| Symphonies and Serenades (12) Volume 2 1 Piano, 4 mains Peters
By Wolfgang Amadeus Mozart. Edited by Ulrich. For piano, 4 hands. Symphony Nos.3...(+)
By Wolfgang Amadeus
Mozart. Edited by Ulrich.
For piano, 4 hands.
Symphony
Nos.31(D,Paris,K.297);
33(B|,K.319);
34(C,K.338); Serenade
Nos.7(D,Haffner,K.250);
9(D,K.320); Leopold
Mozart: Symphony No.12
(G). Published by C.F.
Peters.
$56.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Augusta Read Thomas - Toft Serenade Alto, Piano - Avancé Schirmer
( Augusta Read Thomas - Toft Serenade (Viola and Piano). By Augusta Read T...(+)
(
Augusta Read Thomas -
Toft
Serenade
(Viola and Piano). By
Augusta
Read Thomas (1964-).
String.
G. Schirmer #ED 4494.
Published by G. Schirmer
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Minuet, Sarabande and Serenade - Intermédiaire Forton Music
Trumpet and piano - Intermediate SKU: FT.FM418 Composed by Paul Kelly. Tr...(+)
Trumpet and piano -
Intermediate SKU:
FT.FM418 Composed by
Paul Kelly. Trumpet and
Piano. Score and part.
Forton Music #FM418.
Published by Forton Music
(FT.FM418). ISBN
9790570483174. A
suite for trumpet and
piano in 3/4 time,
recommended for the
intermediate player.
Minuet and Variations for
Trumpet and Piano This
minuet starts off with
restrained elegance and
then veers off into
something with attitude,
no longer quite baroque.
There are few places to
rest in this piece so
good breath control is
very important. Strive
for precise articulation
especially in the
staccato passages, and a
full, rich tone in the
Tempo Primo section at
Bar 30. Sarabande This
piece was inspired by
various classical works
but it still has
something of the
Twentieth Century about
it. You'll notice the B
section suggests a
minuet. If you can find
moments to use a true,
fully supported
pianissimo it will help
make this melody truly
haunting. August Serenade
This piece has a spritely
main theme that
introduces two quieter,
more introspective
melodies. The first theme
again echoes a minuet
while the second is more
of a slow waltz. The main
theme should be precise
and fiery, the second
played with a sweet
elegance and the waltz
filled with warmth and
autumnal colours. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Augusta Read Thomas - Toft Serenade Violon et Piano - Avancé Schirmer
(Violin and Piano). By Augusta Read Thomas (1964-). String Solo. 12 pages. G...(+)
(Violin and Piano). By
Augusta
Read Thomas (1964-).
String
Solo. 12 pages. G.
Schirmer
#ED 4493. Published by G.
Schirmer
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Serenade No. 5 in D, K. 204/213a Orchestre [Set de Parties séparées] LudwigMasters Publications
Orchestra 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set SKU: A...(+)
Orchestra 2.2.0.1:
2.2.0.0: Str (4-4-3-3-3
in set): Solo Violin in
set SKU:
AP.36-A183248
Composed by Wolfgang
Amadeus Mozart. Full
Orchestra. Kalmus
Orchestra Library.
Part(s). LudwigMasters
Publications #36-A183248.
Published by
LudwigMasters
Publications
(AP.36-A183248). ISBN
9798892704335. UPC:
659359535086.
English. Wolfgang
Amadeus Mozart
(1756-1791) wrote the
SERENADE No. 5 in D
Major, K. 204/213a on
August 5, 1775 for
ceremonies at the
University of Salzburg.
Concurrently writing his
five violin concertos,
the composer chose to
feature a solo violin in
three of the movements.
While it retains a
seven-part structure, an
impromptu violin concerto
is cleverly couched
within the work. As he
did with most of his
serenades for orchestra,
Mozart crafted a symphony
using the other four
movements.
Instrumentation: 2.2.0.1:
2.2.0.0: Str (4-4-3-3-3
in set): Solo Violin in
set. Reprint edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $5.50 - Voir plus => Acheter | | |
| Serenade No. 5 in D, K. 204/213a Orchestre LudwigMasters Publications
Orchestra 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set SKU: A...(+)
Orchestra 2.2.0.1:
2.2.0.0: Str (4-4-3-3-3
in set): Solo Violin in
set SKU:
AP.36-A183202
Composed by Wolfgang
Amadeus Mozart. Full
Orchestra. Kalmus
Orchestra Library. Score
and Part(s).
