Welcome Suite Orchestre à Cordes [Conducteur et Parties séparées] Faber Music Limited
Welcome Suite by Benjamin Britten (1913-1976). Orchestra. Masterworks; Part(s); ...(+)
Welcome Suite by Benjamin
Britten (1913-1976).
Orchestra. Masterworks;
Part(s); Score; String
Orchestra. Faber Edition:
Stringsets. 20th Century;
Masterwork Arrangement.
Intermediate. Published
by Faber Music
Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Suite and Light Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Faber Music Limited
Composed by Anthony Osborne. Performance Music Ensemble; Single Titles; String O...(+)
Composed by Anthony
Osborne. Performance
Music Ensemble; Single
Titles; String Orchestra.
Faber Edition:
Stringsets. Score and
Parts. Faber Music
#12-0571512488. Published
by Faber Music
(Concerto for Flute and Strings). By Carl Vine (1954-). Orchestra. For Flute, St...(+)
(Concerto for Flute and
Strings). By Carl Vine
(1954-). Orchestra. For
Flute, String Orchestra.
Masterworks; Score;
String Orchestra. Faber
Edition. 20th Century;
Masterwork. Published by
Faber Music
Bring A Torch Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - medium easy SKU: CF.CAS36 Composed by Tradit...(+)
Orchestra String
Orchestra - medium easy
SKU: CF.CAS36
Composed by Traditional.
Arranged by Roy
Phillippe. Carl Fischer
Concert String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 12 pages. Carl
Fischer Music #CAS36.
Published by Carl Fischer
Music (CF.CAS36).
ISBN
9780825863646. UPC:
798408063641. 8.5 X 11
inches. Key: F
major.
A warm and
richly scored setting of
the popular Christmas
carol Bring a Torch
Jeanette, Isabella, this
full sounding arrangement
will greatly enrich
seasonal programming. Roy
Phillippe has employed a
broad palette of harmonic
and instrumental colors
to craft a memorable
holiday
selection. Bring a
Torch is a lovely
Christmas carol. Using
techniques such as
suspensions,
re-harmonization and
modulations, my goal is
to provide an interesting
showcase for this
familiar melody. the
introduction in F major
features sustained
violins with a pattern of
moving eighth notes in
the violas and cellos.
This pattern recurs
throughout the piece. The
first statement of the
melody is in the first
violins. The second
violins supply harmonic
support along with the
viola/cello pattern.
Measures 13-29 feature a
section of tutti chordal
playing. Measure 30
crescendos into the
modulation to D major at
m. 32. Here, the dynamic
is forte, and the
viola/cello pattern
returns. At m. 40, the
violas and cellos have
the melody with violin
accompaniment. A
crescendo begins at m. 44
and builds
to fortissimo at m.
48, featuring a
modulation to G major. At
this point the melody
should soar. A
descrescendo at m. 60 is
followed by a ritard
at m. 64. The final four
measures are in the
original tempo ending on
a tutti chord.Careful
attention to dynamics,
especially in the
accompanying parts, will
result in a fine
performance.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
By Wolfgang Amadeus Mozart (1756-1791). Arranged by Andrew H. Dabczynski. Orches...(+)
By Wolfgang Amadeus
Mozart (1756-1791).
Arranged by Andrew H.
Dabczynski. Orchestra.
Masterworks; String
Orchestra.
Highland String
Explorer. Form:
Transcription. Classical;
Masterwork Arrangement.
Grade 2. Conductor Score
and Parts. 140 pages.
Published by Alfred Music
Publishing
Prairie Lullaby Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5
Composed by Joseph
Compello. SWS - FS. Carl
Fischer Beginning String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
12+8+8+5+5+5+3+2 pages.
Duration 2:30. Carl
Fischer Music #BAS5.
Published by Carl Fischer
Music (CF.BAS5).
ISBN
9780825845086. UPC:
798408045081. 8.5 X 11
inches. Key: D
major.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie Lullaby
should be graceful and
serene, evocative of a
peaceful night on the
open plains. To that end,
players will need to
strive for an unlabored
rhythmic flow, smooth
bowing and a clear,
steady tone as close to p
as possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If young
players are unable to
return quickly to argo at
m.53, they may make the
bow preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Celtic Impressions Orchestre à Cordes SATB A Cappella - Facile Excelcia Music Publishing
String Orchestra Orchestra - Grade 3 SKU: XC.RSO2003 Composed by Steven L...(+)
String Orchestra
Orchestra - Grade 3
SKU: XC.RSO2003
Composed by Steven L.
