String Quartet SKU:
HL.14031851 Composed
by Vagn Holmboe. Music
Sales America. Classical.
Book [Softcover]. 24
pages. Music Sales
#KP00797. Published by
Music Sales
(HL.14031851). ISBN
9788759880661.
Danish. Holmboe'
s last quartet work,
which is
unofficially also
String Quartet No.
21, was the last
work he ever composed,
and was unfinished on his
death in 1996. His pupil
Per
Nørgård
has finished the quartet,
and himself characterizes
his contribution by
saying that the score
existed “in an only
partly completed form,
which could however be
written out with only a
few cases of
doubt”. With only
two movements and a
playing time of
about nine minutes it is
at its existing
length the shortest of
Holmboe's string
quartets. The first
movement takes the form
of one long arch in a
rocking triple time which
constantly shiftsamong
different tempo and pulse
sensations. At the same
time the rhythmic
energy increases
until the movement, in a
faster Con moto
tempo accelerates to
a more flowing 12/8 time,
coloured both
rhythmically by
cross-rhythms in
duple time and timbrally
by harmonics in the
viola. In its middle
section, Con fuoco,
the movement
culminates in both tempo
and expression until it
falls calm in brief
recapitulations in
reverse order of the
first two sections. The
rocking feeling continues
in the second movement,
but now at a more
extroverted level from
the outset, Allegro
and pizzicato. The
energy builds up
further as the mood
intensifies to Con
fuoco, while all
instruments go over to
bowed playing, but like
the first movement, this
movement ends Adagio
here however not as
a gradual attenuation but
through a sudden shift in
tempo to a calm,
imitative passage before
the movement slowly thins
out to the almost
inaudible through a last,
dense, open sounding
chord with a brief violin
solo above it. The
quartet is dedicated to
Holmboe's wife MeLa May
Holmboe, and was given
its first performance by
the Kontra Quartet on
22nd March 1997 at the
Carl Nielsen Academy of
Music in Odense,
Denmark. $21.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Holmboe Quartetto Sereno Op 197 Sc Cham Book Quatuor à cordes: 2 violons, alto, violoncelle Music Sales
Chamber Ensemble SKU: HL.14015171 Composed by Vagn Holmboe. Music Sales A...(+)
Chamber Ensemble SKU:
HL.14015171 Composed
by Vagn Holmboe. Music
Sales America. Classical.
Book [Softcover]. 12
pages. Music Sales
#KP00796. Published by
Music Sales
(HL.14015171). ISBN
9788759878224.
Danish.
Quartetto Sereno - String
Quartet No.21 Op.197 (op.
posth.) by
Vagn
Holmboe.
Holmboe's last quartet
work, which is
unofficially also
String Quartet No. 21,
was the last work he ever
composed, and was
unfinished on his death
in 1996. His pupil
Per
Nørgård
has finished the quartet,
and himself characterizes
his contribution by
saying that the score
existed “in an only
partly completed form,
which could however be
written out with only a
few cases of
doubt”. With only
two movements and a
playing time of
about nine minutes it is
at its existing
length the shortest of
Holmboe's
stringquartets. The
first movement takes the
form of one long arch in
a rocking triple time
which constantly shifts
among different tempo and
pulse sensations. At the
same time the rhythmic
energy increases
until the movement, in a
faster Con moto
tempo accelerates to
a more flowing 12/8 time,
coloured both
rhythmically by
cross-rhythms in
duple time and timbrally
by harmonics in the
viola. In its middle
section, Con fuoco,
the movement
culminates in both tempo
and expression until it
falls calm in brief
recapitulations in
reverse order of the
first two sections. The
rocking feeling continues
in the second movement,
but now at a more
extroverted level from
the outset, Allegro
and pizzicato. The
energy builds up
further as the mood
intensifies to Con
fuoco, while all
instruments go over to
bowed playing, but like
the first movement, this
movement ends Adagio
here however not as
a gradual attenuation but
through a sudden shift in
tempo to a calm,
imitative passage before
the movement slowly thins
out to the almost
inaudible through a last,
dense, open sounding
chord with a brief violin
solo above it. The
quartet is dedicated to
Holmboe's wife MeLa May
Holmboe, and was given
its first performance by
the Kontra Quartet on
22nd March 1997 at the
Carl Nielsen Academy
of. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonatina Op. 35c Violoncelle, Piano Simrock
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.48024888 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score) SKU:
HL.48024888 Cello
and Piano. Composed
by Bertold Hummel. Boosey
& Hawkes Chamber Music.
Classical. Softcover. 20
pages. Duration 360
seconds. Simrock
#M221122575. Published by
Simrock (HL.48024888).
UPC:
840126919769. As a
lesson and lecture piece,
Bertold Hummel's Sonatine
op. 35, created in 1969,
accompanied many young
musicians on their way.
Sold a thousand times all
over the world, it is one
of the composer's
best-known works and has
been included in the
repertoire list for the
'Jugend musiziert'
competition by the German
Music Council. Warmth and
sparkling rhythm
characterize the three
movements: inthe powerful
maestoso, the sonority of
the main theme is
contrasted with a lyrical
side theme; the
recapitulation ends with
an impulsive fugato. The
second movement Elegie
consists of a single
soulful melody about
spherical harmonies of
the piano. As the
highlight in the Finale
vivace, playful
lightness, marching
rhythms and dramatic
increases replace each
other in quick
succession; wild
arpeggios lead to the
end. Originally composed
for violin, versions for
viola and cello were
already familiar. For the
50th birthday, Simrock /
Boosey &
Hawkespresents the work
in a revised, revised
edition. A repertoire
enrichment for beginning
instrumentalists are the
first available versions
for alto and tenor
saxophone, which the
composer made himself in
the 1990s. $23.99 - Voir plus => Acheter | | |
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