LudwigMasters
Publications #36-A183202.
Published by
LudwigMasters
Publications
(AP.36-A183202). UPC:
659359530821.
English. Wolfgang
Amadeus Mozart
(1756-1791) wrote the
SERENADE No. 5 in D
Major, K. 204/213a on
August 5, 1775 for
ceremonies at the
University of Salzburg.
Concurrently writing his
five violin concertos,
the composer chose to
feature a solo violin in
three of the movements.
While it retains a
seven-part structure, an
impromptu violin concerto
is cleverly couched
within the work. As he
did with most of his
serenades for orchestra,
Mozart crafted a symphony
using the other four
movements.
Instrumentation: 2.2.0.1:
2.2.0.0: Str (4-4-3-3-3
in set): Solo Violin in
set. Reprint edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $150.00 - Voir plus => Acheter | | |
| Serenade No. 5 in D, K. 204/213a Orchestre [Conducteur] LudwigMasters Publications
Orchestra 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set SKU: A...(+)
Orchestra 2.2.0.1:
2.2.0.0: Str (4-4-3-3-3
in set): Solo Violin in
set SKU:
AP.36-A183201
Composed by Wolfgang
Amadeus Mozart. Full
Orchestra. Kalmus
Orchestra Library. Score.
LudwigMasters
Publications #36-A183201.
Published by
LudwigMasters
Publications
(AP.36-A183201). ISBN
9798892704328. UPC:
659359524264.
English. Wolfgang
Amadeus Mozart
(1756-1791) wrote the
SERENADE No. 5 in D
Major, K. 204/213a on
August 5, 1775 for
ceremonies at the
University of Salzburg.
Concurrently writing his
five violin concertos,
the composer chose to
feature a solo violin in
three of the movements.
While it retains a
seven-part structure, an
impromptu violin concerto
is cleverly couched
within the work. As he
did with most of his
serenades for orchestra,
Mozart crafted a symphony
using the other four
movements.
Instrumentation: 2.2.0.1:
2.2.0.0: Str (4-4-3-3-3
in set): Solo Violin in
set. Reprint edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $25.00 - Voir plus => Acheter | | |
| Serenade Chorale SATB Wilhelm Hansen
SATB Choir SKU: BT.WHMS33B02B Composed by Carl August Nielsen. Choral Sco...(+)
SATB Choir SKU:
BT.WHMS33B02B
Composed by Carl August
Nielsen. Choral Score.
Edition Wilhelm Hansen
#WHMS33B02B. Published by
Edition Wilhelm Hansen
(BT.WHMS33B02B).
Serenade,
Satb. $5.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Serenade D 920 [Op. posth. 135] Breitkopf & Härtel
(solo: A - choir: TTBB - pno) SKU: BR.CHB-5148-02 Zogernd leise (Versi...(+)
(solo: A - choir: TTBB -
pno) SKU:
BR.CHB-5148-02
Zogernd leise (Version
No. 1). Composed by
Franz Schubert. Stapled.
Chor-Bibliothek (Choral
Library). Song; Romantic.
Choral score. 4 pages.
Duration 50'. Breitkopf
and Haertel #ChB 5148-02.
Published by Breitkopf
and Haertel
(BR.CHB-5148-02). ISBN
9790004410738. 7.5 x 10.5
inches.
German. Franz
Schubert wrote the
Standchen D 920 for alto
voice, chorus and piano
on a text by the poet
Franz Grillparzer in July
1827. He composed the
present version for male
chorus first; but since
womens voices were
available for the first
performance on 11 August
1827 as a birthday
serenade in a private
circle, Schubert replaced
the mens with womens
voices. This second
version was printed
posthumously by Diabelli
in Vienna in 1840. The
present original version
was first printed in 1891
by Breitkopf & Hartel in
the framework of the
Schubert Complete
Edition. $3.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Serenade D 921 [Op. posth. 135] Breitkopf & Härtel
Chorus (with soloists) and piano (solo: A - choir: SSAA - pno) SKU: BR.CHB-34...(+)
Chorus (with soloists)
and piano (solo: A -
choir: SSAA - pno)
SKU:
BR.CHB-3426-02
Zogernd leise (Version
No. 2). Composed by
Franz Schubert. Choir;
stapled. Chor-Bibliothek
(Choral Library). Song;
Romantic. Choral score.
