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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.
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Music Sales #AM967549.
Published by Music Sales
(1) $34.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Music for Two, Volume 6 - Flute/Oboe/Violin and Cello/Bassoon Flûte, Hautbois, Violon, Violoncelle, basse continue (Quatuor) - Intermédiaire/avancé Last Resort Music Publishing
(Wedding and Classical Favorites). Composed by Various. Arranged by Daniel Kelle...(+)
(Wedding and Classical
Favorites). Composed by
Various. Arranged by
Daniel Kelley. For
Flute/Oboe/Violin and
Cello/Bassoon. Duets.
Music for Two series. A
tremendous new collection
for any occasion
including the best of
Beethoven, Handel,
Mendelssohn, Mozart,
Borodin, Vivaldi, Corelli
and more! This versatile
series is designed to be
played by two different
instruments!. Wedding,
Classical.
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing
$22.00 - Voir plus => Acheter Délais: 24 hours - In Stock
The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => Acheter Délais: 24 hours - In Stock
The Piano Treasury of Easy Classical Music Piano seul [Partition + CD] - Facile Music Sales
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 great
masterpieces from the
baroque, classical,
romantic and modern eras.
Series: Piano Treasury
Series. 399 pages.
Published by Music Sales.
(1) $34.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Piano Treasury of Classical Music Piano seul [Partition + CD] - Intermédiaire Music Sales
Edited by Amy Appleby. Collection and examples CD for solo piano. Over 125 great...(+)
Edited by Amy Appleby.
Collection and examples
CD for solo piano. Over
125 great masterpieces
from the Baroque,
Classical, Romantic, and
Modern eras. Series:
Piano Treasury Series.
399 pages. Published by
Music Sales.
(1) $34.99 - Voir plus => Acheter Délais: 24 hours - In Stock
After Hours for Violin and Piano Violon et Piano [Partition + CD] Faber Music Limited
By Pam Wedgwood. For Violin. Book; CD; String - Violin Studies or Collection. Fa...(+)
By Pam Wedgwood. For
Violin. Book; CD; String
- Violin Studies or
Collection. Faber
Edition: After Hours. 24
pages. Published by Faber
Music
$13.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Music for Two, Volume 6 - Flute/Oboe/Violin and Flute/Oboe/Violin Last Resort Music Publishing
(Wedding & Classical Favorites). Composed by Various. Arranged by Daniel Kelley....(+)
(Wedding & Classical
Favorites). Composed by
Various. Arranged by
Daniel Kelley. For
Flute/Oboe/Violin and
Flute/Oboe/Violin. Duets.
Music for Two series.
Wedding, Classical.
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing
$22.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Music for Two, Volume 6 - Flute/Oboe/Violin and Clarinet Last Resort Music Publishing
(Wedding & Classical Favorites). Composed by Various. Arranged by Daniel Kelley....(+)
(Wedding & Classical
Favorites). Composed by
Various. Arranged by
Daniel Kelley. For
Flute/Oboe/Violin and
Clarinet. Duets. Music
for Two series. Wedding,
Classical.
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing
$22.00 - Voir plus => Acheter Délais: 1 to 2 weeks
High Performance Flute Flûte à bec, Flute, Accordéon [Partition + CD] - Facile AMA Verlag
By Robert Winn. For Flute. Method. AMA Verlag. All Styles. Level: Beginning-Inte...(+)
By Robert Winn. For
Flute. Method. AMA
Verlag. All Styles.
Level:
Beginning-Intermediate.
Book/CD Set. Size 9x12.
144 pages. Published by
AMA Verlag. ISBN
3932587723.
$24.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Music for Three, Volume 6, Part 2 - Flute/Oboe/Violin Opéra [Partie séparée] Last Resort Music Publishing
Mixed Trios. By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Flute or Oboe
or Violin. Trios. Music
for Three. Opera. Level:
Intermediate/Advanced.
Part 2. Published by Last
Resort Music Publishing.
$20.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Dip In: 100 Classical Pieces For Alto Sax (Graded) Saxophone Alto [Partition] Amsco Wise Publications
Edited by Jenni Wheeler. For saxophone. Dip In Series. Collection. 152 pages. Pu...(+)
Edited by Jenni Wheeler.
For saxophone. Dip In
Series. Collection. 152
pages. Published by Wise
Publications.
$17.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Dance of the Hours Violon et Piano Wiltshire Music/Cor Publishing Co.
