| Mark O'Connor - The Championship Years Violin [Sheet music] - Intermediate/advanced Mel Bay
by Mark O'Connor; transcribed and edited by Stacy Phillips. For fiddle. Bluegras...(+)
by Mark O'Connor; transcribed and edited by Stacy Phillips. For fiddle. Bluegrass and country, fiddle tunes. Level: Intermediate-Advanced. Book. Solos. Size 8.75x11.75. 200 pages. Published by Mel Bay Pub., Inc.
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Fiddler's Fakebook
Violin [Fake Book] Oak Publications
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.
(7)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Centrifugues Piano solo Promethean Editions
Chamber Music piano - performance score SKU: PO.ME27 Composed by John Rim...(+)
Chamber Music piano - performance score SKU: PO.ME27 Composed by John Rimmer. This edition: softcover, saddle-stitched. Massey University Music Edition. Performance score. Promethean Editions #ME27. Published by Promethean Editions (PO.ME27). ISBN 9780958296793. Ideal for players keen to delve into piano music of one of New Zealand's premiere composers, Centrifugues (1987) possesses a motion generated from a spinning trill with an attendant tattoo of accented repeated notes, creating an expansive resonance that has an air of brilliancy about it. A compelling testament to a composer who sees music as one of the great powers of the universe, ranking alongside electrical, gravitational and magnetic energy as a force to be manipulated and controlled. $26.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Phillips Collection of Traditional American Fiddle Tunes Vol 1 Violin [Sheet music] Mel Bay
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Craig Duncan Master Fiddle Solo Collection
Violin [Sheet music] - Intermediate/advanced Mel Bay
Craig Duncan. For fiddle. Bluegrass and country, bluegrass. Level: Intermediate-...(+)
Craig Duncan. For fiddle. Bluegrass and country, bluegrass. Level: Intermediate-Advanced. Book. Solos. Size 8.75x11.75. 152 pages. Published by Mel Bay Pub., Inc.
(4)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Granger's Fiddle Tunes for Guitarß Guitar notes and tablatures [Sheet music + Audio access] - Beginner Mel Bay
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire bound. World. Book and online audio. 236 pages. Mel Bay Publications, Inc #31103M. Published by Mel Bay Publications, Inc (MB.31103M). ISBN 9781513468792. 8.75x11.75 inches. Adam Granger self-published the first edition of Grangerâ??s Fiddle Tunes for Guitar in 1979. A second edition was published in 1994. Now Mel Bay Publications presents the third edition of the book. This 236-page book is the most extensive and best-documented collection of fiddle tunes for the flatpicking guitar player in existence, and includes reels, hoedowns, hornpipes, rags, breakdowns, jigs and slip-jigs, presented in Southern, Northern, Irish, Canadian, Texas and Old-time styles. There are 508 fiddle tunes referenced under 2500 titles and alternate titles. The titles are fully indexed, making the book doubly valuable as a reference book and a source book. In this new edition, all tunes are typeset, instead of being handwritten as they were in the previous editions, making the tabs easier to read. The tunes in Grangerâ??s Fiddle Tunes for Guitar are presented in Easytab, a streamlined tablature notation system designed by Adam specifically for fiddle tunes. The book comes with a link which gives access to mp3 recordings by Adam of all 508 tunes, each played once at a moderate tempo, with rhythm on one channel and lead on the other. Also included in Grangerâ??s Fiddle Tunes for Guitar are instructions for reading Easytab, descriptions of tune types presented in the book, and primers on traditional flatpicking and rhythm guitar. Additionally, there are sections on timing, ornamentation, technique, and fingering, as well as information on tune sources and a history of the collection. Mel Bay also offers The Granger Collection, by Bill Nicholson, the same 508 tunes in standard music notation.
$45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Granger Collection Guitar [Sheet music + Audio access] - Intermediate Mel Bay
Old Time, Wire bound. Vocal. Book and online audio. 248 pages. Mel Bay Publica...(+)
Old Time, Wire bound. Vocal.
Book and online audio. 248
pages. Mel Bay Publications,
Inc #31104M. Published by Mel
Bay Publications, Inc
$45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto Violin Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more. SKU: PR.41641366L For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L). UPC: 680160585755. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. $180.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto for Viola and Orchestra Theodore Presser Co.
