Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F).
ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major.
IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Violin, Piano and String Orchestra SKU: BT.WH31276 For Violin, Piano a...(+)
Violin, Piano and String
Orchestra
SKU:
BT.WH31276
For
Violin, Piano and String
Orchestra. Composed
by Hans Abrahamsen.
Classical. Score Only.
Composed 2011. 62 pages.
Edition Wilhelm Hansen
#WH31276. Published by
Edition Wilhelm Hansen
(BT.WH31276).
ISBN
9788759821916.
English.
Commission
ed by The Royal Danish
Orchestra and The Swedish
Chamber Orchestra. Full
Score. Ensemble Violin
Solo Piano Solo bring a
Marimba mallet for
playing inside the Piano
String Orchestra
(6-6-4-4-2) the number of
string players may be
doubled, 12-12-8-8-4 if
doubling the strings then
Desk 1 means Desk 1+2,
Desk 2 means 3+4 etc.
Performance Notes
General: The set-up on
stage is important, with
two Violin groups on each
side on the platform:
Vilin 1 lefts and Violin
2 right, as seen from the
audience 1st Movement :
In bar 1 &, 7 the
entire string group
should adjust their
intonation to the Double
Basses and their natural
harmonics. In the rest of
the movement
normalintonation should
be used. The slow and
rhythmical vibrato pulse
should follow the accents
2nd Movement : The 10/5
meter is divided into two
beats, and the dotted
lines show the position
of the second beat in
each bar 3rd Movement :
no comment 4th Movement :
The very high harmonics
are intended as mostly a
high 'airy' sound. The
small gliss/portamenti
that will invariably
occur in the fast shofts
of positions are
intended.
Piano Accompaniment; Violin (Violin/Piano) - easy SKU: HL.49046262 Vio...(+)
Piano Accompaniment;
Violin (Violin/Piano) -
easy
SKU:
HL.49046262
Violin
and Piano. Edited by
Peter Mohrs. This
edition: Saddle
stitching. Sheet music.
String Solo. Classical.
Softcover. Op. 15. 20
pages. Schott Music
#SE1042. Published by
Schott Music
(HL.49046262).
ISBN
9783795716660. UPC:
888680954178.
9.0x12.0x0.067 inches.
German - English -
French.
Ferdinand
Küchler is regarded as
one of the great violin
teachers of the 20th
century. Apart from his
Violin Method, it is,
above all, his
concertinos that are an
absolute must for the
development of any violin
pupil, especially his
famous Concertino in G
major Op. 11 (Schott SE
1001) as well as his
Concertino in D major Op.
15 which both enjoy great
popularity. Composed
“in the style of
Antonio Vivaldiâ€,
the work has, without
doubt, been one of the
most frequently played
works in student violin
literature for decades.
It is the perfect
educational link to
Vivaldi's somewhat more
difficult “student
concertosâ€. The
completely baroque-style
movements appeal to every
pupil. The fast outer
movements contain
rewarding, always
seemingly violinistic
runs and idiomatic
figurations. The appeal
of the slow middle
movement lies in its
simple, yet tonally
demanding Siciliano
theme. The works requires
knowledge of the 2nd and
3rd positions and is here
presented in a new modern
edition. Bowing,
articulation and
fingerings are based on
today's experience of
interpreting Vivaldi's
music, providing creative
space and possibilities
for personal ideas in
modern violin lessons.
This edition is part of
the new Schott Student
Edition series which
offers varied literature
at five different levels
of difficulty,from 1
(easy) to 5 (difficult),
for instrumental lessons.
For more information see
www.schott-student-editio
n.com.
Trombone and strings and piano - advanced SKU: CY.CC2869 Composed by Jan ...(+)
Trombone and strings and
piano - advanced
SKU:
CY.CC2869
Composed by
Jan Freidlin.
Contemporary. Solo part,
Strings and Piano.
Published by Cherry
Classics (CY.CC2869).
