| After Hours for Cello and Piano Cello, Piano Faber Music Limited
By Pam Wedgwood. For Cello and Piano. Book; Method/Instruction; String - Cello S...(+)
By Pam Wedgwood. For Cello and Piano. Book; Method/Instruction; String - Cello Studies or Collection. Faber Edition: After Hours. Published by Faber Music
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| After Hours for Flute and Piano Flute and Piano [Sheet music + CD] Faber Music Limited
By Pam Wedgwood. For Flute. Book; CD; Woodwind - Flute Method or Collection. Fab...(+)
By Pam Wedgwood. For Flute. Book; CD; Woodwind - Flute Method or Collection. Faber Edition: After Hours. 24 pages. Published by Faber Music
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| After Hours for Trumpet and Piano Trumpet [Sheet music + CD] Faber Music Limited
By Pam Wedgwood. For Trumpet. Book; Brass - B-Flat Cornet (Trumpet) Method or Co...(+)
By Pam Wedgwood. For Trumpet. Book; Brass - B-Flat Cornet (Trumpet) Method or Collection; CD. Faber Edition: After Hours. 24 pages. Published by Faber Music
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| After Hours Violin Book/CD Violin and Piano [Sheet music + CD] Faber Music Limited
Violin, Piano, Play-Along CD SKU: HU.F0571523560 For Violin and Piano/CD. Compo...(+)
Violin, Piano, Play-Along CD
SKU: HU.F0571523560
For Violin and Piano/CD. Composed by Pam Wedgwood. Strings, Repertoire, Collections. After Hours. Softcover Book and CD. 32 pages. Faber Music #F0571523560. Published by Faber Music
$20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| After Hours for Clarinet and Piano Clarinet and Piano [Sheet music + CD] Faber Music Limited
By Pam Wedgwood. For Clarinet and Piano. Book; CD; Woodwind - Clarinet Method or...(+)
By Pam Wedgwood. For Clarinet and Piano. Book; CD; Woodwind - Clarinet Method or Collection. Faber Edition: After Hours. 24 pages. Published by Faber Music
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| After Hours for Oboe and Piano Oboe, Piano (duet) [Sheet music + CD] Shawnee Press
By Pam Wedgwood. For Oboe and Piano. Book; CD; Woodwind - Oboe Method or Collect...(+)
By Pam Wedgwood. For Oboe and Piano. Book; CD; Woodwind - Oboe Method or Collection. Faber Edition: After Hours
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| After Hours for Violin and Piano Violin and Piano [Sheet music + CD] Faber Music Limited
By Pam Wedgwood. For Violin. Book; CD; String - Violin Studies or Collection. Fa...(+)
By Pam Wedgwood. For Violin. Book; CD; String - Violin Studies or Collection. Faber Edition: After Hours. 24 pages. Published by Faber Music
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| WAVE-EIGHT 8″ Portable DJ Speaker with SonicLink Hal Leonard
SKU: HL.1418387 AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #W...(+)
SKU: HL.1418387 AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #WAVE-EIGHT. Published by Hal Leonard (HL.1418387). UPC: 841300102410. 16.0x26.5x17.0 inches. Faster and easier Cable-free DJing without sound delays is now possible with the WAVE-EIGHT thanks to SonicLink. This new ultra-low-latency technology wirelessly transmits audio much faster than a Bluetooth connection so only a fraction of a second passes between pressing play on the decks and hearing the track through the speakers, which lets you mix without missing a beat. Take the included transmitter out of its storage compartment on the WAVE-EIGHT and connect it to your DJ gear, and you can instantly create a wireless connection, enabling you to throw a DJ party anywhere you want. And if you combine the WAVE-EIGHT with the new OMNIS-DUO portable all-in-one DJ system, which features battery power, you can play cable-free for total freedom. Professional sound with effortless setup With a highly efficient Class D amplifier, a newly designed 8-inch driver, and a Vortex Bass Accelerator which delivers clear and powerful bass, the WAVE-EIGHT will bring the vibes and the punch to your party's sound, even in outdoor settings. To cover larger events and spaces, you can easily add more units to your setup with the SonicLink connection: e.g., using 2 speakers in stereo for an expansive experience, or with a third added as a dedicated subwoofer for a club-like heavy bass sound. There are even several modes you can change between with a