| 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 | | |
| For Children: Complete Piano solo Boosey and Hawkes
Piano SKU: HL.48023890 Volumes 1 & 2, Combined. Composed by Bela B...(+)
Piano SKU: HL.48023890 Volumes 1 & 2, Combined. Composed by Bela Bartok. BH Piano. Children, Classical, Educational. Softcover. 88 pages. Published by Boosey & Hawkes (HL.48023890). ISBN 9781495077722. UPC: 888680640101. 9.0x12.0x0.223 inches. Books 1 and 2 have been combined, making this a great value for piano teachers and students. Authorized revised edition. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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Orchestra SKU: HL.49009976 Study Score. Composed by Franz Schubert...(+)
Orchestra SKU: HL.49009976 Study Score. Composed by Franz Schubert. Edited by Hermann Grabner. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. 124 pages. Duration 32'. Eulenburg Edition #ETP507. Published by Eulenburg Edition (HL.49009976). ISBN 9783795763725. UPC: 841886004221. 5.25x7.5x0.316 inches. Preface -.- Sinfonie: * I. Adagio molto-Allegro vivace * II. Andante * III. Menuetto. Allegro vivace * IV. Allegro. $18.99 - See more - Buy online | | |
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SKU: CA.1604700 Composed by Gioachino Rossini. Edited by Guido Johannes J...(+)
SKU: CA.1604700 Composed by Gioachino Rossini. Edited by Guido Johannes Joerg. This edition: Paperbound. Church year: Christmas. German title: Solfeggien. 16 Kompositionen Fur Vl+Pft. Full score. Composed 1987/2002. 96 pages. Carus Verlag #CV 16.047/00. Published by Carus Verlag (CA.1604700). ISBN 9790007090074. $69.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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Piano SKU: BT.EMBZ13154 9 fantasies. Composed by Laszlo Lajtha. Bo...(+)
Piano SKU: BT.EMBZ13154 9 fantasies. Composed by Laszlo Lajtha. Book Only. Composed 1986. 54 pages. Editio Musica Budapest #EMBZ13154. Published by Editio Musica Budapest (BT.EMBZ13154). I. Prologue. Moderato quasi andanteII. ...comme une lettre sur moi m me. Moderato III. Maternité. Andante quasi allegretto IV. Elegie (en forme d'un tryptichon). - Poco rubato - Poco adagio - Andante V. Serenade en Carneval. Allegro giocoso VI. Soupir inquiet dans la nuit de printemps. Moderato poco rubato quasi fantasando VII. ...je m'en vais comme l'ombre quand elle décline et j'ai été emporté de côté et d'autre, ainsi que les sauturelles (Ps. 109). Poco adagio VIII. Chanson ivre. Allegro commodo poco capriccioso IX. Epilogue. Poco lento molto e
I. Prolog. Moderato quasi andante II. ...wie ein Brief über mich selbst. Moderato III. Mutterschaft. Andante quasi allegretto IV. Elegie (in der Form eines Tryptichons) - Poco rubato - Poco adagio - Andante V. Faschings Serenade. Allegro giocoso VI. Ruheloser Seuzer in die Frühlingsnacht. Moderato poco rubato quasi fantasando VII....ich fahre dahin wie ein Schatten, der vertrie : ben wird und verjaget, wie die Heuschrecken...(Ps. 109). Poco adagio VIII. Das trunkne Lied. Allegro commodo poco capriccioso IX. Epilog. Poco lento molto espressivo
I. Prologue. Moderato quasi andante II. ...comme une lettre sur moi m me. Moderato III. Maternité. Andante quasi allegretto IV. Elegie (en forme d'un tryptichon). - Poco rubato - Poco adagio - Andante V. Serenade en Carneval. Allegro giocoso VI. Soupir inquiet dans la nuit de printemps. Moderato poco rubato quasi fantasando VII. ...je m'en vais comme l'ombre quand elle décline : et j'ai été emporté de côté et d'autre, ainsi que les sauturelles (Ps. 109). Poco adagio VIII. Chanson ivre. Allegro commodo poco capriccioso IX. Epilogue. Poco lento molto e. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Variations on a theme by Edvard Grieg Violin and Piano SATB, Orchestra Music Distribution Services
Violin and piano SKU: M7.JO-11-02 For violin and piano. Composed b...(+)
Violin and piano SKU: M7.JO-11-02 For violin and piano. Composed by Walter Gieseking. This edition: Saddle-wire stitching. Sheet music. Piano reduction with solo part. Composed 1938. 36 pages. Duration 18'. MDS (Music Distribution Services) #JO 11-02. Published by MDS (Music Distribution Services) (M7.JO-11-02). ISBN 9790001215381. UPC: 842819116295. $35.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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By Edvard Grieg. Edited by Maurice Hinson. For Piano. Piano Solo. Masterwork. Le...(+)
