Solo Bass Trombone and Piano accompaniment - Advanced SKU: CY.CC3088 Comp...(+)
Solo Bass Trombone and
Piano accompaniment -
Advanced
SKU:
CY.CC3088
Composed by
Alan Pierce. Classical.
Score and Parts. Cherry
Classics #CC3088.
Published by Cherry
Classics (CY.CC3088).
ISBN 9790530110652.
8.5 x 11 in
inches.
The writing
of Romanza and Scherzo
was inspired by Charles
Vernon, the legendary
Bass Trombonist of the
Chicago Symphony, who
asked Mr. Pierce to write
something for me with
lots of melodies. The
work is in three
sections: a brief
introduction followed by
the very expressive
Romanza and the final
Scherzo, which is light
and bouncy. The music is
full of LOTS OF MELODIES,
has a very large range
and features a
challenging cadenza.
About 10 minutes in
length, this music is
appropriate for advanced
performers. This work is
dedicated to George
Curran, Bass Trombonist
of the New York
Philharmonic who performs
it on his new CD, Vital
Signs, available on
iTunes, CD Baby and from
other distributors. Below
is a brief sample of this
beautiful work performed
by Mr. Curran.
Strings Piano Accompaniment; Violin (Violin and Piano) - l5 SKU: HL.51481346<...(+)
Strings Piano
Accompaniment; Violin
(Violin and Piano) - l5
SKU: HL.51481346
Violin and Piano.
Edited by Peter Jost.
Arranged by Ingolf
Turban. Sheet Music.
Paperbound. Henle Music
Folios. With marked and
unmarked string parts.
Classical. Softcover. 16
pages. G. Henle #HN1346.
Published by G. Henle
(HL.51481346).
ISBN
9790201813462. UPC:
888680925031.
9.25x12.0x0.066
inches.
When
composing his Spanish
Dances (HN 1370), the
composer and violin
virtuoso Sarasate united
existing material - folk
songs and songs by
well-known composers -
with his own uniquely
charming musical
language. The two Dances
op. 22, “Romanza
andaluza” and
“JotaNavarra,” were
completed in 1878 during
Sarasate's first concert
tour through Scandinavia.
After their initial
performances, the lyrical
“Romanza” soon
outstripped its brilliant
sister piece in
popularity, and
thereafter it was one of
Sarasate's compositions
that he played most often
himself. Since then, this
piece has lost nothing of
its charm, and it is now
available as a
stand-alone edition in
the Henle catalogue.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Cello; Piano Accompaniment (Score and Solo Part) SKU: HL.50601134 Cell...(+)
Cello; Piano
Accompaniment (Score and
Solo Part)
SKU:
HL.50601134
Cello
and Piano. Composed
by Pier Adolfo
Tirindelli. Edited by
Giuliano Cavaliere.
String. Classical,
Romantic Period.
Softcover. Ricordi
#NR141714. Published by
Ricordi (HL.50601134).
9.0x12.0
inches.
The Romanza
for cello and piano by
Pier Adolfo Tirindelli
(1858-1937), who was
particularly noted for
his vocal compositions,
is a cantabile,
expressive piece that is
typical of the salon
romanza. This critical
edition is based on the
manuscript kept in the
Biblioteca del
Conservatorio di Musica
Santa Cecilia in Rome. It
is hoped that this will
contribute to the
rediscovery of Tirindelli
- one of the greatest
Italian composers from
the late nineteenth
century - and his
instrumental chamber
music.
Romanza Violon et Piano Edward B. Marks Music Company
(Violin and Piano Reduction). Composed by William Bolcom. For Violin, Piano Acco...(+)
(Violin and Piano
Reduction). Composed by
William Bolcom. For
Violin, Piano
Accompaniment (Score and
Parts). E.B. Marks. 32
pages. Published by
Edward B. Marks Music
Band Wind Band - Grade 5 SKU: KJ.WB478F Composed by Mark Camphouse. Conce...(+)
Band Wind Band - Grade 5
SKU: KJ.WB478F
Composed by Mark
Camphouse. Concert and
Contest. Kjos Concert
Band Legacy. Score. Neil
A. Kjos Music Company
#WB478F. Published by
Neil A. Kjos Music
Company (KJ.WB478F).
UPC:
8402704767.
Written
to be included as the 2nd
movement to the
multi-composer suite
honoring the retirement
of composer Jack Stamp,
Romanza is a simple and
direct tone poem of
musical expression.
Composer Mark Camphouse
puts his own imprint on
the compositional style
of the dedicatee, Jack
Stamp.
