| Two Violin Concerto in a, Op. 3 No. 8, F.I/177 (Einstein) Orchestra Lucks Music Library
Orchestra (cem,str,2 violin soli) SKU: TM.06031SET Composed by Antonio Vi...(+)
Orchestra (cem,str,2 violin soli) SKU: TM.06031SET Composed by Antonio Vivaldi. Edited by Einstein. Set Type: D. Set of parts. Lucks Music Library #A2219. Published by Lucks Music Library (TM.06031SET). Ed. by Einstein. Preferred edition. Soli & Cem in set. From the Suzuki edition. Cembalo is realized with figured bass. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Two Violin Concerto in a, Op. 3 No. 8, F.I/177 (Einstein) Orchestra [Score] Lucks Music Library
Orchestra (cem,str,2 violin soli) SKU: TM.06031SC Composed by Antonio Viv...(+)
Orchestra (cem,str,2 violin soli) SKU: TM.06031SC Composed by Antonio Vivaldi. Edited by Einstein. Score. Lucks Music Library #A2219. Published by Lucks Music Library (TM.06031SC). Ed. by Einstein. Preferred edition. Soli & Cem in set. From the Suzuki edition. Cembalo is realized with figured bass. $20.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rondo K 386, 2 Piano (Einstein) 2 Pianos, 4 hands Universal Edition
By Wolfgang Amadeus Mozart. Arranged by Alfred Einstein. Published by Universal ...(+)
By Wolfgang Amadeus Mozart. Arranged by Alfred Einstein. Published by Universal Edition.
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Volume 2 (CD) - Yellow
CD. Published by Daehn Publications (DH.CDVOL2). Song List (20) Colonna: The Soa...(+)
CD. Published by Daehn Publications (DH.CDVOL2).
Song List (20)
Colonna: The Soaring Eagle
La Plante: English Country Settings
Daehn: A Song for Friends
Broege: The Child and the Kings
Colonna: Fanfare on ÃAdeste FidelisÃ
Daehn: Nottingham Castle
Boccherini/Stone: Pastorale
FaurŽ/Daehn: Cantique
Scheidt/Daehn: Canzona Bergamasca
La Plante: March on the KingÃs Highway
Vecchi/Daehn: Fa Una Canzona
Knoener: Flag Patrol
Daehn: A Renaissance Trilogy
Bach/Daehn: Chorale and Fugue in F
Bach/Daehn: Fugue in B Flat
Stone: Mentor: Portrait of Albert Einstein
Grainger/Daehn: IÃm Seventeen Come Sunday
Grainger/Daehn: Walking Tune
Grainger/Daehn: Themes from ÃGreen BushesÃ
Broege: Concert Piece for Trumpet and Band
$3.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Philip Glass: Knee Play 3 (Einstein On The Beach) Choral SATB SATB Music Sales
For SATB Choir. Music Sales America. Opera. 10 pages. Music Sales #DU10626. Publ...(+)
For SATB Choir. Music Sales America. Opera. 10 pages. Music Sales #DU10626. Published by Music Sales
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Einstein on the Beach Choral SATB SATB Music Sales
By Philip Glass (1937-). For Opera, SATB (SATB). Music Sales America. Choral. 94...(+)
By Philip Glass (1937-). For Opera, SATB (SATB). Music Sales America. Choral. 94 pages. Music Sales #DU10179. Published by Music Sales
$22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Einstein on the Beach Chester | | |
| Einstein on the Beach Opera [Score] Music Sales
By Philip Glass (1937-). For Opera (Score). Music Sales America. Opera. 226 page...(+)
By Philip Glass (1937-). For Opera (Score). Music Sales America. Opera. 226 pages. Music Sales #DU10155. Published by Music Sales
$114.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Control de los 4 miembros en la batería Drums [Sheet music + CD] Play Music Publishing
Drum Kit SKU: BT.MS0428 Composed by Esteban Tomero. Studies & Exercises. ...(+)
Drum Kit SKU: BT.MS0428 Composed by Esteban Tomero. Studies & Exercises. Book with CD. Composed 2021. Play Music Spain #MS0428. Published by Play Music Spain (BT.MS0428). Spanish. Este libro tiene como objetivo hacerle trabajar el control de los cuatros miembros en la bater a. En efecto, sólo con un perfecto control de sus miembros (manos y pies, derechos e izquierdos) el baterista puede tocar todo tipo de grooves, breaks o solos, en todos los estilos musicales. Y por tanto este trabajo resulta primordial… Dividido en dos partes, este método aborda tanto el control horizontal (superior e inferior) como el control vertical (izquierdo y