single switch to create the type of sound you need, including Mono, Stereo, and Subwoofer mode. Battery power and waterproof design for outdoor events A full battery charge gives you 8 hours of music on the WAVE-EIGHT so you can keep the tunes going throughout the evening and night. The unit is also waterproof, with an IPX4 rating, so it's ideal for using outdoors. And, if you need to charge your phone or another device, you can plug it into the USB Type-C port. Find party venues wherever you go The extendable handle, casters, and additional grab handles make it easy to carry the WAVE-EIGHT to any location on your own. There's a pole socket built-in, too, so you can mount the speaker on a stand for extra height, making it ideal for use in a variety of locations. $899.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Don Mock's Modal Mojo Guitar notes and tablatures [Sheet music + CD] Alfred Publishing
Don Mock's Modal Mojo. (The "No Mystery" Approach to Modal Improvising). By Don ...(+)
Don Mock's Modal Mojo. (The "No Mystery" Approach to Modal Improvising). By Don Mock. For Guitar. Guitar Method or Supplement; Method/Instruction. Audio Workshop Series. Book and CD. 84 pages. Published by Alfred Music Publishing
(1)$19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Lord said unto my Lord Soli, Mixted choir and accompaniment - Intermediate Carus Verlag
Composed by Antonio Vivaldi (1678-1741). For SATB vocal soli, SATB/SATB choir, 2...(+)
Composed by Antonio Vivaldi (1678-1741). For SATB vocal soli, SATB/SATB choir, 2 orchestras: 2 oboes, 2 trumpets, 2 violins, viola, basso continuo, [timpani]. Stuttgart Urtext Edition. German title: Dixit Dominus. Cantatas, Motets, Epiphany, Daily hours. Level 4. Complete orchestral parts. Language: Latin/English. RV 594. Duration 25 minutes. Published by Carus Verlag
$169.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lachenmann Perspectives Breitkopf & Härtel
SKU: BR.BHM-7816 DVD series about Helmut Lachenmann's orchestral works...(+)
SKU: BR.BHM-7816 DVD series about Helmut Lachenmann's orchestral works. Composed by Helmut Lachenmann. Breitkopf New Media. Here you can order the perfomance material. Music post-1945; New music (post-2000). New Media. 12 pages. Breitkopf and Haertel #BHM 7816. Published by Breitkopf and Haertel (BR.BHM-7816). ISBN 9790004650424. 9 x 12 inches. The Tanzsuite mit Deutschlandlied (Dance Suite with German National Anthem) was premiered in 1980 at the Donaueschingen Festival under the direction of Sylvain Cambreling. 35 years later, we have now filmed the piece, once again conducted by Cambreling, with the Staatsorchester Stuttgart and the Arditti Quartet. Sectional rehearsals with Helmut Lachenmann did not take place, but the approximately eight hours of orchestra rehearsals also provided much graphic material for the two rehearsal films. In the interview film, the composer goes into detail about, for example, the structure of the piece in which he has dealt with a variety of dances and German Folk Songs. Lachenmann's pre-concert speech, preparing the audience for the performance of the Tanzsuite, gives a special accent to the DVD. (Wiebke Popel)
In 2015/16 I travelled across Europe with cameraman Michael Zimmer to document a total of nine orchestral rehearsals of and with [meaning rehearsals of music by HL, conducted by HL? OR?] Helmut Lachenmann in the course of Lachenmann Perspectives, a project of the Musik der Jahrhunderte. This DVD series is the filmic result of these journeys. $32.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Book of Hours Harp, Flute (duet) Boosey and Hawkes
Eight Pieces for Flute and Harp. By Ned Rorem. Boosey and Hawkes Chamber Music. ...(+)
Eight Pieces for Flute and Harp. By Ned Rorem. Boosey and Hawkes Chamber Music. Size 8.5x11 inches. 24 pages. Published by Boosey & Hawkes.
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Il Pastor Fido Barenreiter
Six Sonatas. Composed by Nicolas Chedeville (1705-1782). Edited by Federi...(+)
Six Sonatas. Composed by Nicolas Chedeville (1705-1782). Edited by Federico Maria Sardelli. This edition: urtext edition. Paperback. Barenreiter Urtext. Attributed to Antonio Vivaldi. Performance score, set of parts. Duration 3 hours. Baerenreiter Verlag #BA08735. Published by Baerenreiter Verlag (BA.BA08735).
