| Hannah Montana (Piano Duet Play-Along Volume 34) 1 Piano, 4 hands [Sheet music + CD] Hal Leonard
(Piano Duet Play-Along Volume 34). By Hannah Montana and Miley Cyrus. Piano Due...(+)
(Piano Duet Play-Along Volume 34). By Hannah Montana and Miley Cyrus. Piano Duet Play-Along. Softcover with CD. 64 pages. Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana in Concert Choral 3-part SSA Hal Leonard
By Hannah Montana. Arranged by Alan Billingsley. (SSA). Disney Choral. 30 pages...(+)
By Hannah Montana. Arranged by Alan Billingsley. (SSA). Disney Choral. 30 pages. Published by Hal Leonard.
(1)$2.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana: The Movie (medley) Choral 2-part 2-part Hal Leonard
By Hannah Montana and Miley Cyrus. Arranged by Mark A. Brymer. 2 part. Pop Chor...(+)
By Hannah Montana and Miley Cyrus. Arranged by Mark A. Brymer. 2 part. Pop Choral Series. 20 pages. Published by Hal Leonard
$2.95 $2.8025 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana: Nobody's Perfect Marching band [Score and Parts] - Easy Hal Leonard
By Hannah Montana. Composed by Robbie Neville, Matthew Gerrard. Arranged by Mich...(+)
By Hannah Montana. Composed by Robbie Neville, Matthew Gerrard. Arranged by Michael Brown. (Score & Parts). Easy Contemporary Marching Band. Published by Hal Leonard.
$45.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana in Concert Choral CD [Accompaniment CD] Hal Leonard
By Hannah Montana. Arranged by Alan Billingsley. (Showtrax CD). Disney Choral. ...(+)
By Hannah Montana. Arranged by Alan Billingsley. (Showtrax CD). Disney Choral. CD only. Published by Hal Leonard.
$34.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana: Nobody's Perfect Jazz Ensemble [Score and Parts] - Easy Hal Leonard
(recorded by Hannah Montana). By Matthew Gerrard, Robbie Neville. Arranged by Ri...(+)
(recorded by Hannah Montana). By Matthew Gerrard, Robbie Neville. Arranged by Rick Stitzel. (Score and Parts). Discovery Jazz. Published by Hal Leonard.
$35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Climb - from Hannah Montana - The Movie
Piano, Vocal and Guitar [Singles] Hal Leonard
(from Hannah Montana - The Movie). Piano Vocal. 8 pages. Published by Hal Leonar...(+)
(from Hannah Montana - The Movie). Piano Vocal. 8 pages. Published by Hal Leonard
$3.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hard Hearted Hannah (The Vamp of Savannah) Jazz Ensemble [Score and Parts] - Intermediate Hal Leonard
Composed by Bob Bigelow, Charles Bates, Jack Yellen, and Milton Ager. Arranged...(+)
Composed by Bob Bigelow,
Charles Bates, Jack Yellen,
and Milton Ager. Arranged by
Mark Taylor. Young Jazz
Classics. Jazz. Softcover.
Published by Hal Leonard
$45.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Les souvenirs sous ma frange Piano, Vocal and Guitar Bookmakers International
Voice, guitar or piano SKU: LM.PB769 By Rose. By Rose. Album. Pop, jazz. ...(+)
Voice, guitar or piano SKU: LM.PB769 By Rose. By Rose. Album. Pop, jazz. Score. Bookmakers International #PB769. Published by Bookmakers International (LM.PB769). ISBN 9790231307696. Comment c'etait deja - Chez moi - Yes we did - De ma fenetre - Ne partez pas - Comme un marin - Hannah - Ma corde au clou - J'ai 18 ans - Quitte-moi - Le mal de l'aube - Les souvenirs sous ma frange - Qui peut dire ? - Qu'est-ce qu'on attend de moi ? - Les frangines - Je gueris - La liste - Ciao bella - Sombre con. $23.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Hannah Montana 3 Easy Piano [Sheet music] - Easy Hal Leonard
By Hannah Montana and Miley Cyrus. Easy Piano Personality. Softcover. Published...(+)
By Hannah Montana and Miley Cyrus. Easy Piano Personality. Softcover. Published by Hal Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana in Concert Choral 2-part 2-part Hal Leonard
By Hannah Montana. Arranged by Alan Billingsley. (2 part). Disney Choral. 30 pa...(+)
By Hannah Montana. Arranged by Alan Billingsley. (2 part). Disney Choral. 30 pages. Published by Hal Leonard.
(1)$2.50 $2.375 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana; The Best of Both Worlds Marching band - Easy Hal Leonard
By Hannah Montana. Composed by Robbie Neville, Matthew Gerrard. Arranged by Mich...(+)
By Hannah Montana. Composed by Robbie Neville, Matthew Gerrard. Arranged by Michael Brown. (Score & Parts). Easy Contemporary Marching Band. Published by Hal Leonard.