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(0.2.0.0/2.2.0.0,timp,str ) SKU: TM.01628SC Composed by Wolfgang Amadeus ...(+)
(0.2.0.0/2.2.0.0,timp,str) SKU: TM.01628SC Composed by Wolfgang Amadeus Mozart. Score. Lucks Music Library #A1747. Published by Lucks Music Library (TM.01628SC). Transposed: hn 1+2, tpt 1+2. New Typeset. Molto Allegro, Andante, Molto Allegro. $20.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Variations on a theme by Edvard Grieg Flute and Piano Schott
For flute and piano. Composed by Walter Gieseking (1895- 1956). This edition:...(+)
For flute and piano. Composed
by Walter Gieseking (1895-
1956). This edition: Saddle-
wire stitching. Sheet music.
Piano reduction with solo
part. Composed 1938. Duration
18\'. MDS (Music Distribution
Services) #JO 11-01. Published
by MDS (Music Distribution
Services)
$35.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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(3)$9.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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Flute [Singles] Schirmer
(For Unaccompanied Flute) Composed by Robert Muczynski. For flute. Format: flute...(+)
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(1)$6.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata Op. 114, 3 Clarinet and Piano Schott
Clarinet; Piano Accompaniment (Clarinet/Piano) SKU: HL.49047498 Clarin...(+)
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| Octuor In F Op.166 Heugel
Score SKU: HL.48187739 Composed by Franz Schubert. Heugel. Classical. Sof...(+)
Score SKU: HL.48187739 Composed by Franz Schubert. Heugel. Classical. Softcover. Heugel & Cie #HE31538. Published by Heugel & Cie (HL.48187739). UPC: 888680868185. 5.5x7.5x0.432 inches. Adagio - Allegro; Adagio; Allegro vivace; Andante; Menuetto - Allegretto; Andante molto - Allegro (for clarinet, bassoon, horn, 2 violins, viola, cello and double bass). $22.40 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| First Piano Album Piano solo Ricordi
Easy Transcriptions of Famous Classic Melodies. By Various. Arranged by Sauro Si...(+)
Easy Transcriptions of Famous Classic Melodies. By Various. Arranged by Sauro Sili. Piano Collection. Size 9x12 inches. 248 pages. Published by Ricordi.
$22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Prima Vista (Trombone) Trombone and Piano - Intermediate Hofmeister Musikverlag
Trombone, piano - Level 3-4 Blattlesestucke des Pariser Konservatoriums. Edited ...(+)
Trombone, piano - Level 3-4
Blattlesestucke des Pariser Konservatoriums. Edited by Waterhouse. Arranged by Waterhouse. Sheet music. Friedrich Hofmeister Musikverlag #FH 2156. Published by Friedrich Hofmeister Musikverlag
$17.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sinfonie Nr. 1 Es-Dur KV 16 KV 16 Flute Quartet: 4 flutes [Score and Parts] Music Distribution Services
4 flutes SKU: M7.KECF-125 Composed by Wolfgang Amadeus Mozart. Arranged b...(+)
4 flutes SKU: M7.KECF-125 Composed by Wolfgang Amadeus Mozart. Arranged by Sabine Gunther. This edition: Saddle stitching. Sheet music. Score and parts. 36 pages. MDS (Music Distribution Services) #KECF 125. Published by MDS (Music Distribution Services) (M7.KECF-125). ISBN 9790502361259. German English. Since the demise of a rich repertoire of arrangements of classic overtures, symphonies ect for flute Ensemble, Edition Con Fuoco is continuosly publishing a series to fill this need. The present Symphony No. 1 by W.A. Mozart is the symphonic debut of a nine-year-old Wunderkind, which was composed at the end of 1764/beginning of 1765 in London. The symphony contains a lively Allegro, an expressive Andante and a Vibrant 3/8-Presto. Pure Mozart with a joy of life and intimacy. $25.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| John McCabe: Nocturnal Op.42 For Piano Quintet (Score and Parts) Music Sales
String Ensemble and Piano SKU: HL.14023164 Composed by John McCabe. Music...(+)