Rosenhaus. Rhapsody
String Orchestra Series.
Concert and Contest.
Concert and contest. Set
of parts. Excelcia Music
Publishing #RSO2003.
Published by Excelcia
Music Publishing
(XC.RSO2003).
UPC:
812598034530. 9 x 12
inches.
This short
suite is a wonderfully
fresh addition to the
folk song repertoire. All
original folk-like
melodies provide ample
opportunity to explore
not only the form of a
suite but the idiomatic
style of Celtic music.
Steven Rosenhaus has
crafted a delightful new
three-movement work for
your next concert.
Composed by Bud Woodruff.
Intermezzo String
Orchestra Series. Concert
and Contest. Concert and
contest. Set of parts.
Excelcia Music Publishing
#ISO2002. Published by
Excelcia Music Publishing
(XC.ISO2002).
UPC:
812598034356. 9 x 12
inches.
This
charming new work for
developing string
orchestra is great for
showcasing your sections.
Each section has a
feature in this
light-hearted new tune,
making it not only a
wonderful teaching piece
but a great work for
concert programs.
Dancing Waters Orchestre à Cordes SATB A Cappella - Intermédiaire Excelcia Music Publishing
String Orchestra Orchestra - Grade 3.5 SKU: XC.RSO2002 Composed by Sean O...(+)
String Orchestra
Orchestra - Grade 3.5
SKU: XC.RSO2002
Composed by Sean
O'Loughlin. Rhapsody
String Orchestra Series.
Concert and Contest.
Concert and contest. Set
of parts. Excelcia Music
Publishing #RSO2002.
Published by Excelcia
Music Publishing
(XC.RSO2002).
UPC:
812598034516. 9 x 12
inches.
Dancing
Waters by Sean
O’loughlin evokes
beautiful imagery of
flowing water in this
film-score like new work
for String Orchestra.
Audiences will be
captivated and your
musicians will ask to
play it again and
again.
A Pirate's Legend Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire FJH
By Soon Hee Newbold. Arranged by Soon Hee Newbold. String Orchestra. FJH String ...(+)
By Soon Hee Newbold.
Arranged by Soon Hee
Newbold. String
Orchestra. FJH String
Orchestra. The opening
viola solo is cued in all
instruments so you can
easily feature any
soloist, section, or
mixed group. Come
experience a pirate story
complete with the dreaded
flag, the Jolly Roger,
buried treasure, and
adventure on the high
seas! Score for this
title: ST6067S. Extra
part for this title:
ST6067P. Level: 3.
Published by The FJH
Music Company Inc.
Orchestra string orchestra - Grade 1 SKU: KJ.SO343C Composed by Jeremy Wo...(+)
Orchestra string
orchestra - Grade 1
SKU: KJ.SO343C
Composed by Jeremy
Woolstenhulme. Arranged
by Jeremy Woolstenhulme.
Score and parts. Neil A.
Kjos Music Company
#SO343C. Published by
Neil A. Kjos Music
Company (KJ.SO343C).
UPC:
8402704183.
Maiden'
s Rescue, in D Major,
includes note and rest
values limited to quarter
notes/rests, half notes,
and whole rests. It can
be successfully performed
at a range of tempos,
depending on the
experience level of the
orchestra. Rather than
writing for 1st and 2nd
violins, this piece
features a single violin
part.
Jeremy
Woolstenhulme composed
this work for his
beginning string
orchestra. He decided
that it should be a
programmatic work
accompanied by a short
story and artwork. Once
students became
comfortable with the
music and story, Mr.
Woolstenhulme assigned an
art project to them! Some
samples of their work are
printed in this
publication. Connecting
music, creative writing,
and visual arts
strengthened the entire
experience and students
definitely enjoyed the
process. Approx. time -
2:00
Steps to
Successful Literature
presents exceptional
performance pieces -
concert and festival
works for beginning to
intermediate string
orchestras. Each piece is
correlated with a
specific location in
String BasicsTM Books 1
or 2. Literature
reinforces musical
skills, concepts, and
terms introduced in the
method. Sometimes, a few
new concepts are included
and are officially
introduced and defined in
the score and parts. Each
string orchestra work
offers extended learning
opportunities and briefly
taps into one or more
elements related to
common core state
standards.
