| Flute Solos: The Ultimate Collection CD Sheet Music
SKU: SU.00220551 Woodwinds, Flute/Piccolo. CD (PDF Scores). CD Sheet Musi...(+)
SKU: SU.00220551 Woodwinds, Flute/Piccolo. CD (PDF Scores). CD Sheet Music #00220551. Published by CD Sheet Music (SU.00220551). This CD Sheet Music™ collection makes available over 200 works for flute with piano accompaniment by over 80 composers from the Baroque, Classical and Romantic periods. Works include: Adam (Hongroise), Anderson (Three Cadenzas for Mozart's Flute Concerto No. 2), CPE Bach (5 Sonatas), JCF Bach (Sonata Nos. 1&2), JS Bach (Sonatas, BWV 1030-1035), Barrère (Nocturne), Beethoven (6 Themes with Variations), Bizet (Minuet from L'Arlésienne), Blavet (Les Tendres Badinages), Booth (In the Woods at Evensong), Boulenger (D'un matin de Printemp, Briccialdi (Il Carnevale di Venezia, Bergmüller (Chanson), Busoni (Album Leaf), Caix d'Hervelois (La Bagatelle,Musette), Catherine (Arabesque), Daquin (Rigaudon), Debussy (Le Petit Berger, Rêverie, Arabesque No. 2), Donjon (Adagio Nobile, Invocation, Offertoire), Doppler (Fantaisie Pastorale Hongroise), Duvernoy (Intermezzo), Enesco (Cantabile & Presto), Fauré Berceuse, Sicilienne), Foote (3 Pieces for Flute & Piano), Gabriel-Marie (La Cinquantaine), Ganne (Andante & Scherzo), Gluck (Aria from Orphée, Ballet from Armide), Godard (The Idylle), Gossec (Timbourin), Graupner (Sonata Nos. 1&2), Grétry (Air lent), Griffes (Poem), Hahn (Variations on a Theme by Mozart), Handel (Sonata Nos. 1-7, Sonata Nos. 1-3 for Flute & Continuo), Hotteterre (Échos), Hullmandel (Menuet Champêtre), Kirchhoff (Rigaudon), Köhler (Valse Allemande), Krieger (Bourrée), Kuhlau (Divertimento Nos. 1-6, Grand Solo Nos. 1-3), Kuhnau (Gavotte and Bourrée), Latour (Theme in G major), Locatelli (3 Sonatas), Loeillet (Adagio, Gavotte), Lully (20 Pieces for Flute & Keyboard), Maganini (Sérénade), Marais (Les Folies d'Espagne), Marcello (Cantabile, Largo, Massenet (Meditation from Thaïs), Matheson (Sonata Nos. 1-12), Mendelssohn (Scherzo from A Midsummer Night's Dream), Molique (Andante), Moszkowski (Spanish Dances), Mouquet (La Flute de Pan), Mozart (Concerto Nos. 1&2, Sonata Nos. 1-6), Müthel Sonata in D), Offenbach (Barcarolle from The Tales of Hoffmann), Pergolesi (Aria), Pessard )Andalouse), Popp (Birdsong), Quantz (Sonata Nos. 1-6, Concerto in G), Rameau (La Livri), Reger (Burleske, Menuet and Gigue, Romance), Reinecke (Concerto for Flute in D, Sonata in E), Rheinberger (Rhapsodie), Rietz (Sonata), Rimsky-Korsakov (Flight of the Bumblebee), Sacchini (Andantino galante from Dardanus), Saint-Saëns (Romance, Odelette), A. Scarlatti (Minuet), Schers (Sarabande), Schubert (Introduction & Variations on a Theme), Schumann (Humming Song), Tafanel (Andante, Pastoral and Scherzettino, Telemann (Dolce, The Trusty Music Maker, Tosti (Good Bye), Verdi (La Traviata), Vivaldi (Sonata in C), Weber (Adagio), and more. Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2000+ pages Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Seven (7) Grand Concert Duets 2 Clarinets (duet) Southern Music Ltd
(Woodwind Solos and Ensemble/Clarinet Duets). Arranged by David Hite. For Clarin...(+)
(Woodwind Solos and Ensemble/Clarinet Duets). Arranged by David Hite. For Clarinet Duet (Clarinet). Woodwind Solos and Ensembles - Clarinet Duets. Southern Music. Collection. 97 pages. Southern Music Company #B521. Published by Southern Music Company
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 4 Sonatas for 2 Violins (RV 68 - 70 - 71 - 77) 2 Violins (duet) EMB (Editio Musica Budapest)
Violin Duet SKU: BT.EMBZ8507 By Arpad Pejtsik. By Antonio Vivaldi. EMB Ea...(+)
