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: FJ.ST6545
English.
This landmark arrangement showcases Gershwin's beloved piece that validated the merging of classical music and jazz during the roaring 20s! This setting for strings presents a sampling of the most memorable themes in a dynamic and well-constructed arrangement. Ideal to work on bow distribution, weight, and speed; as well as chromatics and some basic position work with ample fingerings provided. Exceptional!
About FJH String Orchestra
More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up
SKU: CF.CAS10
ISBN 9780825847615. UPC: 798408047610. 8.5 X 11 inches. Key: G major.
With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unisonA forte, which suddenly drops toA piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: KJ.JSO189C
UPC: 8402700091.
Jack Stamp, a highly regarded composer of music for concert band, has written this spectacular three-movement work for advanced string orchestra. Exploring the use of dissonance, mixed meters, and an array of timbres, this composition is impressive and dramatic!
SKU: CF.YAS45
ISBN 9780825863462. UPC: 798408063467. 8.5 X 11 inches. Key: A major.
Two Daughters is a flowing and impassioned composition dedicated to the composer's daughters that gives the young string orchestra ample chances to display its lyrical abilities. Several solo passages vary the texture, which displays Alan Lee Silva's usual flair for lush contemporary harmonic writing.From the poignant, heartwarming violin melody at m. 5, to the soaring ensemble climax at m. 61, Two Daughters is a flowing, lyrical composition with a wide dynamic range. Written in AABA form with a bridge, the delicate introduction sets up a legato violin solo at m. 5. The piece builds to the singing B-section (m. 21) and returns again to the gentle A-melody (m. 29). The cello is featured in m. 37 under a soft, high string sustain. Two modulations (mm. 37 and 52) move seamlessly and build excitement to the bridge, highlighted by alternating melodic phrases. The slower ending section (m.69) is played with intensity, featuring more sixteenth-note passages. The final two measures return to the sweet, gentle feeling of the introduction.
SKU: XC.ISO2006
UPC: 812598034752. 9 x 12 inches.
This new work for string orchestra is exciting and lush! Alan Lee Silva makes an orchestra sound good, and Peripheral Visions is no exception. Soaring melodic lines and ample opportunity to work on light articulation abound in this wonderful new addition to the string repertoire.
SKU: CF.BAS3
ISBN 9780825840838. UPC: 798408040833. 8.5 X 11 inches. Key: D major.
Bold and melodious, St. Lawrence Overture is a fine example of a musical piece at the earliest performance level. Simple double stops, limited technical demands and rhythms that stay with half notes and quarter notes will facilitate preparing this effective selection with the youngest of ensembles. Duration: 2'20.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: FJ.ST6341S
A slow and starkly beautiful Adagio is followed by a riot of joyous counterpoint in this example of English Baroque writing at its finest. Paying tribute to Saint Cecilia (patron Saint of Musicians), this wonderful music comes from the introduction of the original and features a trio of 2 violins and cello.
SKU: AP.36-50250138
ISBN 9781682966662. UPC: 746241212535. English.
Here is the perfect alternative for Pomp and Circumstance. It is much easier on the orchestra and everyone plays the melody. All parts shift and use chromatic fingerings, and there is great opportunity to work on dotted rhythms and hooked bowings. The optional timpani part and ample number of repeats allows for incredible flexibility.
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.
SKU: AP.36-50255138
ISBN 9781682966679. UPC: 660355128240. English.
SKU: AP.31595S
UPC: 038081343105. English.
Celebrate Haydn's 200th anniversary with this outstanding symphony! This exciting and energetic work is a rare example of Haydn's use of the minor tonality in symphonic writing, which is aptly subtitled Trauer, translated Mourning. The string parts are very close to the original with changes made only to accommodate the important lines of the original oboe and horn parts. Students will thoroughly enjoy the contrapuntal style allowing simultaneous independent melodies. Some shifting is required through third position for violins and fourth position for cellos and basses. This title is available in MakeMusic Cloud.
SKU: XC.PSO2001
UPC: 812598034110. 9 x 12 inches.
Perfect for the first holiday concert, this new work, in the style of a Cha cha, has ample teaching opportunities. Using only the first 6 notes of the D-major scale, Cha Cha Christmas is perfect for your first concert!
SKU: XC.RSO2003
UPC: 812598034530. 9 x 12 inches.
This short suite is a wonderfully fresh addition to the folk song repertoire. All original folk-like melodies provide ample opportunity to explore not only the form of a suite but the idiomatic style of Celtic music. Steven Rosenhaus has crafted a delightful new three-movement work for your next concert.
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