$34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Guitar Picking Tunes - Fun Solos to Play Guitar notes and tablatures [Sheet music + Audio access] - Intermediate Mel Bay
Guitar (flatpicking) - Intermediate SKU: MB.WBM44M Composed by William Ba...(+)
Guitar (flatpicking) - Intermediate SKU: MB.WBM44M Composed by William Bay. Saddle-stitched, Featured Products, Tunebooks, Solos, Celtic / Irish, Folk. Guitar Picking Tunes. Style. Book and online audio. 48 pages. Mel Bay Publications, Inc #WBM44M. Published by Mel Bay Publications, Inc (MB.WBM44M). ISBN 9780999698075. 8.75 x 11.75 inches. This collection of 47 favorite guitar picking tunes includes reels, jigs, waltzes, fiddle tunes and more, each presented in standard notation and tablature with backup chords. As these melodies lend themselves well to jamming, this collection is sure to bring any guitarist many hours of picking pleasure. Includes access to an online audio recording of the author performing each piece on a 12-string guitar. $14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Buskers Fake Book All Time Hit Piano solo Music Sales | | |
| 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 | | |
| OMNIS-DUO Portable All-in-One DJ System Hal Leonard
SKU: HL.1418386 AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #O...(+)
SKU: HL.1418386 AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #OMNIS-DUO. Published by Hal Leonard (HL.1418386). UPC: 841300102441. 17.5x24.5x6.5 inches. Portability and playability: turn any location into a party venue instantly! Easily slide the OMNIS-DUO into a good-sized backpack and carry it anywhere thanks to the compact size, modest weight, and rounded corners of the unit. The system's 2-deck + mixer layout will look familiar to everyone and feel great when you're DJing. And there are two modes for the touchscreen – Light and Dark – which you can instantly switch between so you'll always be able to see the displayed information, even in bright outdoor settings. Built-in battery means no power supply needed and less gear to transport Play for up to 5 hours without plugging into the mains. When it's time to top up the power, you can connect the AC adapter or plug in a compatible power bank (45W or more) to the dedicated USB Type-C terminal. Need to keep the music going? Switching to Eco mode extends the life of the battery and the party. And if you combine the OMNIS-DUO with the new battery-powered WAVE-EIGHT speaker, which features ultra-low-latency SonicLink technology, you can enjoy wireless DJing for total freedom. Flexible audio output options to play anywhere - there's no limit! As the first-ever all-in-one DJ system to feature a Bluetooth audio output function, the OMNIS-DUO opens up brand-new possibilities. Whether you want to play on a campground, at the beach, or even connect to the sound system in a vehicle, there's no limit to the places you can hold a party. And when the time comes to play in a venue like a bar, you can use the professional XLR output, while the RCA terminals are perfect for plugging in monitor speakers at home. Bluetooth audio input enables the crowd to join in your set Never disappoint a friend again when they request a song. Instead, invite them to connect their phone to the OMNIS-DUO via Bluetooth function and you can drop the track into your set. Thanks to the system's Bluetooth Playback function, you'll have control of the audio on the deck. You can adjust the volume and EQ, apply effects to the sound, change the tempo, use Hot Cues, and scratch, just like you would with tracks loaded from a USB stick or SD card. With the OMNIS-DUO and Bluetooth audio input, you can enjoy collaborating with friends and expand your musical experiences. $1499.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Pentatonic Plus Guitar notes and tablatures [Sheet music + Audio access] Hal Leonard
Break Out of the Box: Variations on Rock's Most Essential Scale. Guitar Educa...(+)
Break Out of the Box:
Variations on Rock's Most
Essential Scale. Guitar
Educational. Scales.
Softcover Video Online. With
guitar tablature. Published
by Hal Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dixit Dominus (The Lord said unto my Lord) Choral SATB - Intermediate/advanced Carus Verlag
Orchestra SATB vocal soli, SATB/SATB choir, 2 orchestras: 2 oboes, 2 trumpets, 2...(+)
Orchestra SATB vocal soli, SATB/SATB choir, 2 orchestras: 2 oboes, 2 trumpets, 2 violins, viola, basso continuo, [timpani] - Grade 4 SKU: CA.4000718 Composed by Antonio Vivaldi. This edition: urtext. Stuttgart Urtext Edition: Vivaldi-Archiv. German title: Dixit. Sacred, Cantatas, Motets; Stuttgart Urtext editions; Occasions: Daily hours; Use during church year: Epiphany. Single Part, Choir 2: Basso cont. RV 594. 12 pages. Duration 25 minutes. Carus Verlag #CV 40.007/18. Published by Carus Verlag (CA.4000718). ISBN 9790007057671. Language: Latin/English. Dixit Dominus (Ps 109), a psalm setting for double choir, is one of Vivaldi's most significant sacred works. In it, he takes up the old Venetian polychoral tradition, combining its compositional techniques with those of the instrumental concerto, the cantata and the opera. The broadly conceived cycle of movements, consisting of eight psalm verses and the doxology, is characterized by an expansive arch of tonalities connecting the two framing outer movements in D major (these are also thematically related): Dixit Dominus and Gloria Patri. The contrasting and varied inner movements are perfect examples of Vivaldi's skill in vividly portraying linguistic figures in music. Score and part available separately - see item CA.4000700. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(31)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Playing with the Band Classics Trombone [Sheet music + CD] Carl Fischer
(For Solo Instruments and Play-Along CD with Concert Band). By Peter Ilyich Tcha...(+)
(For Solo Instruments and Play-Along CD with Concert Band). By Peter Ilyich Tchaikovsky Georges Bizet. Arranged by Andrew Balent Larry Clark. For Tenor. This edition: Trombone. Playing with the Band Classics. Score and audio CD. Standard notation. 16 pages. Published by Carl Fischer
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Toccata and Lament for organ (2008/2013) Organ - Intermediate/advanced Barenreiter
Organ - Level 4 SKU: BA.BA11093 Composed by Martin Herchenroder. Stapled....(+)
Organ - Level 4 SKU: BA.BA11093 Composed by Martin Herchenroder. Stapled. Performance score. Composed 2008/2013. 19 pages. Duration 12 hours. Baerenreiter Verlag #BA11093_00. Published by Baerenreiter Verlag (BA.BA11093). ISBN 9790006565269. 30 x 23 cm inches. Preface: Herchenroder, Martin. “Toccata and Lament†was composed on commission in 2008 to inaugurate the large new organ in the Christ Church Cathedral, Rochester, NY, USA. This instrument is a detailed reconstruction of a late Baroque organ of 1776 from Vilnius in Lithuania. The point of departure – a clash of contrasting eras and musical cultures on two continents – already bodes excitement. Martin Herchenröder, a composer and professor of music theory, has incorporated these contrasts in his roughly eight-minute composition. The result is a musical idiom of rare distinction, universal in its musical resources and alternating between tonal triads and extremely dissonant clusters. The heart of the piece is a dirge which, using the Baroque doctrine of the affections, relates to Eastern European cultural history in and around Vilnius, a history marked by the predations of 20th-Century war.
