| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Complete Guitar Player Songbook Omnibus 1 Guitare [Partition + CD] Amsco Wise Publications
Guitar SKU: BT.MUSAM996996 Arranged by Russ Shipton. The Complete Guitar ...(+)
Guitar SKU:
BT.MUSAM996996
Arranged by Russ Shipton.
The Complete Guitar
Player. Pop & Rock. Book
with CD. Wise
Publications
#MUSAM996996. Published
by Wise Publications
(BT.MUSAM996996). ISBN
9781849380140.
English. Th
e Complete Guitar
Player series
has taught hundreds of
thousands how to play and
the accompanying
songbooks have featured
hits by Paul Simon, Elvis
Presley, The Beatles,
John Denver and many
othertopartists.
N
ow these songbooks are
available in super value
omnibus editions like
this one. The songs are
still graded by ease of
playing and everything is
there... standard
notation, Guitar chord
boxes, full lyrics
andevenstrumming
patterns!
Over 180
great songs! Perfect for
all players and
singers!
The bonus
CD contains backing
tracks to 16 of the songs
in the book. $32.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Day in the Country Flûte à bec Soprano, Piano ABRSM Publishing
By RIDOUT. For recorder, piano. (Descant Recorder). Published by ABRSM (Associat...(+)
By RIDOUT. For recorder,
piano. (Descant
Recorder). Published by
ABRSM (Associated Board
of the Royal Schools of
Music).
$16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| A Day in the Country Flûte à bec Alto, Piano ABRSM Publishing
By RIDOUT. For recorder, piano. (Treble Recorder). Published by ABRSM (Associate...(+)
By RIDOUT. For recorder,
piano. (Treble Recorder).
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Performer's Complete Fake Book - C Edition Hal Leonard
(C Edition). By Various. For voice and C instrument. Hal Leonard Fake Books. Pop...(+)
(C Edition). By Various.
For voice and C
instrument. Hal Leonard
Fake Books. Pop Vocal and
Vocal Standards.
Difficulty: easy-medium.
Fakebook. Vocal melody,
lyrics and chord names.
396 pages. Published by
Hal Leonard fakebook
Pop Vocal and Vocal
Standards
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 568
pages. Published by Hal
Leonard.
(8)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Blues Fake Book
Fake Book [Fake Book] Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names and leadsheet
notation. Series: Hal
Leonard Fake Books. 407
pages. Published by Hal
Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Complete Guitar Player Songbook Omnibus 1 Music Sales
| | |
| The Complete Guitar Player Songbook Omnibus Edition Guitare [Fake Book] Music Sales
Compiled by Russ Shipton. Fake book for voice and guitar. With vocal melody, lyr...(+)
Compiled by Russ Shipton.
Fake book for voice and
guitar. With vocal
melody, lyrics, chord
names and guitar chord
diagrams. 167 pages.
Published by Music Sales.
(1)$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Dixieland Book
Fake Book [Fake Book] Hal Leonard
(C Instruments). By Various. Arranged by Robert Rawlins. Fake Book. Softcover. 3...(+)
(C Instruments). By
Various. Arranged by
Robert Rawlins. Fake
Book. Softcover. 380
pages. Published by Hal
Leonard
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Dixieland Book Instruments en Sib [Fake Book] Hal Leonard
(B-Flat Instruments). Composed by Various. Arranged by Robert Rawlins. For B...(+)
(B-Flat Instruments).
Composed
by Various. Arranged by
Robert
Rawlins. For B-flat
Instruments. Fake Book.
Softcover. 380 pages.
Published by Hal Leonard
$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Dixieland Book Instruments en Mib Hal Leonard
Eb Instruments. Composed by Various. Arranged by Robert Rawlins. Fake Book. D...(+)
Eb Instruments. Composed
by
Various. Arranged by
Robert
Rawlins. Fake Book.
Dixieland, Jazz.
Softcover.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| This Is the Day Chorale SATB SATB, Piano - Facile GIA Publications
SATB choir, cantor, assembly, keyboard accompaniment, flute, oboe, trumpet in B-...(+)
SATB choir, cantor,
assembly, keyboard
accompaniment, flute,
oboe, trumpet in B-flat,
trumpet in C, violin 1,
violin 2, viola, cello,
bass, timpani - Early
intermediate SKU:
GI.G-10429 Composed
by Jeremiah Clarke.
Arranged by Chaz Bowers.
Eastertide, Easter
Sunday, Easter 2 A,
Easter 2 B, Easter 2 C.
Choral. Tune Name: Puer
Nobis. Sacred. Octavo. 12
pages. GIA Publications
#10429. Published by GIA
Publications
(GI.G-10429). English.