derecho) que permiten vincular las manos y los pies y abordar con más facilidad los múltiples combinados r tmicos que le brinda la bater a. Pero en vez de encadenar un montón de ejercicios técnicos unos detrás de otros, sin verla finalidad musical, se ha privilegiado la práctica con un trabajo espec fico en unos grooves y unos breaks de todos los estilos. As cada parte empieza con los inevitables ejercicios de preparación, antes de encadenar con unas aplicaciones puramente musicales a tocar en unos playbacks. Para cada una de esas aplicaciones musicales, uno tiene cinco grabaciones diferentes en el CD MP3 adjunto, repartidas de la manera siguiente: la bater a sola en aire normal y luego más lento, la misma parte de bater a tocada ahora en su playback, y por último el playback solo, aqu también en aire normal y luego más lento… para que cada uno pueda aprender a tocar a su ritmo, según su nivel y sus capacidades. ¡Son casi 4 horas de música en total! $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Primeros Acompañamientos De Piano Piano solo Play Music Publishing
Piano SKU: BT.MUSMS0343 Play Music España. Tuition. Book and DVD. Play...(+)
Piano SKU: BT.MUSMS0343 Play Music España. Tuition. Book and DVD. Play Music Spain #MUSMS0343. Published by Play Music Spain (BT.MUSMS0343). Spanish. La meta de este libro es hacerle tocar sus primeros acompañamientos en el Piano. Y Ud lo hará de manera progresiva. Empezará tocando sencillos encadenamientos de acordes - que son una forma básica de acompañamiento en el Piano - con la mano derecha y luego con la izquierda, antes de tocar con ambas manos a la vez en el teclado. Entonces se sentirá bastante fuerte para abordar tranquilamente una primera serie de acompañamientos en acordes, antes de encadenar con una segunda serie ahora en arpegios, para terminar con una tercera serie de acompañamientos con melodía. Para cada uno de esos 60 acompañamientos, lasdigitaciones y unas explicaciones útiles le ayudarán a aclarar posibles dificultades técnicas. Y por último, en el disco de datos (audios mp3 y vídeos mp4) incluido en el método, encontrará para cada acompañamiento, una demostración con sonido e imagen así como un playback específico, en dos aires diferentes, que le permitirá aprender a tocar «a compás» divirtiéndose... como si estuviera tocando en una banda, con otros músicos. $18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Violin Concerto No. 22 in A Minor Orchestra, Violin [Study Score / Miniature] Eulenburg
Orchestra; Violin (Study Score) SKU: HL.49010208 Composed by Giovanni Bat...(+)
Orchestra; Violin (Study Score) SKU: HL.49010208 Composed by Giovanni Battista Viotti. Edited by Alfred Einstein. Arranged by Alfred Einstein. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. 92 pages. Eulenburg Edition #ETP756. Published by Eulenburg Edition (HL.49010208). ISBN 9783795768256. UPC: 841886018198. 5.25x7.5x0.266 inches. With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. $18.99 - See more - Buy online | | |
| Fanfare on a Theme of Imagination Concert band [Score] - Beginner FJH
Concert Band Concert Band - Grade 1 SKU: FJ.B1619S Score Only. Com...(+)
Concert Band Concert Band - Grade 1 SKU: FJ.B1619S Score Only. Composed by Brian Balmages. Concert Band. FJH Beginning Band. Knowledge is limited. Imagination encircles the world. This powerful quote by Albert Einstein provides the inspiration behind this fanfare that celebrates creativity in schools. A majestic opening leads into a dynamic and fast-paced section that continues. Score. Duration 2:00. The FJH Music Company Inc #98-B1619S. Published by The FJH Music Company Inc (FJ.B1619S). English. Knowledge is limited. Imagination encircles the world. This powerful quote by Albert Einstein provides the inspiration behind this fanfare that celebrates creativity in schools. A majestic opening leads into a dynamic and fast-paced section that continues to build in energy until the final massive series of chordal statements. Powerful and inspiring! About FJH Beginning Band Appropriate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1. $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sinfonia Op. 18 No. 4 in D Soli, Mixted choir and accompaniment Lucks Music Library
