| 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 | | |
| The Greatest Showman (Cello) Violoncelle [Partition + Accès audio] Hal Leonard
Instrumental Play-Along Series for Cello. Composed by Benj Pasek, Justin Paul....(+)
Instrumental Play-Along
Series for Cello.
Composed by
Benj Pasek, Justin Paul.
Instrumental Play-Along.
Broadway, Movies.
Softcover
Audio Online. 12 pages.
Published by Hal Leonard
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.114410380 Composed by Lowell Lieberm...(+)
Chamber Music String
Quartet SKU:
PR.114410380 Composed
by Lowell Liebermann.
Saddle, Tape Junction.
Set of Score and Parts.
With Standard notation.
Composed 1998. Opus 60.
48 + 92 pages. Duration
30 minutes. Theodore
Presser Company
#114-41038. Published by
Theodore Presser Company
(PR.114410380). UPC:
680160015160. 9.5 x 13
inches. My second
String Quartet was
written twenty years
after the first, Opus 4
from 1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so. The
Second Quartet is in four
movements: Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement. An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no such
programmatic intent while
writing the quartet, it
was not an entirely
incorrect assessment of
the work's intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness. The
second movement's scherzo
is an aggressively
animated piece of musical
machinery. The third
movement's Variations
unfold into a greater
variety of moods than the
others - but the moments
of lyricism are countered
by aggressive or ironic
outbursts. The final
movement's attempt at
triumph quickly subsides
into a return of the
first movement, before
being transformed onto a
sense of resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major. The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th
1998. My second String
Quartet was written
twenty years after the
first, Opus 4 from
1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so.The
Second Quartet is in four
movements:Â Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement.An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no
such programmatic intent
while writing the
quartet, it was not an
entirely incorrect
assessment of the
work’s intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness.Â
The second
movement’s scherzo
is an aggressively
animated piece of musical
machinery. The third
movement’s
Variations unfold into a
greater variety of moods
than the others –
but the moments of
lyricism are countered by
aggressive or ironic
outbursts. The final
movement’s attempt
at triumph quickly
subsides into a return of
the first movement,
before being transformed
onto a sense of
resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major.The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th 1998. $185.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The New Modern Method for Cello, Volume 1 Violoncelle Theodore Presser Co.
Chamber Music Cello SKU: PR.414412370 Composed by Stephen De'ak. Edited b...(+)
Chamber Music Cello
SKU: PR.414412370
Composed by Stephen
De'ak. Edited by Joseph
Mendoes. Sws. Methods And
Studies. Theodore Presser
Company #414-41237.
Published by Theodore
Presser Company
(PR.414412370). ISBN
9781491137949. UPC:
680160692637. 9 x 12
inches. First
published in 1929,
Stephen Deâakâs
two-volume Modern Method
for Cello remains a
timeless resource for new
and developing cellists
at every stage of
practice and performance.
A student of David
Popper, Deâak
presents a thoughtful and
thorough method for
beginning cellists with a
detailed focus on
fundamentals, including
posture and balance of
the bow and left
hand.Unlike many other
methods, the Modern
Method spends
considerable time
developing
note-recognition and tone
production by isolating a
skill or concept in a
single exercise. These
include open string and
bow distribution
exercises, as well as
systematic left hand
practice focusing on one
or two notes at a time.
This careful approach in
the beginning allows the
new player to reinforce
important right- and
left-hand skills before
attempting performance
pieces.Sequential scales
and exercises in various
keys and positions are
supplemented with songs
and tuneful etudes,
allowing the player to
apply practical technique
to expressive
performance. These etudes
are both pedagogical and
performance-worthy, rich
with musicality and
charm. The musical and
technical concepts
presented in this method
can be learned in any
order at the
teacherâs discretion
to best serve the
student.Revisions in this
new edition include
additional instruction,
clarification of
fingerings with shifting
indications, updated
melodies, and a beautiful
new engraving. The wealth
of practice and
performance repertoire in
The New Modern Method for
Cello, Volume 1 makes
this book a valuable
addition to every
cellistâs
library.Volume 2 offers
training in higher
positions and thumb
position, advanced
left-hand and bowing
techniques, and musical
exercises including 29
concert studies. These
etudes, often heard in
recitals, were designed
by Deâak as the
perfect stepping stone to
Popperâs High School
of Cello Playing. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The New Modern Method for Cello, Volume 2 Violoncelle Theodore Presser Co.