Violin Duet SKU: BT.EMBZ8507 By Arpad Pejtsik. By Antonio Vivaldi. EMB Early Chamber Music. Book Only. Composed 1980. 40 pages. Editio Musica Budapest #EMBZ8507. Published by Editio Musica Budapest (BT.EMBZ8507). English-German-Hungarian. As far as we know Vivaldi wrote twenty trio sonatas. Several of these works are actually for two parts, as the continuo merely doubles one of the two solo instruments. In the titles of four of these trio sonatas ('Suonata da camera, a 2 violini anco senza basso se piace', meaning if desired the sonata can be played without the bass part) Vivaldi himself gave his approval to the omission of the third instrument. In the light of this, the present publication gives the four works in the form of violin duos.We recommend these three-movement sonatas, in a fast-slow-fast format, for violinists who are already advanced in their studies. 1. Sonata RV 702. Sonata RV 713. SonataRV 684. Sonata RV 77. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Duets: The Ultimate Collection 1 Piano, 4 hands [CD-ROM] CD Sheet Music
SKU: SU.00220522 Keyboard, Piano 4-Hands/2 Pianos, Keyboard, Piano/Harps...(+)
SKU: SU.00220522 Keyboard, Piano 4-Hands/2 Pianos, Keyboard, Piano/Harpsichord. CD (PDF Scores). CD Sheet Music #00220522. Published by CD Sheet Music (SU.00220522). This CD Sheet Musicâ?¢ collection brings together over 60 duets for every technical level by twenty-four composers from the 19th and early 20th centuries. Works include: Beethoven (Grosse Fuge, Variations on a Theme of Count von Waldstein); Bizet (Jeux d'enfants, Books IandII); Brahms (Hungarian Dances, Liebeslieder Waltzes); Clementi (Sonata in C major); Debussy (La Mer, Petite Suite); Diabelli (Twenty-eight Melodious Pieces); Dvorák (Slavonic Dances); Fauré (Dolly); Grieg (Norwegian Dances, Waltz-Caprices); Haydn (Il Masstro e Lo Scolare); Liszt (Les Preludes), Mendelssohn (Allegro Brilliant); Moszkowski (Spanish Dances); Mozart (Fugue, Sonatas); Mussorgsky (Sonata); Rachmaninoff (Six Pieces); Ravel (Mother Goose); Rimsky-Korsakov (Sheherezade), Satie (La Belle Excentrique, Parade, Trois Morceaux en forme de Poire); Schubert (Divertissement à la Hongroise, Lebensstürme, Three Military Marches); Schumann (Twelve Pieces for Large and Small Children, Kinderbal); Stravinsky (Five Easy Pieces; Le Sacre du Printemps); Weber (Mazurka, Romanza, Sonata in C), and more Also includes composer biographies and relevant articles from the 1911 edition of Groveâ??s Dictionary of Music and Musicians 1000 pages Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Locatelli: Three Sonatas op. 2 [Score and Parts] Carus Verlag
By Pietro Antonio Locatelli (1695-1764). Edited by Gerhard Braun. This edition: ...(+)
By Pietro Antonio Locatelli (1695-1764). Edited by Gerhard Braun. This edition: paperbound. Score with 2 parts. 28 pages
$36.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| HANDEL Three Sonatas for Flute and Piano; TELEMANN Three Duet Sonatas for Two Flutes (2 CD Set) Flute [Sheet music + CD] Music Minus One
For Flute. Classical (chamber). Includes a high-quality printed music score and ...(+)
For Flute. Classical (chamber). Includes a high-quality printed music score and a compact disc containing a complete performance with soloist, in split-channel stereo (soloist on the right channel); then a second version in full stereo of the accompaniment, minus the soloist. Published by Music Minus One
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bach: Three Sonatas and Three Partitas for Solo Violin Violin [Sheet music] - Intermediate/advanced Mel Bay
BWV 1001-1006. By Lawrence Golan. For Violin. Solos. Classic. Level: Intermediat...(+)
BWV 1001-1006. By Lawrence Golan. For Violin. Solos. Classic. Level: Intermediate-Advanced. Book. Size 8.75x11.75. 96 pages. Published by Mel Bay Publications, Inc.