(0.2.0.1/2.2.0.0,timp,cem ,str) SKU: TM.01028SET Composed by Johann Chris...(+)
(0.2.0.1/2.2.0.0,timp,cem,str) SKU: TM.01028SET Composed by Johann Christian Bach. Edited by Einstein. Set Type: D. Set of parts. Published by Lucks Music Library (TM.01028SET). Ed. by Einstein. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto Grosso in d for Two Violin and Cello Soli, Op. 3 No. 11, F. IV: 11 Orchestra [Score] Lucks Music Library
Orchestra (cem,str=4.4.3.2.2,soli 2 vn and cello) SKU: TM.01333SC Compose...(+)
Orchestra (cem,str=4.4.3.2.2,soli 2 vn and cello) SKU: TM.01333SC Composed by Antonio Vivaldi. Edited by Einstein. Score. Lucks Music Library #A4535. Published by Lucks Music Library (TM.01333SC). Ed. by Einstein. Soli and cem in set. Soli and ripieno parts together on same page. $20.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Canzoni Per Sonara a Quattro "La Spiritata" [Score] - Easy Schott
Various Instruments (SATB); basso continuo ad libitum (Score) - easy to intermed...(+)
Various Instruments (SATB); basso continuo ad libitum (Score) - easy to intermediate SKU: HL.49000188 Score. Composed by Giovanni Gabrieli. Edited by Alfred Einstein. Arranged by Alfred Einstein. This edition: Saddle stitching. Sheet music. Antiqua (Chamber Music). Classical. Score. 20 pages. Duration 15'. Schott Music #ANT 41. Published by Schott Music (HL.49000188). ISBN 9790001001748. 9.0x12.0x0.087 inches. Various Instruments (SATB), Basso Continuo ad lib. $20.99 - See more - Buy online | | |
| Flute Concerto in D Major, Op. 10, No. 3 (RV 428/PV 155) Eulenburg
Flute; Harpsichord; Strings (Study Score) SKU: HL.49010210 Il Gardelli...(+)
Flute; Harpsichord; Strings (Study Score) SKU: HL.49010210 Il Gardellino. Composed by Antonio Vivaldi. Edited by Alfred Einstein. Arranged by Alfred Einstein. This edition: Saddle stitching. Sheet music. Edition Schott. Baroque, Classical. Study Score. Op. 10/3. 18 pages. Duration 11'. Eulenburg Edition #ETP758. Published by Eulenburg Edition (HL.49010210). ISBN 9783795712037. UPC: 073999363470. 5.25x7.5x0.085 inches. With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. $12.99 - See more - Buy online | | |
| Violin Concerto in a, Op. 3 No. 6, F.I/176 Orchestra Lucks Music Library
Orchestra (cem,str,vn solo) SKU: TM.01329SET Composed by Antonio Vivaldi....(+)
Orchestra (cem,str,vn solo) SKU: TM.01329SET Composed by Antonio Vivaldi. Edited by Einstein. Set Type: D. Set of parts. Lucks Music Library #A6185. Published by Lucks Music Library (TM.01329SET). Violin solo in violin orch part. Violin I, II, III, and Solo printed all together. Cem and solo in set. Edited by Einstein. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sinfonia Op. 18 No. 4 in D Soli, Mixted choir and accompaniment [Score] Lucks Music Library
(0.2.0.1/2.2.0.0,timp,cem ,str) SKU: TM.01028SC Composed by Johann Christ...(+)
(0.2.0.1/2.2.0.0,timp,cem,str) SKU: TM.01028SC Composed by Johann Christian Bach. Edited by Einstein. Score. Published by Lucks Music Library (TM.01028SC). Ed. by Einstein. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto Grosso in G minor, Op. 3, No. 1 (RV 324/PV 329) Violin Eulenburg
Strings; Violin (Study Score) SKU: HL.49010206 For Violin, Strings and...(+)
Strings; Violin (Study Score) SKU: HL.49010206 For Violin, Strings and Basso Continuo. Composed by Antonio Vivaldi. Edited by Alfred Einstein. Arranged by Alfred Einstein. This edition: Saddle stitching. Sheet music. Edition Schott. Baroque, Classical. Study Score. Op. 6/1. 20 pages. Eulenburg Edition #ETP 754. Published by Eulenburg Edition (HL.49010206). ISBN 9790200206555. 5.25x7.5x0.092 inches. With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. $12.99 - See more - Buy online | | |
| Concerto Grosso in A Minor, Op. 3, No. 6 (RV 356/PV 1) Eulenburg
Strings; Violin (Study Score) SKU: HL.49010205 Concerto grosso A Minor...(+)