Chamber Music Piano, Viola SKU: PR.114417880 Composed by Behzad Ranjbaran...(+)
Chamber Music Piano, Viola SKU: PR.114417880 Composed by Behzad Ranjbaran. This edition: Piano Reduction with Solo Part. Sws. Contemporary. Set of Score and Parts. With Standard notation. Composed 2014. 38+40+12+20 pages. Duration 25 minutes. Theodore Presser Company #114-41788. Published by Theodore Presser Company (PR.114417880). ISBN 9781491131664. UPC: 680160637089. 9x12 inches. Commissioned by the Santa Rosa Symphony for Paul Silverthorne, principal violist of the London Symphony, the character of this grand three-movement work may best be described in the composer’s own words: “If I had to describe the character of each instrument in the orchestra, I would consider the viola to be the voice of wisdom, moderation, and prudence. However I find there is much flair and brilliance hidden beneath the surface. In my viola concerto I aimed to explore these contrasts: beauty and sweetness; agitation and angst; brilliance and virtuosity.â€. $38.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Selected Studies Book 7 Piano solo Forsyth Publications
Piano SKU: FP.FHC18 Composed by Cuthbert Harris. Published by Forsyths Pu...(+)
Piano SKU: FP.FHC18 Composed by Cuthbert Harris. Published by Forsyths Publications (FP.FHC18). ISBN 979-0-57050-133-5. Himself the master of writing the progressive yet playable study, Cuthburt Harris was the ideal judge when compiling this masterful series of graded studies by the great masters including Czerny, Chopin, Bertini, Heller and Lemoine. Includes exercises targeting all areas of phrasing, style, touch, agility and independence of the fingers, as well as scales and chords. $10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Concerto For Flute And Orchestra Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flu...(+)
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone 1, Trombone 2, Trombone 3, Trumpet 1, Trumpet 2, Trumpet 3 and more. SKU: PR.41641515L Composed by Behzad Ranjbaran. Premiered by the Philadelphia Orchestra, Yannick Nezet-Seguin, Music Director, Jeffrey Khaner, flute; Verizon Hall, Philadelphia. Contemporary. Large Score. With Standard notation. Composed 2013. Duration 28 minutes. Theodore Presser Company #416-41515L. Published by Theodore Presser Company (PR.41641515L). UPC: 680160621750. The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice. In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions. In writing my flute concerto, I aimed not only to highlight the modern flautist's ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages. Two prominent characters permeate the first movement of my concerto. They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively. The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra. Apart from these two characters there are moments of mystery, comedy and the grotesque, among others. In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors. The solo flute is left out in an agitated middle section that references the first movement. In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp. The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute. Some of the materials from the earlier movements are presented again with joyous character. The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy. The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy. $160.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Allegro From Jupiter Symphony (Selected Themes From Symphony No. 41, K. 551, Mvt. 1) Orchestra [Score and Parts] - Intermediate/advanced Kendor Music Inc.
