Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

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

Composed by Lin-Manuel Miranda (1980-). Arranged by Larry Moore. Pop Specials for Strings. Softcover. Published by Hal Leonard

(From the Opera Lakme). Composed by Leo Delibes (1836-1891). Arranged by Doris Gazda. String ensemble. For String Orchestra. Carl Fischer Concert String Orchestra Series. Classical. Medium. Score and Parts. Standard notation. 8 pages. Published by Carl Fischer

Composed by Richard Meyer. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. Form: Overture. 124 pages. Published by Highland/Etling (AP.44847).

Composed by Richard Meyer. Score; String Orchestra. Highland/Etling String Orchestra. Form: Overture. 24 pages. Published by Highland/Etling (AP.44847S).

Arranged by J. Cameron Law. For string orchestra. Grade 1. Score and set of parts. Duration 1 minute, 40 seconds. Published by Grand Mesa Music

Orchestra string orchestra - Grade 1.5

SKU: XC.HSO2206FS

Composed by George Sweet. Ballad. Harmony. Score. Excelcia Music Publishing #HSO2206FS. Published by Excelcia Music Publishing (XC.HSO2206FS).

12 x 9 inches.

George Sweet's music is always carefully written from a harmonic standpoint. Even though this work is more up-tempo - the harmonic sensibilies we know and love from George are on full display.

Orchestra string orchestra - Grade 1.5

SKU: XC.HSO2206

Composed by George Sweet. Ballad. Harmony. Ballad. Set of parts. Excelcia Music Publishing #HSO2206. Published by Excelcia Music Publishing (XC.HSO2206).

12 x 9 inches.

George Sweet's music is always carefully written from a harmonic standpoint. Even though this work is more up-tempo - the harmonic sensibilies we know and love from George are on full display.

(Die Forelle). By Franz Schubert (1797-1828). Arranged by John Caponegro. For string orchestra (88555) with optional 3rd violin/viola TC (3 copies) and piano. Playground String Orchestra Series. Grade 1.5. Score and set of parts. Duration 1 minute, 55 sec

By Doris Gazda. For string orchestra. Carl Fischer Primer String Orchestra Series. Grade 0.5. Score and parts. Published by Carl Fischer

By Lauren Bernofsky (1967-). For narrator and string orchestra. FJH Beginning Strings. Score only. Full set (score and parts) also available: ST6192. Halloween. Grade 1. Score. Composed 2009

By Lauren Bernofsky (1967-). For narration and string orchestra. FJH Beginning Strings. Full set (score and parts). Score only also available: ST6192S. Halloween. Grade 1. Score and set of parts. Composed 2009

Orchestra string orchestra - Grade 3

SKU: KJ.SO314C

Composed by Jeremy Woolstenhulme. Score and parts. Neil A. Kjos Music Company #SO314C. Published by Neil A. Kjos Music Company (KJ.SO314C).

UPC: 084027030974.

Since the earliest days of humanity, people have looked to the skies as a source of mystery and meaning. Sightings of strange, unknown objects in the sky have been reported throughout history and we call them UFOs. From the pen of Mr. Woolstenhulme, This piece is about the UFO sighting I have always wanted but never had. Some position work and divisi writing within sections.

Orchestra string orchestra - Grade 3

SKU: KJ.SO314F

Composed by Jeremy Woolstenhulme. Score. Neil A. Kjos Music Company #SO314F. Published by Neil A. Kjos Music Company (KJ.SO314F).

UPC: 084027030981.

Since the earliest days of humanity, people have looked to the skies as a source of mystery and meaning. Sightings of strange, unknown objects in the sky have been reported throughout history and we call them UFOs. From the pen of Mr. Woolstenhulme, This piece is about the UFO sighting I have always wanted but never had. Some position work and divisi writing within sections.

By Leroy Anderson (1908-1975). Arranged by Bob Cerulli. Orchestra. String Orchestra. Beginning String Orchestra. Grade 1. Conductor Score and Parts. 94 pages

By Elliot Del Borgo. Orchestra. Level: Grade 2. Music Book. Published by Neil A. Kjos Music Company.

By Elliot Del Borgo. Orchestra. Level: Grade 2. Music Book. Published by Neil A. Kjos Music Company.

Arranged by Sandra Dackow. Performance Music Ensemble; Single Titles; String Orchestra. Orchestra Expressions. Folk. Score. 12 pages. Duration 1:30. Alfred Music #00-45825S. Published by Alfred Music (AP.45825S).

Arranged by Sandra Dackow. Part(s); Score; String Orchestra. Orchestra Expressions. Folk. 148 pages. Published by Alfred Music (AP.45825).

String orchestra

SKU: BO.B.3292

Composed by Jordi Cervello. Instrumental Sets. Duration 17:35. Published by Editorial de Musica Boileau (BO.B.3292).