Strings; Violin (Study Score) SKU: HL.49010205 Concerto grosso A Minor. Composed by Antonio Vivaldi. Edited by Alfred Einstein. Arranged by Alfred Einstein. This edition: Saddle stitching. Sheet music. Edition Schott. Baroque, Classical. Study Score. Op. 3/6. 24 pages. Eulenburg Edition #ETP 753. Published by Eulenburg Edition (HL.49010205). ISBN 9783795768768. 5.25x7.5x0.096 inches. Violin, strings and basso continuo. $12.99 - See more - Buy online | | |
| Canzoni Per Sonara a Quattro "La Spiritata" - Easy Schott
Various instruments (SATB); basso continuo ad libitum - easy to intermediate ...(+)
Various instruments (SATB); basso continuo ad libitum - easy to intermediate SKU: HL.49000192 Tenor/Alto Part. Composed by Giovanni Gabrieli. Edited by Alfred Einstein. Arranged by Alfred Einstein. This edition: Saddle stitching. Sheet music. Antiqua (Chamber Music). Classical. Individual part. 4 pages. Duration 15'. Schott Music #ANT 41-14. Published by Schott Music (HL.49000192). ISBN 9790001001786. 9.0x12.0x0.013 inches. Various instruments (SATB), Basso continuo ad lib. $6.99 - See more - Buy online | | |
| Violin Concerto in a, Op. 3 No. 6, F.I/176 Orchestra [Score] Lucks Music Library
Orchestra (cem,str,vn solo) SKU: TM.01329SC Composed by Antonio Vivaldi. ...(+)
Orchestra (cem,str,vn solo) SKU: TM.01329SC Composed by Antonio Vivaldi. Edited by Einstein. Score. Lucks Music Library #A6185. Published by Lucks Music Library (TM.01329SC). Violin solo in violin orch part. Violin I, II, III, and Solo printed all together. Cem and solo in set. Edited by Einstein. $20.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto Grosso in d for Two Violin and Cello Soli, Op. 3 No. 11, F. IV: 11 Orchestra Lucks Music Library
Orchestra (cem,str=4.4.3.2.2,soli 2 vn and cello) SKU: TM.01333SET Compos...(+)
Orchestra (cem,str=4.4.3.2.2,soli 2 vn and cello) SKU: TM.01333SET Composed by Antonio Vivaldi. Edited by Einstein. Set Type: D. Set of parts. Lucks Music Library #A4535. Published by Lucks Music Library (TM.01333SET). Ed. by Einstein. Soli and cem in set. Soli and ripieno parts together on same page. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ejercicios de Acompanamiento Editorial de Musica Boileau
Piano accoompaniment SKU: BO.B.2450 Composed by Manuel Oltra. Instruction...(+)
Piano accoompaniment SKU: BO.B.2450 Composed by Manuel Oltra. Instructional/Etudes/Methods. Published by Editorial de Musica Boileau (BO.B.2450). ISBN 9788480207010. Comentarios del Espanol: Este pequeno volumen se publica con el proposito de llenar el hueco producido por la carencia de textos dedicados al estudio y, sobre todo, la practica del Acompanamiento tal como esta programado en los Conservatorios espanoles. Es por esto que, despues de unas someras consideraciones relativas a cada tipo de trabajo, hemos procurado abundar en ejercicios que permitan al alumno, bajo la supervision del profesor, adquirir gradualmente la vision rapida y la soltura necesaria para la correcta e interesante realizacion de aquellos. No hablamos aqui de la repentizacion ni de la transposicion instrumental, porque ambas cosas pueden hacerse con diversos tipos de partituras musicales, no necesitando mas que una practica de dificultad progresiva y, para la transposicion, el conocimiento de todas las claves, adquirido ya a traves de los cursos de Solfeo. Supuestos, por otra parte, los imprescindibles conocimientos de Armonia, nos abstendremos de explicar las reglas armonicas tradicionales, tanto por lo que se refiere a la formacion y encadenamiento de los acordes como a las duplicaciones, preparaciones y resoluciones de algunas notas; sin embargo, no dejaremos de recordarlas cuando lo creamos conveniente. Como es logico, la practica del Acompanamiento solo es posible en un instrumento polifono y preferentemente de teclado. No ha de extranar, por lo tanto, que nos refiramos siempre al piano en nuestro trabajo, dado que, por razones obvias, lo consideramos el instrumento mas idoneo. $19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
Next page 1 31 61 ... 121 |