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 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 | | |
| Sonata da Chiesa, Op 1 nos 1-3 3 Saxophones (trio) [Score and Parts] Forton Music
By Arcangelo Corelli (1653-1713). Arranged by Robert Rainford. For Mixed Woodwin...(+)
By Arcangelo Corelli (1653-1713). Arranged by Robert Rainford. For Mixed Woodwinds (saxophone). Grade 6. Score and parts. Published by Forton Music
$18.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Six flute sonatas, op.2, volume 1 Edition HH
Flute and basso continuo SKU: HH.HH558-FSP Composed by Philip Peter Eiffe...(+)
Flute and basso continuo SKU: HH.HH558-FSP Composed by Philip Peter Eiffert. Edited by Michael Talbot. Full score and parts. Edition HH Music Publishers #HH558-FSP. Published by Edition HH Music Publishers (HH.HH558-FSP). ISBN 9790708185734. The flute sonatas, now published in a modern edition for the first time, are all three-movement works. They bubble with life and have moments of great drama, particularly in the development sections of the sonata-form movements. The expressive depth of their slow movements is equally impressive. Ignored for too long, Eiffert deserves respect, recognition and, above all, a chance for his music to be heard again. $50.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Six cello sonatas, op. 1 vol. 2 Edition HH
Cello & basso continuo SKU: HH.HH573-FSP Composed by Philip Peter Eiffert...(+)
Cello & basso continuo SKU: HH.HH573-FSP Composed by Philip Peter Eiffert. Edited by Michael Talbot. Full score and parts. Edition HH Music Publishers #HH573-FSP. Published by Edition HH Music Publishers (HH.HH573-FSP). ISBN 9790708185888. The cello sonatas, now published in a modern edition for the first time, are all in three or four movements. They bubble with life and have moments of great drama, particularly in the development sections of the sonata-form movements. The expressive depth of their slow movements is equally impressive. Ignored for too long, Eiffert deserves respect, recognition and, above all, a chance for his music to be heard again. $42.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Three Sonatas for Alto Recorder (or flute, or violin), Harpsichord and Viola da gamba (Handel, Telemann and Marcello) Recorder [Sheet music + CD] Music Minus One
For Recorder (alto), Flute, or Violin. Includes a high-quality printed music sco...(+)
For Recorder (alto), Flute, or Violin. Includes a high-quality printed music score and a compact disc containing a complete performance with soloist, in split-channel stereo (soloist on the right channel); then a second version in full stereo of the accompaniment, minus the soloist. Published by Music Minus One.
(1)$14.99 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| HANDEL; MARCELLO; TELEMANN Three Sonatas in F major for Flute, harpsichord and viola da gamba Flute [Sheet music + CD] Music Minus One
For Flute. Includes a high-quality printed music score and a compact disc contai...(+)
For Flute. Includes a high-quality printed music score and a compact disc containing a complete performance with soloist; then a second version with the accompaniment, minus the soloist. Published by Music Minus One.
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| X sonatas, VI for solo violin and bass, and IV in three parts. Opus VIII Anne Fuzeau Productions
1 or 2 Violins and continuo SKU: FZ.5390 Amsterdam, 1744. Composed...(+)
1 or 2 Violins and continuo SKU: FZ.5390 Amsterdam, 1744. Composed by Pietro Antonio Locatelli. Edited by Nicolas Fromageot. This edition: Facsimile. Collection Dominantes. Score. Published by Anne Fuzeau Productions - France (FZ.5390). ISBN 9790230653909. 24.00 x 33.00 cm inches. This facsimile of an original by Pietro Antonio Locatelli is part of our Dominantes collection. X Sonate, VI a violino solo e basso, e IV a tre. Opera Ottava. Edition: Amsterdam, l'Auteur, undated (=1744). Presentation by Nicolas Fromageot: Bibliography - Comparison of the first and second editions - Hints about the score. A copy deposited at the University of Leiden by the composer himself. The preface contains a comparison with the second Dutch edition and the French edition. Facsimile of the copy preserved at the library of the university of Leiden. Edition in separated parts: first violin part, with the bass, in full score for the first six sonatas and without the bass for sonatas VII to X - second violin part (sonatas VII to X) - continuo bass (sonatas VII to X). Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the Library of the University of Leiden (Netherlands). Anne Fuzeau Classique propose period copies of classical music scores. $41.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Viola Repertoire 3 Viola - Easy The Frederick Harris Music Company
Viola - Early Intermediate SKU: FH.VA3 Viola Series, 2013 Edition....(+)