English comments:
This is the definitive version of Biogenesis, a piece that Cervello had written in 1976, together with his friend Jorge Wagensberg, and which was awarded the First Prize at the Spanish Ministry for Education and Science's Permanent Composition and Musical Research Competition. The new version was made at 1984-85 Lux et umbra is written for a string group consisting of four first and four second violins, three violas, three cellos and a double bass. The conceptual battle between darkness and light is represented by the instability between the notes B and C, and by the compartmentation of the group of fifteen strings into divisi that provide an independent arrangement for each instrument, thus bestowing great substance upon the texture of the music. A cello cadence emerges from a slow and straightforward beginning. A process of contrasts then begins, culminating in a molto vivace passage of a scherzando nature, which alludes to the Baroque concerti grossi. The music once again plays with chiaroscuro until reaching its climax, from which point the conclusion slowly begins, establishing itself in the high register until fading away. The work was first performed at Barcelona's Palau de la Musica by the English Chamber Orchestra, directed by Enrique Garcia Asensio, in 1987. That same year, in the newspaper El Pais, the observations of the composer and critic Francesc Taverna-Bech paid tribute to the work's intelligence as regards the use of and search for instrumental resources (in this case, string instruments, about which Cervello knows a great deal), the skill involved in endowing the lyrical line with tension, and a singular touch that confers formal essence upon the musical discourse. In La Vanguardia, Jordi Llovet wrote that this is a work in which, as is the case with most of Cervello's compositions, the listener finds something covertly religious, a mysterious secret, a transcendence linked to the origins of communication requiring more than a single being, which provides excitement. In 1990, when the Orquesta de Granada (Orchestra of Granada) performed the work at Barcelona's Grec festival, the critic Cesar Calmell opined, in the same newspaper, that inch by inch, surely and imperturbably, Cervello built up a perfect world that reflects the image of the craftsman who, so astonished at the delights of his trade, is unable to do anything but turn the very backdrop of tragedy into something pleasant. Lux et umbra was recorded by the Orchestra Estatal of the Hermitage, conducted by Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Music critic

Comentari os del Espanol:
Se trata de la version definitiva de Biogenesis, obra que habia escrito en 1976 en colaboracion con su amigo Jorge Wagensberg y que obtuvo el Primer Premio, en el ano de su creacion, en el Concurso Permanente de Composicion e Investigacion Musical del Ministerio de Educacion y Ciencia. La nueva version fue realizada en 1984-85. Lux et umbra esta escrita para un grupo de cuerda integrado por cuatro primeros violines, cuatro segundos, tres violas, tres violoncelos y un contrabajo. El combate filosofico entre la oscuridad y la luz lo lleva a cabo la inestabilidad entre las notas si y do y la compartimentacion del grupo de quince cuerdas en unos divisi que llegan a una escritura independiente para cada instrumento, otorgando una gran importancia a la textura sonora. De un principio lento y descarnado emerge una cadencia del violonchelo. A continuacion da comienzo un proceso de contrastes que culmina en un pasaje molto vivace de caracter scherzando que alude a los concerti grossi del barroco. La musica juega de nuevo con el claroscuro hasta llegar a la cumbre sonora iniciando el final lentamente que se instala en el registro agudo hasta desvanecerse. La estreno en el Palau de la Musica de Barcelona la English Chamber Orchestra en el ano 1987 bajo la direccion de Enrique Garcia Asensio. Ese mismo ano, en el periodico El Pais, el compositor y critico Francesc Taverna-Bech reconocia en sus comentarios la inteligencia en el uso y la busqueda de los recursos instrumentales -en este caso la cuerda, de la que Cervello es profundo conocedor-, la destreza para revestir de tension la linea lirica y un tacto particular para conferir entidad formal al discurso sonoro. Jordi Llovet, en La Vanguardia, escribia que en esta obra, se encuentra, como en la mayor parte de la produccion de Cervello, algo secretamente religioso, un arcano misterioso, una trascendencia vinculada a los origenes de la comunicacion impracticable con el ser unico que resulta apasionante. En el ano 1990, cuando la Orquesta de Granada la toco en el Grec de Barcelona, era el critico Cesar Calmell quien, en el mismo periodico consideraba que Cervello construyo palmo a palmo, segura e imperturbablemente, un mundo perfecto que refleja la imagen del artesano que, de tan admirado con las delicias de su oficio, no puede hacer otra cosa que convertir en agradable el fondo mismo de la tragedia. Lux et umbra esta grabada por la Orquesta Estatal del Hermitage, dirigida por Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Critico musical.

Composed by Gary Fagan. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. 124 pages. Published by Highland/Etling (AP.44836).