$36.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The American Fiddle Method, Volume 1 - Fiddle - DVD Violin [DVD] - Beginner Mel Bay
Beginning Fiddle Tunes and Techniques. By Brian Wicklund. For Fiddle. Method. Bl...(+)
Beginning Fiddle Tunes and Techniques. By Brian Wicklund. For Fiddle. Method. Bluegrass and Country. Level: Beginning. DVD. Size 5.25x7.50. 114 pages. Published by Mel Bay Publications, Inc.
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Easy to Play Irish Jigs and Reels for Piano Piano solo Kevin Mayhew
Irish traditional music is central to much of Irish culture and life. These reel...(+)
Irish traditional music is central to much of Irish culture and life. These reels and jigs capture the rhythm and vitality of Irish music in settings for easy piano. Reels are simple dance tunes in fairly fast 2/2 time, consisting of eight-measure phrases which are repeated over and over again. Jigs are popular dance tunes in 6/8 time. With thirteen reels and thirteen jigs, this collection is sure to provide hours of enjoyment
$9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Bb Instruments [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(8)$49.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Hal Leonard Real Jazz Fake Book - C Edition Fake book [Fake Book] - Intermediate Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 384 pages. Publis...(+)
Fake Book (Includes melody line and chords). Size 9x12 inches. 384 pages. Published by Hal Leonard.
(2)$45.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Complete Guitar Scale Dictionary Guitar [Sheet music + Audio access] Mel Bay
Composed by Mike Christiansen. Saddle-stitch. Complete. 60 pages. Published b...(+)
Composed by Mike
Christiansen. Saddle-stitch.
Complete. 60 pages.
Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cinq Melodies Populaires Grecques (Five Greek Folk Melodies) Piano, Voice Alfred Publishing
Voice and Piano SKU: AP.36-M181291 Composed by Maurice Ravel. Performance...(+)
Voice and Piano SKU: AP.36-M181291 Composed by Maurice Ravel. Performance Music Ensemble; Solo Voice with Piano. Ludwig Masters. Score and Part(s). Alfred Music #36-M181291. Published by Alfred Music (AP.36-M181291). UPC: 660355185809. English. Maurice Ravel (1875-1937) wrote the first of his CINQ MÉLODIES POPULAIRES GRECQUES (Five Greek Folk Melodies) in 1904 at the urgent request of Pierre Aubry, who wished to illustrate a lecture he was giving on Greek folksong. Initially given five folksongs from which to choose, Ravel supplied a piano accompaniment for them in only thirty-six hours. Having impressed those who supplied the original five, three more were produced, which Ravel also quickly set to piano accompaniment, in a style imitative of the Mediterranean lands, but remaining distinctly French in its execution. The five melodies in this collection were selected from those eight. Ravel had started orchestrating all five as well, completing two, leaving Manuel Rosenthal to complete the remaining three. Songs in the collection: I. Le Réveil de la Mariée (Wake Up, My Dear), II. Là -bas, vers l'église (Out There, Where the Church Tower), III. Quel galant m'est comparable (Which Gallant Can Compare With Me?), IV. Chanson des cueilleuses de lentisques (Song of the Lentisk Gatherers), and V. Tout gai! (Be Gay!). The Ravel/Rosenthal orchestrations have been edited by Clinton Nieweg in an edition available from E.F. Kalmus. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $5.99 - See more - Buy online | | |
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