Wash Rag for String Quartet

String Quartet - Grade 3

SKU: AP.36-52703617

Composed by Alan Shulman. This edition: Latham Music. Quartet; Solo Small Ensembles; String - Quartet. LudwigMasters - Latham Music. Book. LudwigMasters Publications #36-52703617. Published by LudwigMasters Publications (AP.36-52703617).

UPC: 735816385521. English.

This humorous little vignette for string quartet was composed in 1979 and was originally intended to be published by Piedmont Music, the ASCAP division of EB Marks Classical. For reasons unknown, however, it remained in manuscript form until 2021, when a copy of the composer's autograph parts was discovered in the archives of a completely different Alan Shulman piece. This newly engraved Latham Music edition therefore represents the first publication of Shulman's delightful work, as well as the first full score. As the title suggests, this is a medium-slow rag, or cakewalk in a loose AABA form. The bluesy and graceful main melody is introduced by the first violin in a call and response exchange with the rest of the ensemble. The restatement of the primary theme is led by the second violin, with the entire ensemble playing pizzicato, having the effect of playful mockery. In the B section, the first violin earnestly reasserts the stately grace from the opening however, the cello is clearly becoming restless and decides to take over the lead just before the final reprise. The lighthearted ending again has the first violin doing its best to bring the tune to a refined conclusion, but the rest of the group still has mischief in mind. After a couple moments of seeming confusion, the ensemble regroups at last and plays the final riff with resolute emphasis. If you're looking to add a light moment to a recital program, or looking for a short, medium level contest piece that players and audiences alike will enjoy, this little miniature is an ideal choice!

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

By Robert Washburn. For String orchestra/string quartet. Scores. Miscellaneous. Score. 16 pages. Duration 8'. Published by Oxford University Press Score Miscellaneous

By Robert Washburn. For String orchestra/string quartet. Orchestral. Miscellaneous. Double bass part. 4 pages. Duration 8'. Published by Oxford University Press Double bass part Miscellaneous

By Robert Washburn. For String orchestra/string quartet. Orchestral. Miscellaneous. Cello part. Duration 9'

By Robert Washburn. For String orchestra/string quartet. Orchestral. Miscellaneous. Violin 2 part. 8 pages. Duration 8'. Published by Oxford University Press

By Robert Washburn. For String orchestra/string quartet. Orchestral. Miscellaneous. Violin 1 part. 8 pages. Duration 8'. Published by Oxford University Press

By Robert Washburn. For String orchestra/string quartet. Orchestral. Miscellaneous. Viola part. Duration 9'. Published by Oxford University Press

By Robert Washburn. For String orchestra/string quartet. Orchestral. Miscellaneous. Viola part. 8 pages. Duration 8'. Published by Oxford University Press

By Robert Washburn. For String orchestra/string quartet. Orchestral. Miscellaneous. Cello part. 8 pages. Duration 8'. Published by Oxford University Press

String Quartet (fl,vl,2pno)

SKU: BR.KM-2527

Composed by Adriana Holszky. Chamber music; Folder. Kammermusik-Bibliothek (Chamber Music Library).

World premiere: Monchengladbach, September 14, 1985

Music post-1945; New music (post-2000). Score. Composed 1983. 264 pages. Duration 17'. Breitkopf and Haertel #KM 2527. Published by Breitkopf and Haertel (BR.KM-2527).

ISBN 9790004504406. 11.5 x 16.5 inches.

CD: Klaus-Peter Diller (violin), Yo Washio (flute), Gabor Antalfy und Thomas Blomenkamp (piano)Koch-Schwann 3-1062 2.

Fake Book (Includes melody line and chords). Size 6.7x10.5 inches. 640 pages. Published by Hal Leonard.

Fake Book (Includes melody line and chords). Size 9x12 inches. 640 pages. Published by Hal Leonard.

Dan Welcher’s most enduringly and frequently played orchestral work, Prairie Light is a fascinating musical companion to three of Georgia O’Keeffe’s most unusual paintings, Light Coming on the Plains, Canyon with Crows, and Starlight Night. This work is ideal for performances using visual projections of the paintings, and is frequently programmed for subscription concerts as well as those for educational settings. Duration: 14’ Parts available on rental.
This work for full orchestra was inspired by three paintings of the noted Americanartist Georgia O’Keeffe. These three watercolors were done in 1917 while the artist was living in Canyon, Texas (near Amarillo), and deal primarily with color and shape. Consequently, the music is primarily concerned with broad lines and shapes rather than rhythms, with subtle washes of color rather than constant harmonic movement, and with arching melody instead of linear counterpoint.The first movement, Light Coming on the Plains, is an elliptical-shaped painting, deep blue to indigo with a “horizon” at the bottom that seems flat and unchanging. The sun hasn’t risen yet, although it does in the course of this movement, but it seems instead to be providing light from behind the canvas. The music is unmoving in terms of rhythm or harmony (although there is a modulation midway through), a color-infused mantra of sound that is almost Eastern.At the height of the sun, we proceed to the second movement, entitled Canyon with Crows. The canyon is red-orange, with black crows circling above friendly unfolding hills. The music is gentle but lively and more rhythmic, with the birds represented by solo oboe, clarinet, and sometimes flute. Halfway through, the brass have a chorale version of the opening motive, played very slowly, over the unending triplets of woodwinds and strings. At the end of the movement, the birds return for a duo-cadenza, accompanied by the dying rays of the sun in muted strings and the ongoing triplets of the solo quartet.The stage is set for the final movement, Starlight Night. In O’Keeffe’s painting, the stars are represented by regularly-spaced rectangles of bright pale yellow on a blue-black sky, with the same shape to the field of vision and the horizon that is found in Light Coming on the Plains. The stars become audible: harp, celesta, glockenspiel, and string pizzicati all lend a sparkle while a solo flute introduces a slowly unfolding theme. After this theme has been heard twice and the sky has begun to really brighten, there is a sudden interruption: a xylophone and a piano begin another “mantra” in brittle staccato chords. This is the same mechanical eternity as O’Keeffe’s regularly-spaced square stars, and it continues on its own as the night progresses. The music builds and grows as the moon rises and arcs, then falls as the pre-dawn light that opened the work returns to bring it to a close. Acycle of light, changing with the movements of sun, moon, and stars, appearing differently from various points of view