String Orchestra - Grade 4 SKU: KN.9951 (Selected Themes From Symphony...(+)
String Orchestra - Grade 4 SKU: KN.9951 (Selected Themes From Symphony No. 41, K. 551, Mvt. 1). Composed by Wolfgang Amadeus Mozart. Arranged by John Caponegro. Solo or Ensemble. Apex String Orchestra. Score and set of parts. Kendor Music Inc #9951. Published by Kendor Music Inc (KN.9951). UPC: 822795099515. This grade 4 arrangement contains selected themes from the 1st Movement of Symphony No. 41, K. 551. This was Wolfgang Amadeus Mozart's last symphony composed before his death, and clearly shows his brilliance as a composer. Mozart's adventurous approach to the material paves the way for Beethoven. Each set includes three copies of the 3rd Violin/Viola T.C. piano part. Duration 4:00. $56.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fanfare And Flourishes - 2 Score Only Concert band [Score] - Easy Hal Leonard | | |
| Carry the Light Choral CD Alfred Publishing
Choir Secular SKU: AP.49695 Composed by Andy Beck. This edition: SoundTra...(+)
Choir Secular SKU: AP.49695 Composed by Andy Beck. This edition: SoundTrax CD. Choral Octavo; Performance Music Ensemble; Single Titles. Alfred Choral Designs. Graduation; Peace/Brotherhood; Secular. CD. Alfred Music #00-49695. Published by Alfred Music (AP.49695). UPC: 038081567822. English. Imagine the opening solo in darkness. Light increases as the choir begins, growing to full brilliance when three luminous lines intertwine. A lux aeterna refrain is sung in resonant harmony, with touches of shimmering dissonance on cadences. One final tone cluster at the end ignites shivers. This inspiring text provides a personal credo to live with light. Download the optional violin obbligato for free. About Alfred Choral Designs The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests. $29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Grande Valse A-flat Major Op. 42 Piano solo G. Henle
Edition with Fingering. Composed by Frederic Chopin (1810-1849). Edited b...(+)
Edition with Fingering. Composed by Frederic Chopin (1810-1849). Edited by Ewald Zimmermann. Henle Music Folios. Classical. Softcover. 12 pages. G. Henle #HN1322. Published by G. Henle (HL.51481322).
$8.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Promise of Peace Choral SATB SATB, Piano [Octavo] Lorenz Publishing Company
By Mark Hayes. For SATB choir and piano. Advent, Christmas, Epiphany, Sacred. Sa...(+)
By Mark Hayes. For SATB choir and piano. Advent, Christmas, Epiphany, Sacred. Sacred Anthem
$2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Flute concerto No. 11 Flute and Piano Edition HH
Composed by Francois Devienne (1759-1803). Edited by Jennifer Caesar. Score and ...(+)
Composed by Francois Devienne (1759-1803). Edited by Jennifer Caesar. Score and parts. Published by Edition HH Music Publishers (HH.HH228-KBD).
$21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Christmas Sanctus Choral 3-part SAB [Octavo] Hope Publishing Company
Composed by Lee Dengler. For SAB choir. Christmas. Octavo. 12 pages. Publish...(+)
Composed by Lee Dengler. For
SAB choir. Christmas. Octavo.
12 pages. Published by Hope
Publishing Company
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 900 Series Sound Edge Hi-Hat Hal Leonard
SKU: HL.3710403 14-inches. Paiste Cymbals. General Merchandise. Ha...(+)
SKU: HL.3710403 14-inches. Paiste Cymbals. General Merchandise. Hal Leonard #1903114. Published by Hal Leonard (HL.3710403). UPC: 697643114166. 14.0x14.0x0.043 inches. Series Description: The 900 Series is crafted from 2002 Bronze, with its legendary warmth, brilliance and strength. In sophisticated hybrid manufacturing the cymbals are refined by Swiss craftsmanship with hand hammering and lathing. A special finish slightly darkens the cymbals and amplifies the lathing grooves and hammer marks for a spectacular appearance that fuses roughness and elegance. The 900 Series sets the new standard for advanced sound at a reasonable investment. Size: 14-inches Weight: medium top/medium heavy bottom Volume: medium to loud Stick Sound: crisp Intensity: lively Sustain: medium long Chick Sound: bright, sharp Sound Character: Bright, crisp, sharp. Wide range, clean mix. Very responsive feel. Crisp stick sound, energetic open sound. Bright, defined chick. Cutting hi-hats for precise playing in wide-ranging styles. $250.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bound for the Promised Land Choral CD Hal Leonard
Choral (ChoirTrax CD) SKU: HL.248985 Arranged by John Leavitt. Sacred Cho...(+)
Choral (ChoirTrax CD) SKU: HL.248985 Arranged by John Leavitt. Sacred Choral. Concert, General Worship, Sacred, Spiritual. CD. Duration 160 seconds. Published by Hal Leonard (HL.248985). UPC: 888680710279. 5.0x5.0x0.15 inches. Hebrews 11:16, Numbers 33:51, Revelation 21:2. For many worshipping churches, this strong version of a traditional hymn is a treasured song of the journey. Many existing arrangements of this time-honored song are set in major but this creative new adaptation utilizes the minor variant. From Bound for Glory, this setting brings freshness to the familiar and adds depth to the whole concept. A distinctive three-part men's section is featured in one verse with stunning results, later trading places with an angelic women's moment that shines with brilliance. Every measure is packed with beauty! Score and Parts (pno, perc 1-2, vn 1-2, va, vc, db) available as a digital download. $26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fanfare Le Martyre De Saint Sebastien - Advanced Kendor Music Inc.