12 pages. Breitkopf and
Haertel #ChB 3426-02.
Published by Breitkopf
and Haertel
(BR.CHB-3426-02). ISBN
9790004403808. 7.5 x 10.5
inches.
German. Franz
Schubert wrote the
Standchen for alto voice,
chorus and piano on a
text by the poet Franz
Grillparzer in July 1827.
He composed the version
for male chorus first;
but since women's voices
were available for the
first performance on 11
August 1827 as a birthday
serenade in a private
circle, Schubert replaced
the men's with women's
voices. This second
version was printed
posthumously by Diabelli
in Vienna in 1840. The
original version was
first printed in 1891 by
Breitkopf & Hartel in the
framework of the Schubert
Complete Edition. $5.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Serenade Wilhelm Hansen
(Mixed Choir) SKU: HL.14070116 Composed by Carl August Nielsen. Choral. G...(+)
(Mixed Choir) SKU:
HL.14070116 Composed
by Carl August Nielsen.
Choral. General
Merchandise. Duration 240
seconds. Edition Wilhelm
Hansen #MS33B02-B.
Published by Edition
Wilhelm Hansen
(HL.14070116).
$3.60 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Serenade N 1 Entree & Cortege Harpe Ou Piano [Conducteur] Durand
Harp or Harps (Harp) SKU: HL.50574215 Composed by Auguste Chapuis. Editio...(+)
Harp or Harps (Harp)
SKU: HL.50574215
Composed by Auguste
Chapuis. Editions Durand.
Score Only. Composed
2001. Editions Durand
#DF10916. Published by
Editions Durand
(HL.50574215).
$8.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Serenade : pour violoncelle et orchestre, op. 22 Edition violoncelle/piano Noten Roehr
Composed by Eugene Auguste Ysaye. For cello/piano. String music. Cello/piano sco...(+)
Composed by Eugene
Auguste Ysaye. For
cello/piano. String
music. Cello/piano score.
Published by Noten Roehr
$23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Pantomime (No. 2 from Serenade) Harpe Durand
Harp Solo. By Auguste Chapuis. (Harp). Editions Durand. Book only. Size 10.75x1...(+)
Harp Solo. By Auguste
Chapuis. (Harp).
Editions Durand. Book
only. Size 10.75x13.5
inches. 5 pages.
Published by Durand.
$7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Danses (No. 4 from Serenade) Harpe Durand
Harp Solo. By Auguste Chapuis. (Harp). Editions Durand. Book only. 5 pages. Pub...(+)
Harp Solo. By Auguste
Chapuis. (Harp).
Editions Durand. Book
only. 5 pages. Published
by Editions Durand.
$10.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Serenade Classique Clarinette Bourne Music Co.
Clarinet SKU: BC.115249 Composed by Cesar Auguste Franck. Instrumental Mu...(+)
Clarinet SKU:
BC.115249 Composed by
Cesar Auguste Franck.
Instrumental Music. Part.
Published by Bourne Music
(BC.115249).
$5.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Serenade Billaudot
Composed by Jules Auguste Demersseman. With Standard notation. Opus 48. Gerard B...(+)
Composed by Jules Auguste
Demersseman. With
Standard notation. Opus
48. Gerard Billaudot
Editeur #GB7283.
Published by Gerard
Billaudot Editeur
(PR.524029770).
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nocturne (No. 3 from Serenade) Harpe Durand
Harp Solo. By Auguste Chapuis. Editions Durand. Size 8.25x11.75 inches. 7 pages....(+)
Harp Solo. By Auguste
Chapuis. Editions Durand.
Size 8.25x11.75 inches. 7
pages. Published by
Durand.
$10.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
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.â€
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.â€
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
chorusâ€
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
“duettingâ€
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
6/8Â 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 clockâ€
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 | | |
| Alfred's Basic Adult Piano Course - All-time Favorites Level 1
Piano seul [Partition] - Débutant Alfred Publishing
(52 Titles to Play and Sing). Arranged by Willard A. Palmer, Morton Manus, and D...(+)
(52 Titles to Play and
Sing). Arranged by
Willard A. Palmer, Morton
Manus, and Dennis
Alexander. For easy piano
and voice. Piano -
Alfred's Basic Adult
Piano Course. Alfred's
Basic Adult Piano Course.
