Fanfare Band - Grade 3

SKU: BT.DHP-1115009-020

Composed by Peter Kleine Schaars. Applause Series. Original Light Music. Set (Score and Parts). Composed 2012. De Haske Publications #DHP 1115009-020. Published by De Haske Publications (BT.DHP-1115009-020).

9x12 inches. English-German-French-Dut ch.

Latin ABC is a suite in three movements inspired by the music of the Caribbean. The first movement is a joyful Curaçaon waltz, the second movement a sensual, slow salsa: a style that is popular on the island of Bonaire. Finally, Latin ABC culminates with a rousing march that brings the listener to sunny Aruba. This work is suitable for Grade 3 players, and showcases the percussion section in particular.

Vrolijk, sensueel en opzwepend� Wat wilt u nog meer? Dit nieuwe driedelige werk van Peter Kleine Schaars heeft het namelijk allemaal in zich! Het eerste deel is een vrolijke Curaçaose wals. Hierin klinken tegelijkertijd een 3/4-thema en een 6/8-thema. Deel twee is de op het eiland Bonaire zeer populaire en sensuele, langzame salsa. Ten slotte is er een opzwepende road march waarbij de luisteraar zich direct op het zonnige Aruba waant. En dat allemaal doorspekt met slagwerk. Latin ABC: feestelijk en zomers!

Zu Latin ABC lie� sich Peter Kleine Schaars von karibischen Klängen inspirieren: Der erste Satz ist ein fröhlicher Walzer im Curaçao-Feeling, der zweite Satz ein sinnlicher, langsamer Salsa. Seinen Höhepunkt erreicht das Stück mit einem mitrei�enden Stra�enmarsch, das den Zuhörer auf die Insel Aruba entführt. Dies alles findet im Rahmen einer gut spielbaren Komposition im mittleren Schwierigkeitsgrad statt, in der das Schlagzeug eine wichtige Rolle spielt.

Peter Kleine Schaars sâ??est inspiré de lâ??ambiance musicale de trois îles des Antilles néerlandaises - Aruba, Bonaire et Curaçao - pour écrire cette suite en trois mouvements. Latin ABC sâ??ouvre par une valse allègre, où sâ??entrelacent un thème en 3/4 et un autre en 6/8. Le second mouvement apportera une touche traditionnelle avec une salsa lente et sensuelle. La pièce culmine avec une marche entraînante qui emmène lâ??auditeur au soleil dâ??Aruba. Le tout se déroule dans les limites dâ??une composition de niveau 3 où les percussions jouent un rôle important.

Per scrivere questa suite in tre movimenti, Peter Kleine Schaars si è ispirato allâ??atmosfera magica di tre isole delle Antille olandesi, Aruba, Bonaire e Curaçao. Latin ABC apre con un allegro valzer che intreccia sapientemente un tema in 3/4 e uno in 6/8. Il secondo movimento apporta un tocco tradizionale con una salsa lenta e sensuale. Il brano prosegue con una marcia coinvolgente che accompagna il pubblico al sole di Aruba. Un brano che regala un ruolo importante alle percussioni.

Concert Band/Harmonie/Fanfare Band - Grade 3

SKU: BT.DHP-0950615-215

Composed by Johan Nijs. Applause Series. Original Light Music. Score Only. Composed 1995. De Haske Publications #DHP 0950615-215. Published by De Haske Publications (BT.DHP-0950615-215).

The title of this thrilling piece indicates exactly what composer Johan Nijs wants his new work to be, a spectacular introduction. Spectroduction does not disappoint on both counts, grabbing the audiences attention from the first beat. This will make for a spectacular way to open your next concert.

Een sensationeel begin van uw concert! Dat is dit razendsnelle werk van Johan Nijs met een goed gekozen titel… Want Spectroduction is natuurlijk een combinatie van ‘spectaculair� �� en ‘introduction� ��. Met zo’n titel opent u uw concertdirect goed en zeggen we niets te veel: een spectaculair openingswerk dat het publiek van het begin tot het einde in zijn greep houdt!

Der Titel dieses rasanten Werkes zeigt, was Johan Nijs mit der Komposition ausdrücken wollte: In Spectroduction stecken die Begriffe spectacular“ und introduction“ und dieses Versprechen hält auch die Musik: ein spektakuläres Eröffnungswerk, das Ihnen die Aufmerksamkeit des Konzertpublikums vom ersten Ton an sichert!