$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana: The Movie (medley) Choral 3-part 3-Part Mixed Hal Leonard
By Hannah Montana and Miley Cyrus. Arranged by Mark A. Brymer. 3 Part Mixed. Pop...(+)
By Hannah Montana and Miley Cyrus. Arranged by Mark A. Brymer. 3 Part Mixed. Pop Choral Series. 20 pages. Published by Hal Leonard
$2.95 $2.8025 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hannah Montana: The Movie Choral CD [Accompaniment CD] Hal Leonard
((Medley)). By Hannah Montana and Miley Cyrus. Arranged by Mark A. Brymer. ShowT...(+)
((Medley)). By Hannah Montana and Miley Cyrus. Arranged by Mark A. Brymer. ShowTrax CD. Pop Choral Series. CD only
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hard Hearted Hannah (The Vamp of Savannah) Hal Leonard
Jazz Ensemble (Score) SKU: HL.7013729 Composed by Bob Bigelow, Charles Ba...(+)
Jazz Ensemble (Score) SKU: HL.7013729 Composed by Bob Bigelow, Charles Bates, Jack Yellen, and Milton Ager. Arranged by Mark Taylor. Young Jazz Classics. Jazz. Softcover. 8 pages. Published by Hal Leonard (HL.7013729). UPC: 840126964691. 9.0x12.0x0.016 inches. Arranged in a medium swing Basie style, this sultry chart is a terrific feature for a trumpet soloist. There are plenty of tasty ensemble accompaniment figures along the way, and the solo part is completely written out. A fun change of pace! $5.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ashrey Hagafrur Choral SSATTB Transcontinental Music
By Elliot Z. Levine and Hannah Senesh. SSATTB. Transcontinental Music Choral. 12...(+)
By Elliot Z. Levine and Hannah Senesh. SSATTB. Transcontinental Music Choral. 12 pages. Transcontinental Music #993423. Published by Transcontinental Music
$2.75 $2.6125 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 “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 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 | | |
| 1 2 3 Do Re Mi Elementary method book Piano solo - Beginner Subito Music
Piano SKU: SU.12900010 For Piano. Composed by Hannah Reimann. Keyb...(+)
Piano SKU: SU.12900010 For Piano. Composed by Hannah Reimann. Keyboard, Piano/Harpsichord. Music Theory, Children??s Music. Score. Subito Music Corporation #12900010. Published by Subito Music Corporation (SU.12900010). This is a colorful picture book of musical games and exercises and features first piano pieces at the earliest reading level for children ages 4-9. Each musical element is introduced in a clear, interactive way, providing opportunities for the child to bond with a parent and/or instructor. Quarter notes, half notes, eighth notes and quarter rests are taught experientially with Rhythm Games and some favorite tunes like My Dreidel and Jingle Bells can be learned quickly with awareness of skills of pitch differentiation, rhythm and fingering. The book starts with simpler character pieces, some with only two or three notes. The cheery and charming illustrations make this a fun musical ride. Staves are introduced in the following book of the same series. Illustrated by Lisa Kaiser Piano Composed: 2020 Published by: Hannah Reimann Innovations, LLC. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Heroic Rhapsody Concert band - Easy Kjos Music Company
Band concert band - Grade 2 SKU: KJ.JB83 Composed by Hannah Mahr and Timo...(+)
Band concert band - Grade 2 SKU: KJ.JB83 Composed by Hannah Mahr and Timothy Mahr. Bandworks. Score and parts. Neil A. Kjos Music Company #JB83. Published by Neil A. Kjos Music Company (KJ.JB83). ISBN 9788402702678. UPC: 8402702678. Filled with rousing melodic material and beautiful harmonies, this gallant horn feature from award-winning composer Timothy Mahr and his daughter Hannah is guaranteed to both challenge and delight your students. $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Noah im Kalten Krieg Barenreiter
SKU: BA.BVK02265 Igor Strawinsky's musical play The Flood. Compose...(+)
SKU: BA.BVK02265 Igor Strawinsky's musical play The Flood. Composed by Hannah Dübgen. Paperback. Musiksoziologie, Band 17. Book. 130 pages. Baerenreiter Verlag #BVK02265_00. Published by Baerenreiter Verlag (BA.BVK02265). ISBN 9783761822654. 21 x 14.8 cm inches. Language: German. Preface: Dübgen, Hannah. $51.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Show Drumming GIA Publications
SKU: GI.G-10768 An Expert's Guide to Theatre and Touring. Composed...(+)
SKU: GI.G-10768 An Expert's Guide to Theatre and Touring. Composed by Paul Hannah. Music Education. GIA Publications #10768. Published by GIA Publications (GI.G-10768). ISBN 9781574635546. Are you interested in a career as a drummer in musical theatre? Are you already working in the field and have questions? Are you heading out on a Broadway Show Tour and in need of advice? This is the book for you! Paul Hannah has spent 30 years in the arenas of musical theatre and show drumming and has compiled a wonderful guidebook filled with relevant topics, honest experiences and expert guidance. Topics include: A Primer on Drumset Orchestration Interpreting Drum Charts Considerations for designing setups Suggestions for skill development in essential areas Numerous PROTIPS from an experienced player Pages and pages of setup photos including: Jesus Christ Superstar, Wicked, The Wizard of Oz, Hello Dolly, Cats, Evita, Spamalot A special section devoted to interpreting and performing West Side Story To learn more, visit showdrummingbook.com. $24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dauntless Concert band - Intermediate Kjos Music Company
Band concert band - Grade 3 SKU: KJ.JB95 Composed by Hannah Mahr and Timo...(+)
Band concert band - Grade 3 SKU: KJ.JB95 Composed by Hannah Mahr and Timothy Mahr. Kjos Concert Band Legacy. Score and parts. Neil A. Kjos Music Company #JB95. Published by Neil A. Kjos Music Company (KJ.JB95). UPC: 084027044278. Father and daughter composing team Tim and Hannah Mahr bring you Dauntless, a work about the courage needed to achieve a miraculous feat. All members of the band have moments to shine with bold, daring, and sometimes tender, melodies. About Kjos Concert Band Legacy The Neil A. Kjos Music Company's legacy of producing superb literature for concert band spans its entire 80 year history. We're proud to honor that legacy by continuing to publish compositions of the utmost quality at all grade levels in the Kjos Concert Band Legacy series. Each composition is carefully selected and edited to provide the best in wind band literature by both celebrated and rising composers of today. Skillful engraving with logical page turns, measure numbers, rehearsal marks, essential cueing, and other useful indications ensure that the rehearsal process runs smoothly, so bands can focus on making great music. $65.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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