About Kjos
Concert Band
Legacy
The
Neil A. Kjos Music
Company's legacy of
producing superb
literature for concert
band spans its entire 80
year history. We're proud
to honor that legacy by
continuing to publish
compositions of the
utmost quality at all
grade levels in the Kjos
Concert Band Legacy
series. Each composition
is carefully selected and
edited to provide the
best in wind band
literature by both
celebrated and rising
composers of today.
Skillful engraving with
logical page turns,
measure numbers,
rehearsal marks,
essential cueing, and
other useful indications
ensure that the rehearsal
process runs smoothly, so
bands can focus on making
great music.
3 of Bottesini's incredible virtuoso works collected together in this first volu...(+)
3 of Bottesini's
incredible virtuoso works
collected together in
this first volume of
Complete
Bottesini. Includes
Bolero which is
published in this volume
for the first time,
Romanza PateticaGavotta
which is based on the
best version of the three
which are available
(Piano Solo and Piano/Vocal/Guitar). For Guitar; Keyboard; Piano; Voice. This...(+)
(Piano Solo and
Piano/Vocal/Guitar). For
Guitar; Keyboard; Piano;
Voice. This edition:
Piano
Solo and
Piano/Vocal/Guitar.
Artist/Personality; Book;
Piano - Personality Book;
Piano Supplemental;
Piano/Vocal/Chords. 84
pages.
Published by Alfred Music
Publishing
Arranged by Aaron Stang. Traditional Spanish Folk Song. For Guitar. Guitar Metho...(+)
Arranged by Aaron Stang.
Traditional Spanish Folk
Song. For Guitar. Guitar
Method or Supplement.
Warner Bros. Publications
21st Century Guitar
Course. Level: Level 1.
Full Score, Parts and CD.
28 pages. Published by
Alfred Publishing.
From the Opera La Forza del Destino. Composed by Giuseppe Verdi (1813-190...(+)
From the Opera La
Forza del Destino.
Composed by Giuseppe
Verdi (1813-1901).
Arranged by Charles
Yassky. Full score and
set of parts. Duration
3:00. Published by Baton
Music (BF.BM387-SET).
Composed by Carl Maria von Weber (1786-1826). Edited by Peter Thalheimer. This e...(+)
Composed by Carl Maria
von Weber (1786-1826).
Edited by Peter
Thalheimer. This edition:
Paperbound. German title:
Romanza siciliana. Vocal
score. Composed 1805. Op.
posth. 2. 8 pages. Carus
Verlag #CV 16.015/00.
Published by Carus Verlag
(CA.1601500).
Band Wind Band - Grade 5 SKU: KJ.WB478 Composed by Mark Camphouse. Concer...(+)
Band Wind Band - Grade 5
SKU: KJ.WB478
Composed by Mark
Camphouse. Concert and
Contest. Kjos Concert
Band Legacy. Score and
parts. Neil A. Kjos Music
Company #WB478. Published
by Neil A. Kjos Music
Company (KJ.WB478).
UPC:
8402704766.
Written
to be included as the 2nd
movement to the
multi-composer suite
honoring the retirement
of composer Jack Stamp,
Romanza is a simple and
direct tone poem of
musical expression.
Composer Mark Camphouse
puts his own imprint on
the compositional style
of the dedicatee, Jack
Stamp.
About Kjos
Concert Band
Legacy
The
Neil A. Kjos Music
Company's legacy of
producing superb
literature for concert
band spans its entire 80
year history. We're proud
to honor that legacy by
continuing to publish
compositions of the
utmost quality at all
grade levels in the Kjos
Concert Band Legacy
series. Each composition
is carefully selected and
edited to provide the
best in wind band
literature by both
celebrated and rising
composers of today.
Skillful engraving with
logical page turns,
measure numbers,
rehearsal marks,
essential cueing, and
other useful indications
ensure that the rehearsal
process runs smoothly, so
bands can focus on making
great music.
Piano - intermediate SKU: HL.44006094 Composed by Anonymous. Arranged by ...(+)
Piano - intermediate
SKU: HL.44006094
Composed by Anonymous.
Arranged by Valerie
Mairants. Fentone
Instrumental Books.
Educational Tool. Book
Only. The Walsh
Collection #WA4054.
Published by The Walsh
Collection (HL.44006094).
UPC: 884088045647.
English.
A lovely
arrangement of this pice
suitable for players of
an intermediate standard.