Text Source: Ps. 118,
ref., Lectionary for
Mass, vss., The
Abbey Psalms and
Canticles Scripture:
Psalm 118. This
setting of Psalm 118 is
centered around two
themes, the hymn tune
PUER NOBIS as
the refrain and A
Trumpett Minnuett by
Jeremiah Clarke, which
serves for a ritornello,
the returning musical
theme that acts as an
interlude between the
refrain and the verses.
It can be performed with
the full complement of
instruments, or with solo
trumpet, with strings, or
with organ alone. $2.40 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter—despite scruples
about treading on
hallowed ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozart’s
friend Hoffmeister had
regrettably attempted
such
“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. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Reveille, Kopi Wilhelm Hansen
Wind Ensemble SKU: HL.14027165 Composed by Niels Marthinsen. Music Sales ...(+)
Wind Ensemble SKU:
HL.14027165 Composed
by Niels Marthinsen.
Music Sales America. Set
(Score & Parts). Edition
Wilhelm Hansen #KP00606.
Published by Edition
Wilhelm Hansen
(HL.14027165).
Danish. REVEILLE
RETRAITE for solo
trumpetA joint commission
between Hakan
Hardenberger and Danmarks
RadioDedicated to Hakan
HardenbergerProgramme
note:Everybody knows or
has at least heard of the
time honoured military
bugle calls: Reveille
Retraite, the awakening
at sunrise the turning in
at sunset. In a way it's
the UR concept of the
nature of the trumpet, an
instrument capable of
glorious panache as well
as sublime, inward
looking finesse. My piece
is, as indicated in the
title, a two fold
composition in the form
of two contrasting tone
poems, each mirroring a
fragment of original
text, what one could call
spiritual appetizers. At
the end of chapter 8 of
his high spirited Memoirs
Hector Berlioz laments
the murder of a man he
admired, Prince
Lichnowsky, who was
stabbed to death in
Frankfurt in September
1848 by German peasants:
Oh, I must get out, walk,
run, shout under the open
sky! Now, there's a
juicy bit of high strung
romantic Sturm und Drang
for you and the perfect
motto for any
awakening... Then night
fall, Retraite, in which
I've drawn upon the
early, melancholy poem
ALONE by Edgar Allan Poe
and taken out one single
line as 'subtitle' for
this very hushed and
withdrawn movement: And
all I lov'd, I lov'd
alone. I guess it won't
hurt to quote the poem in
its entirety:From
childhood's hour I have
not beenAs others were I
have not seenAs others
saw I could not bringMy
passions from a common
spring.From the same
source I have not takenMy
sorrow; I could not
awakenMy heart to joy at
the same tone;And all1
lov'd, I lov'd alone.THEN
in my childhood in the
dawnOf a most stormy life
was drawnFrom ev'ry depth
of good and illThe
mystery which binds me
still:From the torrent,
or the fountain,From the
red cliff of the
mountain,From the sun
that 'round me roll`dIn
its autumn tint of gold
From the lightning in the
skyAs it pass'd me flying
by From the thunder and
the storm,And the cloud
that took the form(When
the rest of Beaven was
blue)Of a demon in my
view.Edgar Allan
PoeProgramme note by Poul
Ruders, January 2004. $41.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Real Country Book Instruments en Do [Fake Book] Hal Leonard
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages....(+)
(C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 520 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Complete Chord Songbook Music Sales
| | |
| Selections from VH1's 1-Hit Wonders Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with g...(+)
By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. 536 pages.
Published by Hal Leonard.
(1)$29.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Hymn to ST. Columba Chorale SATB SATB, Orgue Boosey and Hawkes
SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. S...(+)
SATB and Organ. By
Benjamin Britten.
(SATB). Boosey and Hawkes
Sacred Choral. Size
7.25x10.25 inches. 12
pages. Published by
Boosey and Hawkes.
$4.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Giant Book of Intermediate Classical Piano Music
Piano seul - Intermédiaire Schirmer
Schirmer's Library of Musical Classics, Vol. 2139. Composed by Various. Piano....(+)
Schirmer's Library of
Musical
Classics, Vol. 2139.
Composed
by Various. Piano.
Classical.
Softcover. 386 pages. G.
Schirmer #LIB 2139.
Published
by G. Schirmer
$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Atlantic Odyssey Orchestre d'harmonie - Avancé Anglo Music
Concert Band - Grade 5 SKU: HL.44010826 Grade 5 - Score and Parts....(+)
Concert Band - Grade 5
SKU: HL.44010826
Grade 5 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Set (Score
& Parts). Composed 2010.
Duration 960 seconds.
Anglo Music Press
#AMP295010. Published by
Anglo Music Press
(HL.44010826). UPC:
884088555818.
9.0x12.0x1.738 inches.