Pour définir les caractéristiques de sa composition, Johan Nijs a créé un amalgame des mots spectaculaire“ et introduction“. En d’autres termes, Spectroduction est une pièce dont le thème d’introduction, spectaculaire et brillant, met en valeur la souplesse et la flexibilité de votre orchestre d’harmonie.

Un titolo non convenzionale per un brano altrettanto fuori dal comune. Il titolo, formato dalle parole “spectacular” e “introduction� �, rispecchia in pieno il brano: un’introduzione spettacolare al vostro concerto, che catturer l’attenzione del pubblico.

Brass Quartet - intermediate

SKU: BT.DHP-1125340-070

Arranged by Nico Dezaire and Peter Kleine Schaars. De Haske Brass Series. Christmas. Set (Score & Parts). Composed 2012. 16 pages. De Haske Publications #DHP 1125340-070. Published by De Haske Publications (BT.DHP-1125340-070).

9x12 inches. International.

Nico Dezaire and Peter Kleine Schaars created this medley in traditional style from: Away in a Manger, Es ist ein Ros' entsprungen, In dulci jubilo, Still, Still, Still und Silent Night.

Nico Dezaire und Peter Kleine Schaars schreven samen deze sfeervolle kerstmedley in traditionele stijl. De volgende bekende liederen komen voorbij: Away in a Manger, Es ist ein Ros' entsprungen, In dulci jubilo, Still, Still, Stillen Stille Nacht.

Nico Dezaire und Peter Kleine Schaars schufen ein stimmungsvolles Weihnachtsmedley für Blechbläserquartett im traditionellen Stil aus diesen vier bekannten Liedern: Away in a Manger, Es ist ein Ros' entsprungen, In dulci jubilo, Still, Still, Still und Stille Nacht.

Joy of Christmas racchiude quattro canzoni natalizie - Away in a Manger, Es ist ein Ros' entsprungen, In dulci Jubilo, Still, Still, Still e Silent Night - in un arrangiamento in stile tradizionale.

Concert Band/Harmonie/Fanfare Band - Grade 3

SKU: BT.DHP-0950615-015

Composed by Johan Nijs. Applause Series. Original Light Music. Set (Score & Parts). Composed 1995. De Haske Publications #DHP 0950615-015. Published by De Haske Publications (BT.DHP-0950615-015).

The title of this thrilling piece indicates exactly what composer Johan Nijs wants his new work to be, a spectacular introduction.Spectroducti on does not disappoint on both counts, grabbing the audiences attention from the first beat. This will make for a spectacular way to open your next concert.

Een sensationeel begin van uw concert! Dat is dit razendsnelle werk van Johan Nijs met een goed gekozen titel… Want Spectroduction is natuurlijk een combinatie van ‘spectaculair� �� en ‘introduction� ��. Met zo’n titel opent u uw concertdirect goed en zeggen we niets te veel: een spectaculair openingswerk dat het publiek van het begin tot het einde in zijn greep houdt!

Der Titel dieses rasanten Werkes zeigt, was Johan Nijs mit der Komposition ausdrücken wollte: In Spectroduction stecken die Begriffe spectacular“ und introduction“ und dieses Versprechen hält auch die Musik: ein spektakuläres Eröffnungswerk, das Ihnen die Aufmerksamkeit des Konzertpublikums vom ersten Ton an sichert!

Pour définir les caractéristiques de sa composition, Johan Nijs a créé un amalgame des mots spectaculaire“ et introduction“. En d’autres termes, Spectroduction est une pièce dont le thèmed’introduc tion, spectaculaire et brillant, met en valeur la souplesse et la flexibilité de votre orchestre d’harmonie.

Un titolo non convenzionale per un brano altrettanto fuori dal comune. Il titolo, formato dalle parole “spectacular” e “introduction� �, rispecchia in pieno il brano: un’introduzione spettacolare al vostro concerto, che catturer l’attenzione del pubblico.

Concert Band/Harmonie/Fanfare - Grade 3

SKU: HL.44002313

Composed by Johan Nijs. De Haske Concert Band. Original Light Music. Score Only. Composed 1995. De Haske Publications #950615. Published by De Haske Publications (HL.44002313).

UPC: 073999912258. 6.75x10.5 inches.

The title of this thrilling piece indicates exactly what composer Johan Nijs wants his new work to be, a spectacular introduction. Spectroduction does not disappoint on both counts, grabbing the audiences attention from the first beat. This will make for a spectacular way to open your next concert.