Orchestra string orchestra - Grade 1 SKU: KJ.SO343F Composed by Jeremy Wo...(+)
Orchestra string
orchestra - Grade 1
SKU: KJ.SO343F
Composed by Jeremy
Woolstenhulme. Arranged
by Jeremy Woolstenhulme.
Score. Neil A. Kjos Music
Company #SO343F.
Published by Neil A. Kjos
Music Company
(KJ.SO343F).
UPC:
8402704185.
Maiden'
s Rescue, in D Major,
includes note and rest
values limited to quarter
notes/rests, half notes,
and whole rests. It can
be successfully performed
at a range of tempos,
depending on the
experience level of the
orchestra. Rather than
writing for 1st and 2nd
violins, this piece
features a single violin
part.
Jeremy
Woolstenhulme composed
this work for his
beginning string
orchestra. He decided
that it should be a
programmatic work
accompanied by a short
story and artwork. Once
students became
comfortable with the
music and story, Mr.
Woolstenhulme assigned an
art project to them! Some
samples of their work are
printed in this
publication. Connecting
music, creative writing,
and visual arts
strengthened the entire
experience and students
definitely enjoyed the
process. Approx. time -
2:00
Steps to
Successful Literature
presents exceptional
performance pieces -
concert and festival
works for beginning to
intermediate string
orchestras. Each piece is
correlated with a
specific location in
String BasicsTM Books 1
or 2. Literature
reinforces musical
skills, concepts, and
terms introduced in the
method. Sometimes, a few
new concepts are included
and are officially
introduced and defined in
the score and parts. Each
string orchestra work
offers extended learning
opportunities and briefly
taps into one or more
elements related to
common core state
standards.
Composed by Traditional. Arranged by Robert W. Smith. Orchestra. String Orchestr...(+)
Composed by Traditional.
Arranged by Robert W.
Smith. Orchestra. String
Orchestra. Belwin Concert
String Orchestra.
Christmas; Winter. Grade
3.5. Conductor Score and
Parts. 164 pages.
Duration 5:56. Published
by Belwin Music
Die
Leggerierissmo-Rei
he von Editio Musica
Budapest umfasst
Stücke, mit und an
welchen
Kinderstreichorchester
wachsen können. Jede
Ausgabe ist in der ersten
Lage spielbar und
enthält Partitur und
Stimmen (Violine 3
entspricht Viola).Die
Ausgabe Schubert:
Tänze enthält
Tänze, die im Wien des
beginnenden 19.
Jahhunderts sehr beliebt
waren: Ländler,
Écossaises und
Deutsche Tänze.
Enthaltene Stimmen: 3x
Violine 1, 3x Violine 2,
3x Violine 3, 2x
Cello.
Arranged by Douglas E. Wagner. Part(s); Score; String Orchestra. Belwin Beginnin...(+)
Arranged by Douglas E.
Wagner. Part(s); Score;
String Orchestra. Belwin
Beginning String
Orchestra. Form: Medley.
Christmas; Sacred;
Secular; Winter. 72
pages. Published by
Belwin Music (AP.45820).
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Loreta Fin. Masterw...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Arranged by
Loreta Fin. Masterworks;
Score; String Orchestra.
Wilfin String Orchestra:
Young String Ensemble
Series. Form: Fugue.
Classical; Masterwork
Arrangement. 12 pages.
Published by Alfred Music
(AP.76-45310S).
Cricket Dance Orchestre à Cordes SATB A Cappella - Débutant Excelcia Music Publishing
String Orchestra Orchestra - Grade 1 SKU: XC.DSO2003 Composed by Peter Te...(+)
String Orchestra
Orchestra - Grade 1
SKU: XC.DSO2003
Composed by Peter Terry.
Da Capo String Orchestra
Series. Concert and
Contest. Concert and
contest. Set of parts.
Excelcia Music Publishing
#DSO2003. Published by
Excelcia Music Publishing
(XC.DSO2003).
UPC:
812598034196. 9 x 12
inches.
Using only
the first 6 notes of the
D-major Scale, composer
Peter Terry has created a
fun and engaging piece
that features optional
Gioro. This work is also
great for introducing
lighter articulations to
your ensemble.
A Christmas March Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By George Frideric Handel. Arranged by Richard Meyer. For String Orchestra. Stri...(+)
By George Frideric
Handel. Arranged by
Richard Meyer. For String
Orchestra. String
Orchestra. String
Explorer. Masterwork.
Level: 1.5 (grade 1.5).
Conductor Score and
Parts. 72 pages.
Published by Alfred
Publishing.
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