Classical and Folk.
Difficulty: easy-medium.
Collection. Easy piano
notation, fingerings and
lyrics (on some songs).
96 pages. Published by
Alfred Music Publishing
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| The Big Book of German Songs Piano, Voix et Guitare [Partition] 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. 224 pages.
Published by Hal Leonard.
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| Im Volkston
Rosmarin /, Eugen d'Albert, 1864-1932, Niederländisches Wiegenlied /, Reinhold ...(+)
Rosmarin /, Eugen
d'Albert, 1864-1932,
Niederländisches
Wiegenlied /, Reinhold
Becker, 1842-1924, Nein
und ja /, Wilhelm Berger,
1861-1911, Schön
Rohtraut /, Leo Blech,
1871-1958, Nachtwandler
/, Ignaz
Brüll,1846-1907, Frau
Holle /, August Bungert,
1846-1915, So einer war
auch er, op. 33 /,
Johannes Doebber,
1866-1921, Wir beide /,
Philipp Fürst zu
Eulenburg, 1847-1921,
Abendlied /, Friedrich
Gernsheim, 1839-1916,
Gebet /, Adalbert von
Goldschmidt, 1848-1906,
Das Ringlein sprang
entzwei /, Hans Hermann,
1870-1931, Der Schnitter
/, Eugen Hildach,
1849-1924, Der schönste
Tod /, Bolko Graf von
Hochberg, 1843-1926,
Rosmarin /, Engelbert
Humperdinck, 1854-1921,
Volkslied /, Robert Kahn,
1865-1951, Rieke im
Manöver singt /, Wilhelm
Kienzl, 1857-1941, Ich
denke oft an's blaue Meer
/, Arno Kleffel,
1840-1913, Unterwegs :
für TTBB Chor, op. 132
/, Thomas Koschat,
1845-1914, Die Verlassene
/, Henning von Koss,
1855-1913, Hoppoldey /,
Eduard Lassen, 1830-1904,
Vom Mond und den
Sternlein /, Siegfried
Ochs, 1858-1929, Untreu
und Trost /, Hans
Pfitzner, 1869-1949,
Rheinisches Volkslied /,
Carl Reinecke, 1824-1910,
Ach herzigs Herz /, Max
von Schillings,
1868-1933, Vögleins
Begräbnis /, Georg
Schumann, 1866-1952,
Soldaten-Abschied /, Hans
Sommer, 1837-1922, Von
alten Liebesliedern /,
Ludwig Thuille,
1861-1907, Schäfer und
Schäferin /, Siegfried
Wagner, 1869-1930, Im
Laubengang /, Bogumil
Zepler, 1858-1919, Aus
dem schöne
Schwabeländche /,
Hermann Zumpe, 1850-1903,
Lebe wohl /, Alfred
Bortz, 1882-, Wenn die
Buben Steckenpferd reiten
/, Simon Breu, 1858-1933,
Minnelied /, Fritz Char,
1865-1932, Wenn die Linde
blüht /, Anna Cramer, um
1903, Rheinweinlied /,
Peter Fassbaender,
1869-1920, Schlaflied
für's Peterle /, Alwine
Feist, 1873-1924,
Wiegenlied /, Gustav
Fischer, um 1903, Wenn
ich ein Waldvöglein wär
/, Johann Peter Gotthard,
1839-1919, Scheiden /,
Philipp Gretscher,
1859-1937, Und hab so
grosse Sehnsucht doch /,
Willy Herrmann, 1868-,
Vom Vögelein /, Victor
Hollaender, 1866-1940,
Die Bachstelze /,
Ferdinand Hummel,
1855-1928, Agnes /,
Robert Kahn, 1865-1951,
Volksweise /, Gustav
Lazarus, 1861-1920, Daz
iuwer min Engel walte /,
Karl Adolf Lorenz,
1837-1923, Volkslied /,
Heinrich Lorenz, um 1903,
In Würzburg /, Adolf
Mohr, 1841-, Mägdlein
sass im Wald und Moos /,
Arthur Müller-Buessow,
1867-, Schatzerl klein /,
Edmund Parlow, 1855-1911,
Es steht eine Lind im
tiefen Thal /, Friedrich
Renger, 1866-1937,
Herziges Schätzle du /,
Philipp Rödelberger,
