Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (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

By Richard Meyer. Orchestra. String Orchestra. Highland String Orchestra. Form: Variations. Contemporary; Light Concert; Novelty. Grade 3. Conductor Score and Parts. 124 pages. Published by Alfred Music Publishing

By Soon Hee Newbold. String Orchestra. FJH String Orchestra. The many diverse and unique scenes of the United States include majestic mountains, vast plains, lush forests, deserts, small towns, and large cities. The people and wildlife throughout America are just as diverse as the landscape - rich in fantastic history with cultures from around the world. American Landscape was influenced by movie music and other American composers and inspired by the beauty and everchanging scenes of a cross-country trainride. Score for this title: ST6117S. Extra part for this title: ST6117P. Level: 3. Published by The FJH Music Company Inc.

String orchestra

SKU: M7.DOHR-88807

Composed by Adrian Connell. Sheet music. Score. 20 pages. Duration 10'. MDS (Music Distribution Services) #DOHR 88807. Published by MDS (Music Distribution Services) (M7.DOHR-88807).

ISBN 9790202098073.

Spring Song is a celebration of the arrival of spring, a renewal of life from the death of the old year. The basic structure of this piece is classical Sonata form. The opening represents winter and this section contains the motives that are the seeds for spring. The music does not really take flight until the development section where march-like textures punctuated by string fanfares propel the music forward. The recapitulation is transformed as the themes reappear in a different order and use the march-like elements from the development. The coda acts as a tranquil recall of the opening music as four solo strings take on the guise of birds singing in contentment in the summer sun.

String orchestra - intermediate to advanced

SKU: HL.49002063

Composed by Harald Genzmer. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1953. 22 pages. Duration 14' 50''. Schott Music #CON 62. Published by Schott Music (HL.49002063).

ISBN 9790001022170. UPC: 884088097813. 9.0x12.0x0.098 inches.

Harald Genzmer's composition Divertimento di danza for string orchestra clearly continues the baroque form of the divertimento. This light music * in the truest sense of the word * consisted of a sequence of loose movements with free forms and dance movements alternat-ing in varied succession. The divertimento comprised five to six movements. Genzmer kept to all these facts but he brought new life into the old forms. Though he did not compose in the old style, he respected certain rules of the traditional form. Ouverture * Allegro (Fugato) * Adagio * Presto (on an Old French dance) * Finale (on an English dance movement).