Quintet 2 Trumpets, Horn in F, Trombone Handle Castanets, and Tuba (2 Trumpets, ...(+)
Quintet 2 Trumpets, Horn in F, Trombone Handle Castanets, and Tuba (2 Trumpets, Horn in F, Trombone (Handle Castanets), and Tuba ) - Grade 5 SKU: KN.18761 Composed by Claude Debussy. Arranged by Charles Decker. Ensemble. Kendor Ensemble Series. Kendor Music Inc #18761. Published by Kendor Music Inc (KN.18761). UPC: 822795187618. Few fanfares match the brilliance and drama of this important addition to the brass quintet repertoire in which the pentatonic mode is so elegantly and innovatively presented by French master Claude Debussy. Duration 2:00. $9.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christus factus (Carus Classics) Carus Verlag
SKU: CA.8346700 Composed by Josef Gabriel Rheinberger. Carus CD series: C...(+)
SKU: CA.8346700 Composed by Josef Gabriel Rheinberger. Carus CD series: Carus Classics, Rheinberger Musica Sacra. Christus Factus (Carus Classics). Sacred vocal music, Masses, Latin, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Compact Disc. Carus Verlag #CV 83.467/00. Published by Carus Verlag (CA.8346700). The Carus Classics series features outstanding CD productions from Carus' past library of recordings. The series has been designed exclusively by the well-known graphic artists Friedrich Forssman und Cornelia Feyll. Josef Gabriel Rheinberger's well-loved and often performed masses Missa St. Crucis op. 151 and the Missa in A op. 126 for women's choir, in addition to other works, have been recorded on this CD. Once again, the Vocalensemble Rastatt conducted by Holger Speck, with its highly refined sound, technical brilliance and lively musicality, delivers a convincing performance on this CD. ... it's hard to imagine a finer advocate for Rheinberger's work, nor is it possible to offer anything but praise ... Classics Today 4/2000. $13.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Prelude F-Dur 2 Trumpets, Keyboard (piano or organ) [Score and Parts] - Advanced Furore Verlag
By Fanny Mendelssohn Hensel. Edited by Harald Pfeiffer. For organ and 1-2 trumpe...(+)
By Fanny Mendelssohn Hensel. Edited by Harald Pfeiffer. For organ and 1-2 trumpets. Level: advanced. Score and parts. Composed 1829. Published by Furore-Verlag (German import).
$13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Wie Schon Leuchtet Der Morgenstern Variationen Fur Oboe (or Flute, Violin) And Organ - Advanced Schott
Flute, Oboe, Organ, Violin (Score & Parts) - advanced SKU: HL.49017927 (+)
Flute, Oboe, Organ, Violin (Score & Parts) - advanced SKU: HL.49017927 Variations for Oboe (Flute or Violin) and Organ. Composed by Naji Hakim. This edition: Saddle stitching. Sheet music. Woodwind. Classical. Softcover. 36 pages. Duration 8'. Schott Music #ED20613. Published by Schott Music (HL.49017927). ISBN 9790001158312. UPC: 884088566708. 9.0x12.0x0.161 inches. Naji Hakim, born in Beirut in 1955, studied with Jean Langlais and Rolande Falcinelli and is one of the leading organ composers of today. His cycle of variations on the chorale 'Wie schon leucht uns der Morgenstern' was commissioned by 'Freunde der Musik am Liebfrauenmunster, Ingolstadt' and premiered by him on 14 September 2008 together with the oboist Georgi Kobulashwili. As is always the case in Naji Hakim's works, formal brilliance and elegant melody are combined with a sense of the individual tonal possibilities of the respective instrument. Concert piece of 8 minutes' duration. $34.00 - See more - Buy online | | |
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