SKU: HL.50511400
ISBN 9790080067871. UPC: 073999598193. 9.0x12.0x0.204 inches.
SKU: HL.49008951
ISBN 9790001089845. UPC: 073999224689. 9.0x12.0x0.051 inches.
SKU: HL.50560113
UPC: 073999562637. 8.75x12.0x0.099 inches.
SKU: UT.CH-393
ISBN 9790215328457. 9 x 12 inches.
Though the Catalan composer and pianist Enrique Granados (1867-1916) is often considered more conservative than Albéniz or Falla, his music made a significant contribution to the development of a national Spanish school. Granadosâ musical language is rooted in mainstream European traditions, frequently blended with elements derived from traditional Spanish folk music, including brash guitarish idioms in imitation of the punteado and rasgueado styles of playing. His Valses poéticos, dedicated to Joaquin Malats, are a suite of eight waltzes with a lively Introduction in duple meter and a reprise of the first dance at the conclusion of the final piece. We cannot be sure when Granados composed his Poetic Waltzes, but almost certainly they were of early vintage, in 1893-94. In any case, these waltzes have remained popular with performers from that day to this, especially among guitarist. This transcription, conceived for a chamber guitar ensemble (in formations ranging from duo to quartet), is an effective aid for the study of ensemble music from high school to a conservatory level.
SKU: CF.YAS13F
ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.
IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: MB.95393M
ISBN 9780786690107. 8.75 x 11.75 inches.
The over 425 reels, jigs, set-tunes, waltzes, marches, strathspeys, and airs transcribed from the playing of traditional fiddlers in this collection, represent a large portion of the current Island repertoire. It is believed that over 100 of these tunes have never been in print previously. Even the titles that have appeared in print before, feature new and intriguing details. Because each tune is a transcription of a specific performance by an individual player, many subtleties of style--such as ornamentation, double stops, and slursâ??are included. Also included are each playerâ??s melodic idiosyncrasiesâ??called twists in local parlance. You will find living, breathing versions of tunes filled with the vitality of a people whose great love for their music is expressed in every bow-stroke. Includes access to online audio.
SKU: FT.FM624
ISBN 9790570485239.
Ernesto Kohler (1849-1907) was an Italian flautist and composer, widely regarded as one of the best flautists of his era. Initially taught by his father, who was also a professional flautist, he held orchestral positions in Vienna and St. Petersburg. He wrote over 100 works for his own instrument, as well as an opera and several ballets. Best known for his 'Flöten-Schule' (c.1880), a popular tutor book for the flute at the time, his other compositions for the flute include études, solos and duets. This delightful piece was originally scored for two flutes and piano. In this version, the two solo flute parts are unchanged, and the piano part has been rescored for a flexible flute quartet of two flutes, alto flute or flute three, bass flute or alto flute or flute 4. A brilliant fanfare calls out at the start of the piece, leading into a series of waltzes in various keys, reminiscent of the Viennese ballroom. Both solo parts contribute equally to the melodies, while the flute ensemble supports with chordal passages and occasional countermelodies.
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