By Amilcare Ponchielli. For Violin and Piano. Published by Wiltshire Music/Cor P...(+)
By Amilcare Ponchielli.
For Violin and Piano.
Published by Wiltshire
Music/Cor Publishing Co.
$8.00 - Voir plus => Acheter Délais: 2 to 3 weeks
Orchestral Excerpts from the Symphonic Repertoire - Volume 2 (revised) Violon IMC (International Music Co.)
Compiled by Josef Gingold. Orchestral excerpt book for violin. Published by Inte...(+)
Compiled by Josef
Gingold. Orchestral
excerpt book for violin.
Published by
International Music Co.
(1) $28.25 - Voir plus => Acheter Délais: 24 hours - In Stock
All the Tunes You've Ever Wanted to Play - Book 1 - C instruments Edition [Livre] Kevin Mayhew
Arranged by Colin Hand. For c instruments. Music Theory. All Styles. Beginning-I...(+)
Arranged by Colin Hand.
For c instruments. Music
Theory. All Styles.
Beginning-Intermediate.
Book. Published by Kevin
Mayhew Publishers
$10.95 - Voir plus => Acheter Délais: 2 to 3 weeks
101 Classical Themes for Violin Violon [Partition] Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$15.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Masterpieces Of Piano Music Piano seul [Partition] Music Sales
Edited by Albert Weir, Amy Appleby. For piano. Format: piano solo book. With fin...(+)
Edited by Albert Weir,
Amy Appleby. For piano.
Format: piano solo book.
With fingerings. Baroque,
classical period and
romantic period. 400
pages. 9x12 inches.
Published by Music Sales.
(2) $29.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Piano Pieces For Adult Beginners Piano seul [Partition] Amsco Wise Publications
By Amy Appleby. For Piano. Classical, Folk. Sheet Music. 194 pages. Published by...(+)
By Amy Appleby. For
Piano. Classical, Folk.
Sheet Music. 194 pages.
Published by Wise
Publications.
(1) $17.99 - Voir plus => Acheter Délais: 24 hours - In Stock
In Recital, with Classical Themes - Book 3 (Late Elementary) Piano seul [Partition + CD] - Facile FJH
Edited by Helen Marlais. Collection and accompaniment CD for piano. The FJH pian...(+)
Edited by Helen Marlais.
Collection and
accompaniment CD for
piano. The FJH pianist's
curriculum. Series: In
Recital with Classical
Themes. 39 pages.
Published by The FJH
Music Company.
$9.50 - Voir plus => Acheter Délais: 1 to 2 weeks
The Classical Music Fake Book Instruments en Do [Fake Book] Music Sales
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various.
Arranged by Peter
Lavender. Music Sales
America. Baroque and
Classical Period. Fake
book (softcover). With
melody line (no
accompaniment included)
and chord names. 128
pages. Music Sales
#AM92350. Published by
Music Sales
(7) $19.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Masterpieces of Piano Music Piano seul [Partition] Carl Fischer
By Various. Arranged by Albert E. Weir. Piano. Size 8.5 X 11. Published by Carl ...(+)
By Various. Arranged by
Albert E. Weir. Piano.
Size 8.5 X 11. Published
by Carl Fischer.
(6) $42.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Orphée et Euridice Chorale SATB Barenreiter
Solo voices, choir, orchestra (2 Soprano Voice Solo, Tenor Voice Solo, SATB Choi...(+)
Solo voices, choir,
orchestra (2 Soprano
Voice Solo, Tenor Voice
Solo, SATB Choir, ballet,
2 Fl, 2 Ob, 2 clarinet, 2
bassoon, 2 Hn, 2 Trp,
3trombone, timpani, harp,
2 Violin, Viola, Cello,
Double Bass)
SKU:
BA.BA02282
Tragédie-opéra
(Drame héroïque) in
three acts . Composed
by Christoph Willibald
Von Gluck. Edited by
Ludwig Finscher. This
edition: complete
edition, urtext edition.
Linen. Christoph
Willibald Gluck. Complete
Works. Series I, Volume
6. Paris Version 1774.
Complete edition, Score.
Composed 1774. Duration 2
hours. Baerenreiter
Verlag #BA02282_00.
Published by Baerenreiter
Verlag (BA.BA02282).
ISBN 9790006419555. 33
x 26.5 cm inches. Text
Language: French, German.
Preface: Ludwig Finscher.
Text: Pierre-Louis
Moline.