Chamber Music SKU: PR.414412380 Composed by Stephen De'ak. Edited by Jose...(+)
Chamber Music SKU:
PR.414412380 Composed
by Stephen De'ak. Edited
by Joseph Mendoes. Sws.
Methods And Studies.
Theodore Presser Company
#414-41238. Published by
Theodore Presser Company
(PR.414412380). ISBN
9781491137956. UPC:
680160692644. First
published in 1930,
Stephen Deâakâs
two-volume Modern Method
for Cello remains a
timeless and beloved
resource for new and
developing cellists at
every stage of practice
and performance. A
student of David Popper,
Deâak presents a
thoughtful and thorough
method for beginning
cellists with a detailed
focus on fundamentals,
including posture and
balance of the bow and
left hand. Unlike many
other methods, the Modern
Method spends
considerable time
developing
note-recognition and tone
production by isolating a
skill or concept in a
single exercise. These
include open string and
bow distribution
exercises, as well as
systematic left hand
practice focusing on one
or two notes at a time.
This careful approach in
the beginning allows the
new player to reinforce
important right- and
left-hand skills before
attempting performance
pieces.Sequential scales
and exercises in various
keys and positions are
supplemented with songs
and tuneful etudes,
allowing the player to
apply practical technique
to expressive
performance. These etudes
are both pedagogical and
performance-worthy, rich
with musicality and
charm. The musical and
technical concepts
presented in this method
can be learned in any
order at the
teacherâs discretion
to best serve the
student. Revisions in
this new edition include
additional instruction,
clarification of
fingerings with shifting
indications, updated
melodies, and a beautiful
new engraving. The wealth
of practice and
performance repertoire in
The New Modern Method for
Cello, Volume 2 makes
this book a valuable
addition to every
cellistâs
library. Volume 2
offers training in higher
positions and thumb
position, advanced
left-hand and bowing
techniques, and musical
exercises including 29
concert studies. These
etudes, often heard in
recitals, were designed
by Deâak as the
perfect stepping stone to
Popperâs High School
of Cello Playing. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bach-Shards Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music String Quartet SKU: PR.11441345S Prelude to Contrapunctu...(+)
Chamber Music String
Quartet SKU:
PR.11441345S
Prelude to
Contrapunctus X from the
Art of the Fugue.
Composed by Shulamit Ran.
Full score. With Standard
notation. Duration 4
minutes. Theodore Presser
Company #114-41345S.
Published by Theodore
Presser Company
(PR.11441345S). UPC:
680160608829. 8.5 x 11
inches. BACH-SHARDS
was commissioned by the
Brentano String Quartet
as part of their Art of
the Fugue companion-piece
project. Ran deliberately
stays within the realm of
Bach-like vocabulary,
altering syntax in ways
that add up to something
slightly different from
the anticipated sum of
the parts. The work
builds up to a climax
that makes the entry
point into Bach’s
Contrapunctus X seem
thoroughly
natural. While
composing Bach-Shards I
found myself gravitating,
intuitively and
gradually, toward a dual
goal. First, though
the tension and
dissonance inherent in
certain moments of
Bach’s own
maze-likeÂ
contrapuntal structures
could quite easily and
naturally lead one into a
pungent contemporary
terrain, I opted not to
stray outside the realm
of Bach-like materials
and harmonic
language. Instead, it
was my hope to alter
their relationships and
context in ways that add
up to a something
that’s slightly
different than the
anticipated sum of the
parts. A mildly
deconstructed Bach, if
you will. The other
important challenge I set
for myself was building
up the latter,
toccata-like portion of
Bach-Shards in a way that
would make the entry
point of the fugue which
it precedes,
Contrapunctus X, seem
thoroughly natural.Â
It was my intent to have
the first fugal entrance
feel like a huge and much
welcome release of the
energy created by my
Prelude’s
penultimate stretch, with
its bravura figurations
elaborating on an
insistent dominant pedal
point. $14.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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