Romanza (Romance
D'amour) as arranged
for solo Piano by Valeris
Mairants.
A
lovely arrangement of
this pice suitable for
players of an
intermediate
standard.
Soprano and Piano SKU: HL.14046075 Arranged by Saul Aguado. CARISCH - MUS...(+)
Soprano and Piano
SKU:
HL.14046075
Arranged
by Saul Aguado. CARISCH -
MUSIC SALES. Opera or
Operetta. General
Merchandise. Real Musical
#MK19007. Published by
Real Musical
(HL.14046075).
ISBN
9788438711811.
English-Spanish.
Th
is book contains a
compilation of the
greatest zarzuela
romanzas by some of the
most significant
composers and librettists
of the second half of the
19th century. .
Tenor and Vocal SKU: HL.14046076 Arranged by Saul Aguado. CARISCH - MUSIC...(+)
Tenor and Vocal
SKU:
HL.14046076
Arranged
by Saul Aguado. CARISCH -
MUSIC SALES. Opera or
Operetta. General
Merchandise. Real Musical
#MK19008. Published by
Real Musical
(HL.14046076).
ISBN
9788438711828.
English-Spanish.
Th
is book contains a
compilation of the
greatest zarzuela
romanzas by some of the
most significant
composers and librettists
of the second half of the
19th century. .
Flute and guitar SKU: LM.28287 Composed by Alain Verite. Junior de Thierr...(+)
Flute and guitar
SKU:
LM.28287
Composed by
Alain Verite. Junior de
Thierry Masson et Patrick
Guillem. Classical.
Score. Editions Henry
Lemoine #28287. Published
by Editions Henry Lemoine
(LM.28287).
ISBN
9790230982870.
Sola
rium - Choromanza -
Cristoval - Docura -
Renascer - Abraco no
Herve - En dodelinant -
Cancao pra Elizette.
Composed by Miguel Llobet. Edited by Stefano Grondona. This edition: Saddle-wi...(+)
Composed by Miguel
Llobet.
Edited by Stefano
Grondona.
This edition: Saddle-wire
stitching. Sheet music.
1048
pages. MDS (Music
Distribution
Services) #GHE 900.
Published
by MDS (Music
Distribution
Services)
Siempre Zarzuela Voix Soprano, Piano [Partition + CD] Unión Musical Ediciones
Soprano. Composed by Various Artists. Music Sales America. Latin. Book with CD. ...(+)
Soprano. Composed by
Various Artists. Music
Sales America. Latin.
Book with CD. 137 pages.
Union Musical Ediciones
#MUSUMV100166. Published
by Union Musical
Ediciones
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
“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
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.
Easy Transcriptions of Famous Classic Melodies. By Various. Arranged by Sauro Si...(+)
Easy Transcriptions of
Famous Classic Melodies.
By Various. Arranged by
Sauro Sili. Piano
Collection. Size 9x12
inches. 248 pages.
Published by Ricordi.
Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano s...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). For solo
piano. Format: piano solo
book. Classical period.
Series: The World's Great
Classical Music. 224
pages. 9x12 inches.
Published by Hal Leonard.
Siempre Zarzuela Voix Mezzo-Soprano, Piano [Partition + CD] Unión Musical Ediciones
Mezzo-Soprano. Composed by Various Artists. Music Sales America. Latin. Book wit...(+)
Mezzo-Soprano. Composed
by Various Artists. Music
Sales America. Latin.
Book with CD. 128 pages.
Union Musical Ediciones
#MUSUMV100177. Published
by Union Musical
Ediciones
Piano Accompaniment; Vocal SKU: HL.49044950 Zarzuela, SATB, Piano Redu...(+)
Piano Accompaniment;
Vocal
SKU:
HL.49044950
Zarzuela, SATB, Piano
Reduction Ediciones
Joaquin Rodrigo.
Composed by Joaquin
Rodrigo. Ediciones
Joaquin Rodrigo.
Classical. Softcover.
Schott Music #EJR190201.
Published by Schott Music
(HL.49044950).
9.0x12.0x0.13
inches.
Coplillas
del alférez, Canción de
Bárbara, Cavaletta de
Leonardo, Romanza de
Ángela, Canción de
Ángela, Romanza de
Angela.
Edited by Maurice Hinson. For Piano. Piano Collection. Masterwork; Sacred. Level...(+)
Edited by Maurice Hinson.
For Piano. Piano
Collection. Masterwork;
Sacred. Level: Early
Advanced / Advanced.
Book. 64 pages. Published
by Alfred Publishing.