String Ensemble and Piano SKU: HL.14023164 Composed by John McCabe. Music Sales America. Classical. Set. Music Sales #NOV120217. Published by Music Sales (HL.14023164). John McCabe's Nocturnal For Piano Quintet was composed in 1966, commissioned by the Park Lane Group, London, and first performed by the Lancaster University Ensemble. Duration: Approximately 13 minutes. Composers Note: The title of this work is a reference to John Donne's poem A Nocturnal upon St Lucie's Day, the mood of which is reflected in the quintet. It falls into several movements, played without a break: Introduction (Andante), setting forth the main thematic ideas of the music; Nocturne 1 (Allegro vivo), an agitated, virtuoso, scherzo-like section; a tripartite central part of the work consisting of two Cadenzasframing a brief Interlude, the first Cadenza being largely for strings, the second mainly for piano, and the Interlude harking back to the feeling of the Introduction; Nocturne 2 (Andante molto), a slow piece gradually building to a unison theme on strings accompanied by a tolling piano background. This dies down to lead to an Epilogue, ending with a final reference to the work's opening bars. $31.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Solos for the Trombone Player Trombone [Accompaniment CD] Schirmer
(Accompaniment CD). By Various. Edited by Henry Charles Smith. Brass Solo. CD on...(+)
(Accompaniment CD). By Various. Edited by Henry Charles Smith. Brass Solo. CD only. 8 pages. Published by G. Schirmer
$10.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sight-Reading Pieces for Harp Harp [Score] A-R Editions
Edited by James R. Briscoe. Music from the Paris Conservatoire. Score. Published...(+)
Edited by James R. Briscoe. Music from the Paris Conservatoire. Score. Published by A-R Editions (A2.S024).
$21.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Pianist Piano solo [Sheet music] - Intermediate Music Sales
Book. Published by Music Sales. Music inspired from the award-winning film by D...(+)
Book. Published by Music Sales. Music inspired from the award-winning film by Director Roman Polanski, arranged for solo piano. Pieces include the following by Chopin: Nocturne in C Sharp Minor (1830), Nocturne in E Minor, Nocturne in C Minor, Ballade No. 2 in F Minor, Ballade No.1 in G Minor, Waltz No.3 in A Minor, Op.34 No.2, Prelude in E Minor, Op.28 No.4 Andante Spianato in G Major Tranquillo, Grande Polonaise in E-flat Major Molto Allegro, and Mazurka in A Minor Op.17 No.4.
(2)$9.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Major Works For Orchestra Orchestra [Score] Theodore Presser Co.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040). UPC: 680160600045. 5.5x5 inches. This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works. About CD Sheet Music (Version 1) CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series. $18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sound Matters [Score] Schott
(Score) SKU: HL.49003135 An Anthology of Listening Material for GCSE M...(+)
(Score) SKU: HL.49003135 An Anthology of Listening Material for GCSE Music. Composed by Bruce Cole and David Bowman. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical, Collection. Score. 200 pages. Schott Music #ED12351. Published by Schott Music (HL.49003135). ISBN 9780946535132. UPC: 884088991623. 8.25x11.75x0.436 inches. English. This anthology of 72 music examples, consisting of the Teacher's Manual, Pupil's Questions, Music Book and two recordings on CD or cassettes, is intended to provide comprehensive resource materials for the listening component of the GCSE music syllabuses. The extracts have been selected especially to illustrate the periods, styles and rudiments of music encompassed within the syllabuses, and the four components of the publication produced to ensure maximum assistance to the teacher in the classroom. Selected contents: MUSIC IN THE LATE RENAISSANCE O quam gloriosum est regnum * T. Morley: MUSIC IN THE BAROQUE ERA: H. Purcell: Hark, each tree (from Ode for St Cecilia's Day) * A. Vivaldi: Second Allegro (from Op. 3 No. 11) * G.F. Handel: Lascia ch'io * J.S. Bach: Erschienen ist der