Een sensationeel begin van uw concert! Dat is dit razendsnelle werk van Johan Nijs met een goed gekozen titel... Want Spectroduction is natuurlijk een combinatie van 'spectaculair' en 'introduction'. Met zo'n titel opent u uw concertdirect goed en zeggen we niets te veel: een spectaculair openingswerk dat het publiek van het begin tot het einde in zijn greep houdt!

Der Titel dieses rasanten Werkes zeigt, was Johan Nijs mit der Komposition ausdru?cken wollte: In Spectroduction stecken die Begriffe spectacular und introduction und dieses Versprechen halt auch die Musik: ein spektakulares Eroffnungswerk, das Ihnen die Aufmerksamkeit des Konzertpublikums vom ersten Ton an sichert!

Pour definir les caracteristiques de sa composition, Johan Nijs a cree un amalgame des mots spectaculaire et introduction. En d'autres termes, Spectroduction est une piece dont le theme d'introduction, spectaculaire et brillant, met en valeur la souplesse et la flexibilite de votre orchestre d'harmonie.

Un titolo non convenzionale per un brano altrettanto fuori dal comune. Il titolo, formato dalle parole spectacular e introduction, rispecchia in pieno il brano: un'introduzione spettacolare al vostro concerto, che catturera l'attenzione del pubblico.

by Bonnie Rideout. For fiddle and violin. Maggie's Music. Scottish. Level: Beg-Intermediate. Book. Solos. Size 8.75x11.75. 64 pages. Published by Mel Bay Pub., Inc.

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—Mozartâ� ��™s friend Hoffmeister had regrettably attempted such “improvementsâ€� �—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.

Saxophone Quartet - intermediate

SKU: BT.DHP-1125339-070

Arranged by Nico Dezaire and Peter Kleine Schaars. De Haske Saxophone Series. Christmas. Set (Score & Parts). Composed 2012. 16 pages. De Haske Publications #DHP 1125339-070. Published by De Haske Publications (BT.DHP-1125339-070).

9x12 inches.

Nico Dezaire and Peter Kleine Schaars created this medley in traditional style from: Away in a Manger, Es ist ein Ros' entsprungen, In dulci jubilo, Still, Still, Still und Silent Night.

Nico Dezaire und Peter Kleine Schaars schreven samen deze sfeervolle kerstmedley in traditionele stijl. De volgende bekende liederen komen voorbij: Away in a Manger, Es ist ein Ros' entsprungen, In dulci jubilo, Still, Still, Stillen Stille Nacht.

Nico Dezaire und Peter Kleine Schaars schufen ein stimmungsvolles Weihnachtsmedley im traditionellen Stil aus diesen vier bekannten Liedern: Away in a Manger, Es ist ein Ros' entsprungen, In dulci jubilo, Still, Still, Still und Stille Nacht.

Joy of Christmas racchiude quattro canzoni natalizie - Away in a Manger, Es ist ein Ros' entsprungen, In dulci Jubilo, Still, Still, Still e Silent Night - in un arrangiamento in stile tradizionale.

Vocal, Duet choir; flute; handbell; percussion

SKU: HP.8728

Composed by Jester Hairston. Arranged by Joel Raney. Piano with Optional Flute, Guitar, Handbells, Percussion. Christmas, Devotion, Sacred. Vocal score. 12 pages. Hope Publishing Company #8728. Published by Hope Publishing Company (HP.8728).

UPC: 763628187286. Key: Key of g. By Jester Hairston. Luke 2:8, Luke 2:9, Luke 2:10, Luke 2:11, Luke 2:12, Luke 2:13, Luke 2:14.

Calypso Lullaby by Jester Hairston By combining the lively Jester Hairston classic, Mary's Little Boy Child with additional new text and a beautiful lullaby setting, Joel Raney has crafted a spirited Christmas celebration for both SATB and Two-Part choirs. The calypso rhythms provide a joyful expression of the angels' song, Alleluia, shout for joy, alongside an original cradlesong, Sleep little one, rest your head. The addition of the optional flute, percussion, bass guitar, and handbells brings this stunning setting to life - a perfect Christmas selection for churches and schools. The Instrumental packet includes a Conductor's Score and parts for Flute, Bass Guitar, Percussion, and 3-Oct. Handbell.

(Serie I - France 1600-1800 - Integrale de l'oeuvre theorique en 3 volumes). Edited by Jean Saint-Arroman, Bertrand Porot. Facsimiles. Methodes and Traites. Grade 0. 304 pages

Vocal ensemble choir; flute; handbell; percussion

SKU: HP.8929

Composed by Jester Hairston. Arranged by Joel Raney. Piano with Optional Flute, Guitar, Handbells, Percussion. Christmas, Devotion. Vocal Score. Hope Publishing Company #8929. Published by Hope Publishing Company (HP.8929).