Christoph
Willibald Gluck’s
most popular opera
“Orphe et
Euridice†was
performed in 1774 in
Paris to sensational
success. This new
adaption followed the
original Viennese version
with Italian text that
was first performed in
1762 under the direction
of the composer in the
Burgtheater. For the
Paris version Gluck
changed the leading part
Orpheus from an alto to a
tenor role and composed
new recitatives.
Both versions of
Gluck’s reform
drama are based on a
libretto by Ranieri
de’ Calzabigi and
revolutionised
metastasian opera of the
18th century. Solo and
choral music,
instrumental music,
pantomime and dance are
all closely connected;
the myth replaces a
historical plot
surrounded by intrigue;
where there would have
been a da-capo aria there
are now simple song forms
and coloratura is largely
abandoned. These
meticulously revised
vocal scores of both
versions are also newly
set.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition? <
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$530.95 - Voir plus => Acheter Délais: 1 to 2 weeks
The Piano Playlist Piano seul - Facile Schott
Piano - easy SKU: HL.49045386 50 Popular Classics in Easy Arrangements...(+)
Piano - easy
SKU:
HL.49045386
50
Popular Classics in Easy
Arrangements .
Composed by Various.
Arranged by Barrie Carson
Turner. This edition:
Saddle stitching. Sheet
music. Piano. Diese neue
Sammlung prasentiert die
50 beliebtesten
klassischen Stucke in
leichten Bearbeitungen
fur Klavier. Classical.
Softcover. 88 pages.
Schott Music #ED13860.
Published by Schott Music
(HL.49045386).
ISBN
9781847614193. UPC:
888680671457.
9.0x12.0x0.25 inches.
English.
The 50
most popular classical
pieces in easy
arrangements. This new
collection presents 50
popular classical pieces
in easy arrangements for
piano. Taking the concept
of the 'playlist' from
the world of digital
music streaming this book
presents a carefully
chosen collection of the
world's favorite
classical pieces for
today's student and
amateur musicians.
Featuring many of the
most popular works from
the classical repertoire,
this offers hours of
enjoyable music making.
Contents: Adagietto, from
Symphony No. 5 (Mahler)
• Air, BWV 1068
(Bach) • Piano
Concerto No. 23, Andante
(Mozart) • The Blue
Danube (J Strauss II)
• Canon (Pachelbel)
• Clair de Lune
(Debussy) • Chanson
de Matin (Elgar) •
Chorus of the Hebrew
Slaves (Verdi) •
The Dance of the Little
Swans (Tchaikovsky)
• Dance of the
Blessed Spirits (Gluck)
• Danse Macabre
(Saint-Saens) • The
Pearl Fishers' Duet
(Bizet) • Emperor
Concerto, 2nd mvt.
(Beethoven) •
Flower Duet (Delibes)
• Gavotte (Grieg)
• Gymnopedie No. 1
(Satie) • Habanera
(Bizet) • Halleluja
Chorus (Handel) •
Hornpipe, Water Music
(Handel) •
Impromptu, Op. 90, No. 3
(Schubert) •
Intermezzo (Mascagni)
• Jerusalem (Parry)
• Jupiter (Holst)
• Intermezzo
(Sibelius) •
Liebestraume No. 3
(Liszt) • Menuet
(Ravel) • Menuetto,
Symphony No. 104 (Haydn)
• Meditation
(Massenet) •
Morning (Grieg) •
Ode to Joy (Beethoven)
• Nessun Dorma
(Puccini) • Nimrod
(Elgar) • Nocturne,
Op. 9, No. 2 (Chopin)
• Non piu andrai
(Mozart) • O Mio
Babbino Caro (Puccini)
• Dance of the
Sugar Plum Fairy
(Tchaikovsky) •
Prelude to the Afternoon
of a Faun (Debussy)
• Ride of the
Valkyries (Wagner)
• Spring, from the
Four Seasons (Vivaldi)
• Symphony No. 1,
4th mvt. (Brahms) •
The Old Castle
(Mussorgsky) • The
Swan (Saint-Saens)
• The Trout
(Schubert) •
Traumerei (Schumann)
• Toreador Song
(Bizet) • Violin
Concerto, Andante
(Mendelssohn) •
Vltava (Smetana) •
Waltz from Coppelia
(Delibes) • When I
Am Laid in Earth
(Purcell) • Waltz
in A-flat, Op. 39, No. 15
(Brahms).
$18.99 - Voir plus => Acheter Délais: 24 hours - In Stock
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