herrliche Tag (BWV 629) * F. Couperin: Le Petit-Rein MUSIC IN THE ROMANTIC PERIOD: F. Schubert: Am Meer (from Schwanengesang) * H. Berlioz: Un Bal (from Symphonie fantastique) * F. Chopin: Mazurka (Op. 7 No. 5) * R. Schumann: Fantasiestuck (Op. 73 No. 1) * R. Wagner: Prelude (to Tristan and Isolde) * R. Strauss: Epilog (from Till Eulenspiegels lustige Streiche) * MUSIC IN THE TWENTIETH CENTURY: B. Bartok: Third movement (from Sonata for two Pianos and Percussion) * K. Stockhausen: Zyklus * C. Berberian: Stripsody * JAZZ AND POP: F. Molton: Peace in the Valley * Bix Beiderbecke and his Gang: Jazz Me Blues * The Platters: Only You * E. Fitzgerald: Mack the Knife * S. Getz and A. Gilberto: The Girl From Ipanema and more. $20.95 - See more - Buy online | | |
| Sonatina [Score and Parts] PWM (Polskie Wydawnictwo Muzyczne)
Orchestra and Trombone SKU: BT.PWM5829080 Composed by Kazimierz Serocki. ...(+)
Orchestra and Trombone SKU: BT.PWM5829080 Composed by Kazimierz Serocki. Classical. Set (Score & Parts). Composed 1992. 16 pages. Polskie Wydawnictwo Muzyczne #PWM5829080. Published by Polskie Wydawnictwo Muzyczne (BT.PWM5829080). Serocki first wrote this ''Sonatina'' in 1954 in a version for trombone and piano and after twenty years, in 1974, he arranged it for trombone and orchestra. The piece represents an attempt to connect folk music motives and modern harmony. It is a highly virtuosic piece, showing the strengths of the trombone as a solo instrument, but the orchestra also plays an important role in it. The composition consists of three movements: 1. Allegro 2. Andante molto sostenuto 3. Allegro vivace. $19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Bach: The Ultimate Piano Collection Piano solo Schirmer
Composed by Johann Sebastian Bach (1685-1750). For Piano. Piano Collection. ...(+)
Composed by Johann Sebastian
Bach (1685-1750). For Piano.
Piano Collection. 648 pages.
G. Schirmer #LB2102.
Published by G. Schirmer
$44.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto in D Major for Guitar and Orchestra (Full Score and Parts) Guitar, Orchestra Metropolis Music Publishers
Guitar and Orchestra SKU: IS.GOR14022AEM Composed by Karl Kohaut. Arrange...(+)
Guitar and Orchestra SKU: IS.GOR14022AEM Composed by Karl Kohaut. Arranged by Victor Van Puijenbroeck. Plucked - Guitar. Metropolis Music Publishers #GOR14022AEM. Published by Metropolis Music Publishers (IS.GOR14022AEM). ISBN 9790365003464. Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent, considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene, he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in D Major is in three movements: Allegro, Andante molto, and Tempo di Minuetto. This edition includes the full orchestral score, orchestral parts, as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score, Guitar (or Lute) - separate parts included for each instrument, Violin I, Violin II, Cembalo/Cello/Contrabass. $46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto in F Major, No. 2 for Guitar and Orchestra (Full Score and Parts) Guitar, Orchestra [Score and Parts] Metropolis Music Publishers
Guitar and Orchestra SKU: IS.GOR14017AEM Composed by Karl Kohaut. Arrange...(+)
Guitar and Orchestra SKU: IS.GOR14017AEM Composed by Karl Kohaut. Arranged by Victor Van Puijenbroeck. Plucked - Guitar. Metropolis Music Publishers #GOR14017AEM. Published by Metropolis Music Publishers (IS.GOR14017AEM). ISBN 9790365000630. Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent, considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene, he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime, including this Concerto in F Major, No. 2 (not to be confused with his Concerto in F Major, No. 1, which is considered the most popular) in three movements: Allegro moderato, Andante molto, and Tempo di Minuetto. This edition includes the full orchestral score, orchestral parts, as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score, Guitar (or Lute) - separate parts included for each instrument, Violin I, Violin II, Cembalo/Cello/Contrabass. $46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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