Viola - Early Intermediate SKU: FH.VA3 Viola Series, 2013 Edition. Composed by The Royal Conservatory. Viola Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VA3. Published by The Frederick Harris Music Company (FH.VA3). ISBN 978-1-55440-565-7. This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler. Concertinos, Airs Varies, and Divertimentos: Divertimento in D Major - Haydn, Franz Joseph arr. Gregor Piatigorsky - Third Movement Air varie (Air with Variations), op 23, no. 3 - Rieding, Oskar Concertino NO. 5 in D Major -Breval, Jean-Baptiste arr. Pierre Ruyssen - First Movement Sonatas: Sonata in D Minor, op. 5, no. 8 - Corelli, Arcangelo arr. Jason Noble - First Movement: Prelude - Second Movement: Allemanda Sonata in A Major, TWV 41:E1 - Telemann, Georg Philipp arr. Kathleen Wood - First Movement - Fourth Movement Concert Repertoire: Three Miniatures (complete) - Miller, Michael Waltz, op. 12, no. 2 - Grieg, Edvard Toy Soldiers' March - Kreisler, Fritz Abracadabra - Duke, David Musette and Air de ballet - Gluck, Christoph Willibald arr. Kathleen Wood Boston Fancy - American folk dance arr. Harold Birston Ave Verum Corpus, K 618 - Mozart, Wolfgang Amadeus arr. Jason Gray Conte serieux (Solemn Story), op. 62, no. 6 - Mendelssohn, Ludwig Alla Greco - Baxter, Timothy. $34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonatas in D major and G major Edition HH
Flute & basso continuo SKU: HH.HH445-FSP Composed by Simon Balicourt. Edi...(+)
Flute & basso continuo SKU: HH.HH445-FSP Composed by Simon Balicourt. Edited by Michael Talbot. Flute & Basso Continuo. Full score and parts. Edition HH Music Publishers #HH445-FSP. Published by Edition HH Music Publishers (HH.HH445-FSP). ISBN 9790708146520. Sonata 1 in D major opens with a Larghetto full of the rhetorical kind of expression one associates with Handel. It is followed by a busy Allegro and a concise Tempo di Minuetto movement that celebrates the extreme popularity of this dance, which, in contrast to its role in the Classical symphony, most often serves as a finale in works written around the middle of the century. | Sonata 2 in G major is in a traditional pastoral key. This association is confirmed immediately in a charming siciliana marked Andante. The Allegro assai that follows is dominated by its three-hammer-blow opening motive, which Balicourt treats with great insistence and some ingenuity. The concluding pair of movements illustrates Balicourt’s Janus-like cultivation of both galant and baroque musical languages. The Andante in E minor takes us into the world of a slow movement in a mid-eighteenth-century operatic sinfonia, while the Allegro has all the characteristics of a Corellian giga written fifty years earlier. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| XII Sonatas in three parts. Opera secunda Anne Fuzeau Productions
(London, Walsh, Ca 1725). By Jean-Baptiste Loeillet (1680-1730). Edited by Frede...(+)
(London, Walsh, Ca 1725). By Jean-Baptiste Loeillet (1680-1730). Edited by Frederique Thouvenot, Suzi Mohlmeier. Sonates en trio - Divers instr. ad libitum dont la flute traversiere - 2 violons et basse continue - 1 ou 2 violons et divers instruments. For Flute, Recorder, Oboe, Violin. Facsimiles. Collection Dominantes. Grade 0. 102 pages
$46.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Purcell, H 12 Sonatas Of Three Parts 1-3 Vln 2 Music Sales
SKU: HL.14026460 Music Sales America. 10 pages. Music Sales #NOV12044402....(+)
SKU: HL.14026460 Music Sales America. 10 pages. Music Sales #NOV12044402. Published by Music Sales (HL.14026460). 8.25x11.75x0.06 inches. $9.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata in C Major, Op. 3/3 - Easy Schott
Basso Continuo; Cello (Score & Parts) - easy to intermediate SKU: HL.49044745...(+)
Basso Continuo; Cello (Score & Parts) - easy to intermediate SKU: HL.49044745 For Cello and Basso Continuo. Composed by Stephen Paxton. Edited by Rainer Mohrs. This edition: Saddle stitching. Sheet music. String Solo. Classical, Contemporary. Softcover. Op. 3/3. 20 pages. Schott Music #CB280. Published by Schott Music (HL.49044745). ISBN 9790001202992. UPC: 841886024939. 9.25x12.0x0.077 inches. Stephen Paxton was one of the most important English composers for the cello in the transitional period between the Baroque and Classical eras. As the cello repertoire does not feature many very early Classical works his Sonatas op. 3, written for amateur cellists and students, fill a significant gap in tuition repertoire. This three-movement Sonata op. 3/3 is very well suited to the cello and distinguished by its elegant and appealing melodies. The sonata can be played using the first four finger positions. As a cellist Paxton was very familiar with the technical capabilities of his instrument and knew how to make it sing with simple and effective figures. The first movement consists of two sections and has an expressive middle section in C minor. The slow movement uses an Irish folk song ('Gramachree'), with two dance movements (Minuet 1 and 2) at the end.This new edition reproduces all the details of the first printed version, with just a few dynamic markings added in square brackets. The bass part has been written out in the style of an early Classical keyboard accompaniment so as to underline the galant rococo style of the piece. $19.99 - See more - Buy online | | |
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