Jan Freidlin's
lush and beautiful
Romantic Concerto for
Trombone, Piano and
Strings was composed in
2004 and is in the
traditional three
movements. The 15-minute
work is appropriate for
advanced
performers. A 4 1/2
minute sample of the
Concerto (on our site) is
beautifully performed by
the Odessa Philharmonic
Chamber Orchestra,
Conductor Igor Shavruk
and Trombone solist
Andrei Sokolov. Below
is what the composer has
written about his
work: Written in
2004 , this composition
combines three
contrasting movements,
however their style is
not typical of a
classical concerto, nor
of a romantic
work. The 1st
movement - Moderato has a
long recitative-like
introduction performed by
the soloist over a
background of aleatoric
sounds of divisi strings.
The tonality is
indefinite with many
harmonic
changes.
Ã
¢â‚¬Â¨The music
gradually builds up more
and more leading the
listener to the 2nd
movement - Vivace
energico in which the
Piano makes its first
appearance, adding
rhythmic complexity. In
the 2nd movement the main
motive from the 1st
movement is reintroduced
and the mood gains in
intensity with various
syncopated rhythmic
phrases as the orchestra
and solo Trombonist
accelerate together into
a major
climax.
Ã
۬With the
energy drained out of the
music by the conclusion
of the 2nd movement the
listener is brought to
the 3rd movement -
Adagietto. This movement
is absolutely lyrical,
elegiac and unexpectedly
tonal. Its main melody
has an atmosphere of
nostalgia leading to the
emotional center of the
whole work, the softest
climax of the Concerto .
The soloist plays it in
many tonalities, then
gradually this warm wave
eases, leaving the
listener in a cathartic
condition.
The
Concerto contains many
virtuosic moments for the
soloist that sound very
expressive and
heroic. Jan
Freidlin
Orchestra Concert Band SKU: PR.416413660 For Violin and Orchestra....(+)
Orchestra Concert Band
SKU: PR.416413660
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Perfect. Contemporary.
Full score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366.
Published by Theodore
Presser Company
(PR.416413660).
ISBN
9781598063578. UPC:
680160601899. 9x12
inches.
Trained as
a violinist in his native
Tehran, composer Behzad
Ranjbaran eagerly drew
inspiration from the
traditional Persian
kamancheh and its
delicate, lyrical sound
when creating his
profoundly luscious and
brilliant Concerto for
Violin and Orchestra.
This work was completed
in 1994 and premiered in
England by Joshua Bell,
who also gave the first
American and Canadian
performances. The
Concerto for Violin and
Orchestra is the
recipient of the Rudolf
Nissim Award from ASCAP,
and it was supported in
part by a grant from The
National Endowment for
the Arts. The solo part
with a piano reduction as
well as a large score are
available on custom
print. For advanced
players. Duration:
31'. From my early
years studying violin at
the Tehran Music
Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
(Favorite Pieces in Easy Piano Arrangements). Composed by Ludwig van Beethoven (...(+)
(Favorite Pieces in Easy
Piano Arrangements).
Composed by Ludwig van
Beethoven (1770-1827).
Edited by David
Dutkanicz. For Piano.
Masterworks; Piano
Collection; Piano
Supplemental. Dover
Edition: My First Book.
Classical; Masterwork;
Romantic. Book. Published
by Dover Publications
For Clarinet in B-flat. Includes a newly engraved, authoritative printed solo pa...(+)
For Clarinet in B-flat.
Includes a newly
engraved, authoritative
printed solo part, and
two compact discs,
containing a complete
version with soloist, in
digitally recorded
stereo; then a digital
stereo version of the
accompaniment, minus the
soloist. Published by
Music Minus One.
Meisterwerke
bearbeitet für
Kontrabass und
Klvvier. Arranged by
Jeffrey Bradetich. Score.
Friedrich Hofmeister
Musikverlag #FH 3577.
Published by Friedrich
Hofmeister Musikverlag
(HF.FH-3577).