1865-, Es ist ein Schnee
gefallen /, Louis
Roessel, um 1903, Mai /,
Richard Sahla, 1855-1931,
Trost /, Robert Schwalm,
1845-1912, Was das
Vöglein sang /, Max
Stange, 1856-1932, Da
draussen im Garten /,
Oscar Straus, 1870-1954,
Kinderlied /, Edmund von
Strauss, 1869-1919, Die
Spröde /, Frank van der
Stucken, 1858-1929,
Verscheucht /, Johannes
Techritz, 1864-1940,
Volkslied /, Hermann
Zilcher, 1881-1948, Und
die Rosen die prangen /,
Hermann Anderson, um
1904, Lied des
Harfenmädchens /, Max
Ansorge, 1862-1940, Die
Nachtigall /, Franz
Bothe, 1867-1923, Im
Schlehendorn /, Martin
Grabert, 1868-1951,
Tränen ohne Ende /, Hans
Hermann, 1870-1931, Die
Kapelle /, Alexis
Holländer, 1840-1924,
Ein geistliches Abendlied
/, Emil Kahl, um 1904,
Auf einer Meierei /,
Robert Klein, um 1904,
Warte noch ein kleines
Weilchen /, Heinrich
Knaak, um 1904, De junge
Wetfru /, Otto Kohlmann,
1851-1889, Ich hab die
Nacht geträumet /, Max
Laurischkus, 1876-1929,
Lieber Schatz sei wieder
gut mir /, Otto
Lindemann, 1879-1946,
Juchhe /, Max Loewengard,
1860-1915, Umzug /,
August von Othegraven,
1864-1946, Abendlied /,
Arthur Perleberg,
1876-1910, Das Lied vom
Scheiden /, Georg
Raphael, 1865-1904, Es
ist kein grösser Freud
/, Felix Rosenthal,
1867-1936, Am Brünnele
/, Arnold Rust, um 1904,
Liebesscherz /, Ferdinand
Saffe, 1867-1906,
Morgenserenade auf dem
Lande /, Hermann
Schröder, 1843-1904,
März /, Richard
Sternfeld, 1858-1926,
Unter einem Schirm /,
Albert Ulrich, 1855-1921,
Goldammer /, Paul
Umlauft, 1853-1934, Lied
in der Nacht /, Adolf
Wallnöfer, 1854-1946,
Stille Liebe /, Bruno
Wandelt, 1856-1933,
Tanzlied /, Elisabeth
Wintzer, 1863-1933, In
alten Tagen /, Richard
Wintzer, 1866-1952,
Jugendliebe /, Leopold
Karl Wolf, 1859-1932, Im
Wald /, Max Zoder,
1860-1924, Glück /,
Hermann Zumpe, 1850-1903
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| Rediscovered Treasures for Violin, Cello, and Piano Piano Trio: piano, violon, violoncelle Alfred Publishing
(Short Works by Handel, Chaminade, Saint-Saens, Bach, and Others). Edited by...(+)
(Short Works by Handel,
Chaminade, Saint-Saens,
Bach, and Others). Edited
by
Ross Jungnickel.
Masterworks; String
Ensemble
- Mixed; Trio. Dover
Edition. Masterwork.
Published by Alfred Music
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| Tschaikowsky His Greatest Piano Solos
Piano seul Ashley Publications
By Peter Ilyich Tchaikovsky. (Piano). Ashley Mark "His Greatest" Series (Piano s...(+)
By Peter Ilyich
Tchaikovsky. (Piano).
Ashley Mark "His
Greatest" Series (Piano
solo arrangements). Book
only. 192 pages.
Published by Ashley
Publications Inc.
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| The Piano Bench Of Easy Classical Music Piano seul [Partition] - Facile Music Sales
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy
Classical Music arranged
by Amy Appleby. For Piano
Solo. Music Sales
America. Classical.
Softcover. 400 pages.
Music Sales #AM967549.
Published by Music Sales
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