| Contemplation - Débutant Carl Fischer
Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Pian...(+)
Orchestra Violin I,
Violin II, Violin III
(Viola T.C.), Viola,
Cello, Bass, Piano -
Grade 0.5 SKU:
CF.PAS22 Composed by
Larry Clark. Primer
String Orchestra. Set of
Score and Parts. With
Standard notation.
8+2+5+5+5+3+8+8 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #PAS22. Published
by Carl Fischer Music
(CF.PAS22). ISBN
9781491151204. UPC:
680160908707. 9 x 12
inches. Key: D
major. Written for
beginning string
students, Larry Clark's
Contemplation?contains
basic compositional
techniques that students
will be able to identify
and learn from. It begins
with a rich, melodic
opening which highlights
students' musicianship.
This is then contrasted
by the frolicking,
uptempo section, which is
a variation on the
original musical
material.
Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
Larry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
--Larry
Clark Lakeland, FL
2018 . Conte
mplation: the action to
look thoughtfully at
something for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner. To
me this is the essence of
music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as possible
they should be asked to
put themselves into the
music and make it more
than the notes and
rhythms on the page. This
piece is my attempt to
provide very young
students who are just
beginning their musical
journey with something
they can reach
technically, but have to
stretch for musically.
The notes and rhythms are
limited, but students
should strive for beauty
of tone, good phrasing
and emotional
involvement. After a
short introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of my
pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students. It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your program. --Larry
Clark Lakeland, FL
2018. Contemplation:
the action to look
thoughtfully at something
for a long time.When
composing music that will
be used with younger
students, I want to
stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner.Â
To me this is the essence
of music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes
and rhythms are limited,
but students should
strive for beauty of
tone, good phrasing and
emotional
involvement.After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.It has been
my pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Contemplation [Conducteur] - Débutant Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 0.5
SKU: CF.PAS22F
Composed by Larry Clark.
Primer String Orchestra
(PAS). Full score. With
Standard notation. 8
pages. Carl Fischer Music
#PAS22F. Published by
Carl Fischer Music
(CF.PAS22F). ISBN
9781491151570. UPC:
680160909070. 9 x 12
inches. Written for
beginning string
students, Larry Clark's
Contemplation?contains
basic compositional
techniques that students
will be able to identify
and learn from. It begins
with a rich, melodic
opening which highlights
students' musicianship.
This is then contrasted
by the frolicking,
uptempo section, which is
a variation on the
original musical
material.
Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
Larry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
--Larry
Clark Lakeland, FL
2018 . Conte
mplation: the action to
look thoughtfully at
something for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner. To
me this is the essence of
music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as possible
they should be asked to
put themselves into the
music and make it more
than the notes and
rhythms on the page. This
piece is my attempt to
provide very young
students who are just
beginning their musical
journey with something
they can reach
technically, but have to
stretch for musically.
The notes and rhythms are
limited, but students
should strive for beauty
of tone, good phrasing
and emotional
involvement. After a
short introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of my
pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students. It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your program. --Larry
Clark Lakeland, FL
2018. Contemplation:
the action to look
thoughtfully at something
for a long time.When
composing music that will
be used with younger
students, I want to
stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner.Â
To me this is the essence
of music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes
and rhythms are limited,
but students should
strive for beauty of
tone, good phrasing and
emotional
involvement.After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.It has been
my pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $6.50 - Voir plus => AcheterDélais: 1 to 2 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 | | |
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