By Jester Hairston.

Calypso Lullaby by Jester Hairston By combining the lively Jester Hairston classic, Mary's Little Boy Child with additional new text and a beautiful lullaby setting, Joel Raney has crafted a spirited Christmas celebration for both SATB and Two-Part choirs. The calypso rhythms provide a joyful expression of the angels' song, Alleluia, shout for joy, alongside an original cradlesong, Sleep little one, rest your head. The addition of the optional flute, percussion, bass guitar, and handbells brings this stunning setting to life - a perfect Christmas selection for churches and schools. The Instrumental packet includes a Conductor's Score and parts for Flute, Bass Guitar, Percussion, and 3-Oct. Handbell.

Fanfare Band - Grade 3

SKU: BT.DHP-1115009-120

Composed by Peter Kleine Schaars. Applause Series. Original Light Music. Score Only. Composed 2012. 40 pages. De Haske Publications #DHP 1115009-120. Published by De Haske Publications (BT.DHP-1115009-120).

9x12 inches. English-German-French-Dut ch.

Latin ABC is a suite in three movements inspired by the music of the Caribbean. The first movement is a joyful Curaçaon waltz, the second movement a sensual, slow salsa: a style that is popular on the island of Bonaire. Finally, Latin ABC culminates with a rousing march that brings the listener to sunny Aruba. This work is suitable for Grade 3 players, and showcases the percussion section in particular.

Vrolijk, sensueel en opzwepend… Wat wilt u nog meer? Dit nieuwe driedelige werk van Peter Kleine Schaars heeft het namelijk allemaal in zich! Het eerste deel is een vrolijke Curaçaose wals. Hierin klinken tegelijkertijd een 3/4-thema en een 6/8-thema. Deel twee is de op het eiland Bonaire zeer populaire en sensuele, langzame salsa. Ten slotte is er een opzwepende road march waarbij de luisteraar zich direct op het zonnige Aruba waant. En dat allemaal doorspekt met slagwerk. Latin ABC: feestelijk en zomers!

Zu Latin ABC ließ sich Peter Kleine Schaars von karibischen Klängen inspirieren: Der erste Satz ist ein fröhlicher Walzer im Curaçao-Feeling, der zweite Satz ein sinnlicher, langsamer Salsa. Seinen Höhepunkt erreicht das Stück mit einem mitreißenden Straßenmarsch, das den Zuhörer auf die Insel Aruba entführt. Dies alles findet im Rahmen einer gut spielbaren Komposition im mittleren Schwierigkeitsgrad statt, in der das Schlagzeug eine wichtige Rolle spielt.

Peter Kleine Schaars s’est inspiré de l’ambiance musicale de trois îles des Antilles néerlandaises - Aruba, Bonaire et Curaçao - pour écrire cette suite en trois mouvements. Latin ABC s’ouvre par une valse allègre, où s’entrelacent un thème en 3/4 et un autre en 6/8. Le second mouvement apportera une touche traditionnelle avec une salsa lente et sensuelle. La pièce culmine avec une marche entraînante qui emmène l’auditeur au soleil d’Aruba. Le tout se déroule dans les limites d’une composition de niveau 3 où les percussions jouent un rôle important.

Per scrivere questa suite in tre movimenti, Peter Kleine Schaars si è ispirato all’atmosfera magica di tre isole delle Antille olandesi, Aruba, Bonaire e Curaçao. Latin ABC apre con un allegro valzer che intreccia sapientemente un tema in 3/4 e uno in 6/8. Il secondo movimento apporta un tocco tradizionale con una salsa lenta e sensuale. Il brano prosegue con una marcia coinvolgente che accompagna il pubblico al sole di Aruba. Un brano che regala un ruolo importante alle percussioni.

Choral TBB choir, piano accompaniment

SKU: CF.CM9590

Composed by Philip E. Silvey. Sws. OCTAVO. 16 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #CM9590. Published by Carl Fischer Music (CF.CM9590).

ISBN 9781491154120. UPC: 680160912629. 6.875 x 10.5 inches. Key: F major. English. Philip E. Silvey. Original.

