| 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 Viola, Piano 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 | | |
| Dueling Carmens: Two Carmen Fantasies by Hubay and Sarasate Violin and Piano Lauren Keiser Music Publishing
For Violin and Piano Piano Accompaniment; Violin SKU: HL.370317 For Vi...(+)
For Violin and Piano Piano Accompaniment; Violin SKU: HL.370317 For Violin and Piano Masterworks for Violin Series. Composed by Hubay, Jenö, and Pablo de Sarasate. Arranged by Endre Granat. LKM Music. Classical. Softcover. Lauren Keiser Music Publishing #S511040. Published by Lauren Keiser Music Publishing (HL.370317). ISBN 9781581068887. UPC: 840126993639. 9.0x12.0x0.173 inches. Georges Bizet's opera Carmen had its first performance in Paris in 1875. In the audience was the 17-year-old Hungarian violin virtuoso and budding composer Jeno Hubay. After the performance Hubay started writing his Carmen Fantasy from memory. The following season for his debut recital in Paris, he included his newly created composition. It is a lyrical work of great beauty and brilliance. Hubay combined his career of a concertizing virtuoso, composer and violin pedagogue. At the Royal Conservatory in Brussels he became the successor of Vieuxtemps and Wieniawski. Later, Franz Liszt invited Hubay to lead the violin department in the newly created Budapest Music Academy. He created the world-renowned Hungarian school of violin playing. His student, Franz von Vecsey, recorded theCarmen Fantasy in 1904 at age 11! His other students included Joseph Szigeti, Zoltan Szekely, Sandor Vegh, Endre Gertler, Gyorgy Garay and many more. Hubay was a very active composer, creating over 120 works including operas, ballets, concertos, songs and instrumental compositions. Pablo de Sarasate wrote his Carmen Fantasy in 1882. It is a composition of drama and passion, written with his unparalleled brilliance for violin writing. This work has remained in the standard repertory, on programs of virtuoso soloists, as well as a required work for major competitions.. $29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 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 [Score and Parts] 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 - Intermediate 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 | | |
| Standing in the Shadows of Motown Bass guitar [Sheet music + Audio access] - Intermediate Hal Leonard
The Life and Music of Legendary Bassist James Jamerson. By James Jamerson. Guita...(+)
The Life and Music of Legendary Bassist James Jamerson. By James Jamerson. Guitar Book. Bass Reference, Motown, Biography/Composers and Musicians. Softcover Audio Online. 208 pages. Hal Leonard #0995023000. Published by Hal Leonard
(3)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Thou who, a God, as man yet came (Herr Jesu Christ, wahr' Mensch und Gott) Choral SATB - Easy Carus Verlag
Orchestra STB vocal soli, SATB choir, 2 recorders f1, 2 oboes, trumpet, 2 violin...(+)
Orchestra STB vocal soli, SATB choir, 2 recorders f1, 2 oboes, trumpet, 2 violins, viola, basso continuo - Grade 3 SKU: CA.3112749 Cantata for the Sunday of Estomihi. Composed by Johann Sebastian Bach. Edited by Hans Grischkat, Felix Loy. Stuttgart Urtext Edition: Bach vocal. German title: Herr Jesu Christ. Sacred vocal music, Cantatas, Special days, Lent and Passiontide, Holy Week, Mourning, death. Single Part, Organ. Composed 1725. BWV 127. 12 pages. Duration 21 minutes. Carus Verlag #CV 31.127/49. Published by Carus Verlag (CA.3112749). ISBN 9790007048907. Key: F major. Language: German/English. Text: Eber, Paul. Text: Paul Eber. Cantata BWV 127 belongs to the cycle of chorale cantatas which Bach performed in 1724/25 in Leipzig. It bears close links to the St John Passion, which was performed on Good Friday 1725 in its second version. In formal terms and in the interpretation of the text and its orchestration, it is one of the most astonishing vocal works by Bach. The opening chorus, with its multi-layered construction, is nothing less than a preliminary version for the chorale fantasia O Mensch bewein dein Sunde gross. The aria Die Seele ruht in Jesu Handen is distinguished by its exquisite scoring: a solo oboe and the soprano form a duet, whilst the background comprises delicate chords on recorders and continuo, intended to symbolize funeral bells. A solo trumpet gives the following movement particular brilliance. The words Ich breche mit starker und helfender Hand unmistakably anticipate the chorus Sind Blitze, sind Donner in Wolken verschwunden from the St Matthew Passion. New revised edition. Score and part available separately - see item CA.3112700. $13.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Double bass (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-27(+)