English-German-French-Dut
ch. Atlantic
Odyssey was commissioned
by the band program at
Oakton High School in
Vienna, VA, and its
director, Dr. Cheryl
Newton. The piece is in
two extended movements
and seeks to portray an
imaginary yacht journey
off the eastern seaboard
of the USA. The first
movement, Sunrise at Sea
and the Ocean Awakes,
opens with an atmospheric
depiction of dawn at sea.
Floating woodwinds soar
above surging brass until
a climax heralds the
rising sun. Daylight
reveals distant horizons
and the prospect of a
calm voyage, but the sea
is never tamed and a
light breeze whips up
spray around the boat
until a couple of high
waves rock the boat
alarmingly. But the sea
soon calms again and the
journey continues
serenely. The second
movement, Homeward Bound
and Spindrift, sees us
turn for home, the boat
scything calmly through
the gentle waves in
perfect sailing
conditions. But once
again conditions change,
a stiff breeze tugs at
the sails and for a
moment we are once again
at the mercy of the wind
and waves. A moment of
calm returns but we are
suddenly sprayed by
spindrift as a gale picks
up. The boat is in danger
of overturning but we
manage to trim the sail
and take advantage of the
strong winds to enjoy and
exhilarating journey
home. $319.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Atlantic Odyssey Orchestre d'harmonie - Avancé Anglo Music
Concert Band - Grade 5 SKU: HL.44010827 Grade 5 - Score Only. Comp...(+)
Concert Band - Grade 5
SKU: HL.44010827
Grade 5 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2010.
Duration 960 seconds.
Anglo Music Press
#AMP295140. Published by
Anglo Music Press
(HL.44010827). UPC:
884088555825.
9.0x12.0x0.25 inches.
English-German-French-Dut
ch. Atlantic
Odyssey was commissioned
by the band program at
Oakton High School in
Vienna, VA, and its
director, Dr. Cheryl
Newton. The piece is in
two extended movements
and seeks to portray an
imaginary yacht journey
off the eastern seaboard
of the USA. The first
movement, Sunrise at Sea
and the Ocean Awakes,
opens with an atmospheric
depiction of dawn at sea.
Floating woodwinds soar
above surging brass until
a climax heralds the
rising sun. Daylight
reveals distant horizons
and the prospect of a
calm voyage, but the sea
is never tamed and a
light breeze whips up
spray around the boat
until a couple of high
waves rock the boat
alarmingly. But the sea
soon calms again and the
journey continues
serenely. The second
movement, Homeward Bound
and Spindrift, sees us
turn for home, the boat
scything calmly through
the gentle waves in
perfect sailing
conditions. But once
again conditions change,
a stiff breeze tugs at
the sails and for a
moment we are once again
at the mercy of the wind
and waves. A moment of
calm returns but we are
suddenly sprayed by
spindrift as a gale picks
up. The boat is in danger
of overturning but we
manage to trim the sail
and take advantage of the
strong winds to enjoy and
exhilarating journey
home. $56.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Circe Zimbel Press
Soprano & Organ SKU: SU.80101426 For Soprano & Organ. Composed by ...(+)
Soprano & Organ SKU:
SU.80101426 For
Soprano & Organ.
Composed by Carson
Cooman. Vocal/Choral,
Solo Voice. Accompanied
by organ. Performance
Score. Zimbel Press
#80101426. Published by
Zimbel Press
(SU.80101426).
Set includes 2
scoresCirce (2010–11),
a cantata for soprano and
organ, takes a
contemporary approach to
the genre of the baroque
secular solo cantata. As
with many baroque works,
the subject matter is
taken from the classical
world; in this case it is
the story of Circe, the
sorceress (or minor
goddess: daughter of the
sun god Helios and the
sea nymph Perse) from
Homer’s Odyssey.
However,in the spirit of
contemporary adaptation,
the texts are three poems
by American poet Louise
Glück from her book
Meadowlands (1996), a
large section of which
contains poems related to
characters from the
Odyssey. In the Odyssey,
Odysseus and his men,
returning home from the
Trojan War, are lured to
Circe’s island (Aeaea).
Through her magic, Circe
transforms Odysseus’s
men into animals, but
with help from the god
Hermes, Odysseus is able
to resist her magic
himself, and Circe is
forced to restore his men
to human form. For the
next year, Odysseus and
his men remain on the
island in leisure, and
Odysseus becomes
Circe’s lover. However,
after the year has
passed, Odysseus decides
to continue the journey
home to Ithaca (to return
to his wife Penelope, who
is patiently waiting for
him). Circe reluctantly
lets him go. Despite her
divine heritage, the
Circe of Glück’s poems
is consumed with the
quite human emotions of
longing, bitterness, and
jealousy. The musical
language of the work is
contemporary, though
there is a great deal of
allusion to baroque style
and specific musical
forms (including
sarabande, loure, ground,
plaint, and
musette).Soprano and
Organ Duration: 9’
Composed: 2010 Published
by: Zimbel Press. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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