Early one spring a robin nested in the bend of the downspout under my neighbors roof. Through an upstairs window, I could easily observe her feeding the newly hatched birds. A couple weeks passed before I spotted one of the babies perched on the edge of the nest. To my surprise, I witnessed it suddenly take flight for the first time, with a rustle of wings and a rocky descent to the ground. Feeling worried, I hurried outside to see what would happen. Part of me wanted its mother to come to the rescue, but deep down I knew this tiny creature would have to fend for itself. I wrote this composition for those who face such seminal moments as they muster the courage to leap from one stage of life into the next.
Early one spring a robin nested in the bend of the downspout under my neighboras roof. Through an upstairs window, I could easily observe her feeding the newly hatched birds. A couple weeks passed before I spotted one of the babies perched on the edge of the nest. To my surprise, I witnessed it suddenly take flight for the first time, with a rustle of wings and a rocky descent to the ground. Feeling worried, I hurried outside to see what would happen. Part of me wanted its mother to come to the rescue, but deep down I knew this tiny creature would have to fend for itself. I wrote this composition for those who face such seminal moments as they muster the courage to leap from one stage of life into the next.
Early one spring a robin nested in the bend of the downspout under my neighbor's roof. Through an upstairs window, I could easily observe her feeding the newly hatched birds. A couple weeks passed before I spotted one of the babies perched on the edge of the nest. To my surprise, I witnessed it suddenly take flight for the first time, with a rustle of wings and a rocky descent to the ground. Feeling worried, I hurried outside to see what would happen. Part of me wanted its mother to come to the rescue, but deep down I knew this tiny creature would have to fend for itself. I wrote this composition for those who face such seminal moments as they muster the courage to leap from one stage of life into the next.
Early one spring a robin nested in the bend of the downspout under my neighbor’s roof. Through an upstairs window, I could easily observe her feeding the newly hatched birds. A couple weeks passed before I spotted one of the babies perched on the edge of the nest. To my surprise, I witnessed it suddenly take flight for the first time, with a rustle of wings and a rocky descent to the ground. Feeling worried, I hurried outside to see what would happen. Part of me wanted its mother to come to the rescue, but deep down I knew this tiny creature would have to fend for itself. I wrote this composition for those who face such seminal moments as they muster the courage to leap from one stage of life into the next.

Edited by Jenny Oaks Baker. Arranged by Kurt Bestor. For solo violin and piano. First Chair Series. Very advanced. Score and part. 6 pages. Published by Jackman Music Corporation

The New Decade Series. Composed by Various. Easy Piano Songbook. Standards. Softcover. 360 pages. Published by Hal Leonard

Songbook for voice, piano and guitar chords. 336 pages. Published by Hal Leonard.

By Martha Mier. Arranged by Jane Sebba. For Clarinet. Book; CD; Woodwind - Clarinet Method or Collection. Blues; Jazz; Ragtime. Published by Alfred Music Publishing

By Wolfgang Amadeus Mozart. Edited by Willard A. Palmer. perf. Scott Price. For Piano. Piano Collection. Alfred CD Edition. Masterwork. Book and CD. 64 pages. Published by Alfred Publishing.

Berklee DVD. DVD (Digital Video Disk). Size 5.35x7.5 inches. Published by Berklee Press.

SSATBB choir a cappella - Intermediate

SKU: MN.80-854

Composed by Marie Rubis Bauer. Cathedral Series. Catholic Year A Solemnity of Saints Peter and Paul, Apostles; Year A Proper 16 (21); Catholic Year A Ordinary21. 21st Century. Octavo. MorningStar Music Publishers #80-854. Published by MorningStar Music Publishers (MN.80-854).

UPC: 688670808548.

Tu es Petrus (you are Peter, the rock) is based on a Gregorian antiphon for the Feast of Saints Peter and Paul/Feast of the Chair of Peter. The piece was composed specifically to fit the parameters and setting of a Papal audience, with a brief performance time. In six-parts with octave doublings, it makes a big a cappella sound for a big space. A powerful new choice for pilgrim choirs to Rome!

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Easy Piano Solos). Easy Piano Personality. Softcover. 64 pages. Published by Hal Leonard

(Elementary Level). By William L. Gillock. Willis. Elementary. Published by Willis Music

Band concert band - Grade 3

SKU: KJ.JB20F

Composed by Lennie Niehaus. Bandworks. Jazz. Score. Neil A. Kjos Music Company #JB20F. Published by Neil A. Kjos Music Company (KJ.JB20F).

In traditional ABA form, this overture salutes America and its many freedoms. The fast sections offer a great introduction to mixed meters, while the sensitive middle section features flowing solos for first chair players.