Double bass (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-27 Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). EB 6043 is printed in score form; two copies are needed for performance. Have a look into study score PB 3654. Solo concerto; Romantic. Part. 8 pages. Duration 43'. Breitkopf and Haertel #OB 3210-27. Published by Breitkopf and Haertel (BR.OB-3210-27). ISBN 9790004300732. 10 x 12.5 inches. Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| North-South College All Stars Concert band [Score and Parts] - Intermediate Carl Fischer
Concert Band Alto Saxophone I, Alto Saxophone II, Baritone Saxophone, Bassoon, C...(+)
Concert Band Alto Saxophone I, Alto Saxophone II, Baritone Saxophone, Bassoon, Clarinet I, Clarinet II, Clarinet III, Flute, Horn I, Horn II, Horn III, Horn IV, Oboe, Piccolo, Tenor I, Tenor II, Tenor Saxophone, Trumpet I, Trumpet II, Trumpet III, Trumpet IV - Grade 4 SKU: CF.CB133 Full Score and Parts. Composed by Henry Fillmore. Edited by Robert E. Foster. FS-SWS. Henry Fillmore Band Series (An Authentic Fillmore Edition). Score and Set of Parts. With Standard notation. Carl Fischer Music #CB133. Published by Carl Fischer Music (CF.CB133). ISBN 9780825864995. UPC: 798408064990. 9 X 12 inches. Key: Eb major. As a composer, Henry Fillmore (1881-1956), was one of the greatest practitioners of the American style march. Written for the 1952 Orange Bowl game between the North and South College Football All Stars, this march has all the elements of the mature Fillmore style: energy, brilliance and abundant, memorable tunes. Robert Foster's concert edition will liven up any program and would also make a great encore. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| How Great Is the Lord Choral SATB SATB, Piano [Octavo] Lorenz Publishing Company
By Mark Hayes. For SATB choir and piano (with optional organ, percussion, brass ...(+)
By Mark Hayes. For SATB choir and piano (with optional organ, percussion, brass quintet (trombone)). Sacred Anthem. Choral octavo. Published by Lorenz Publishing Company
$2.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Semantemas for E-flat Clarinet and Cello Periferia Music
E-flat Clarinet and Cello SKU: AY.CM3559PM Composed by Luis Cosme Gonzál...(+)
E-flat Clarinet and Cello SKU: AY.CM3559PM Composed by Luis Cosme González. Ensembles - Chamber Music. Periferia Publishing #CM3559PM. Published by Periferia Publishing (AY.CM3559PM). ISBN 9790543575141. Semantemas is written for an atypical duo using neoclassical roots and a Scarlattian clarity. González has composed a score that allows the brilliance of the performers to shine, full of rhythmic and dynamic subtleties. $22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Moon Phases 81 Concert band [Score and Parts] - Intermediate Belwin
By Scott Director. Concert Band. Concert Band; Part(s); Score. Belwin Concert Ba...(+)
By Scott Director. Concert Band. Concert Band; Part(s); Score. Belwin Concert Band. Form: Overture. Grade 3.5. 248 pages. Published by Belwin Publishing
$70.00 $66.5 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Carillons after Couperin [Score] University Of York Music Press
Piano Six Hands SKU: BT.MUSM570365098 Composed by Sadie Harrison. Classic...(+)
Piano Six Hands SKU: BT.MUSM570365098 Composed by Sadie Harrison. Classical. Score Only. 24 pages. University of York Music Press #MUSM570365098. Published by University of York Music Press (BT.MUSM570365098). English. Composed in 2013, this 4 minute piece for Piano Triet (one piano six hands) is based on a keyboard work that may have been written by Louis Couperin in the mid 1600s. Baroque ‘bell pieces’ were generally uniform in style and structure, making composer designations problematic. The main theme is heard at the outset, followed by a short set of variations. Ghosts of other composers drift in and out - Lully, Paganini and Ravel adding a few notes here and there. The players are directed to perform with joyful Baroque energy, gravitas and increasing brilliance. Carillons was written especially for John Pitts and the extraordinary Triet ensemble, and is dedicated to Bill Maddocks.The source is Volume 1 of the Philidor Collection, written in Philidor’s hand (Réserve F 494, pp.71-73: Paris, Bibliotheque national). Carillons was premiered on 22 June 2014 in Colston Hall, Bristol as part of the Severnside Composers Alliance Music on the Edge 2013-14 Series Piano Triets - 3 is the Magic Number 2 . $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Gospel Guitar of Rev. Gary Davis Guitar notes and tablatures [Sheet music + CD] - Intermediate/advanced Mel Bay
Arranged by Ernie Hawkins. For guitar. Squareback saddle- stitched. Grossman ...(+)
Arranged by Ernie Hawkins. For
guitar. Squareback saddle-
stitched. Grossman Audio.
Intermediate-Advanced. Book/CD
Set. 84 pages. Published by
Mel Bay Publications, Inc
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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