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2 Flûte à bec (duo) (31) 1 Piano, 4 mains (22) Hautbois, Piano (duo) (19) 2 Pianos, 4 mains (14) Basson, Piano (duo) (13) Violon, Alto (duo) (10) Contrebasse, Piano (duo) (8) Euphonium, Piano (duo) (6) 2 Violoncelles (duo) (6) 2 Violons (duo) (6) Trio à Cordes: violon, alto, … (6) Alto, Violoncelle (duo) (6) Piano, Guitare (duo) (6) 2 Flûtes traversières (duo) (6) Piano seul (6) 2 Guitares (duo) (6) Violoncelle, Contrebasse (duo)… (5) Harpe, Flûte (duo) (5) Violon, Violoncelle (duo) (4) Violon, Guitare (duo) (4) 2 Clarinettes (duo) (3) Clarinette (3) Orchestre d'harmonie (3) 2 Violons et Basse continue (3) Mandoline, Guitare (duo) (2) Flûte traversière et Piano (2) Trio à Cordes: 2 violons, vio… (2) Orgue (2) Flûte traversière, Orgue (du… (2) Guitare notes et tablatures (2) Mandoline (1) Violon et Piano (1) Oboe, Piano (duet) (1) 2 Altos (duo) (1) Orgue, Trompette (duo) (1) Orgue, Piano (duo) (1) Mandoline, Piano (duo) (1) 2 Flûtes traversières, Piano… (1) 2 Trompettes (duo) (1) Flûte, Trompette (duo) (1) 2 Marimbas (1) Violoncelle , Guitare (duo) (1) 2 Pianos, 8 mains (1)
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Franz Joseph Haydn : String Duos Violon, Alto (duo) [Partition] G. Henle
For Violin and Viola - with Comments in English. By Franz Joseph Haydn. Edited b...(+)
For Violin and Viola -
with Comments in English.
By Franz Joseph Haydn.
Edited by A. Friesenhagen
" Cadenzas: K. Guntner.
String Duos and Trios.
Pages: VI and 49. Urtext
edition (Paper-bound).
Published by G. Henle.
(1) $41.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Duo in C major, B. 525 Op. 39 (1792) Alto, Violoncelle (duo) Gems Music Publications
Composed by Ignaz Josef Pleyel (1757-1831). Edited by Kenneth Martinson. For cel...(+)
Composed by Ignaz Josef
Pleyel (1757-1831).
Edited by Kenneth
Martinson. For cello,
viola. This edition:
Urtext, Staple Center
Bound with 1 insert. In
the key of C major.
Classical. Level 6 (of
6). Playing score. Text
Language: English.
Composed 1792. B. 525 Op.
39. 22 pages. Published
by Gems Music
Publications
$18.95 - Voir plus => Acheter Délais: 4 to 6 weeks
2 Sonatas and a Minuet 2 Altos (duo) - Intermédiaire Schott
Performance Score Viola Duet - intermediate SKU: HL.49012261 For 2 Vio...(+)
Performance Score Viola
Duet - intermediate
SKU: HL.49012261
For 2 Violas -
Performance Score .
Composed by Michel
Corrette. Edited by Erich
Doflein. This edition:
Saddle stitching. Sheet
music. Viola-Bibliothek
(Viola Library).
Classical. Playing score.
15 pages. Schott Music
#VAB39. Published by
Schott Music
(HL.49012261).
ISBN
9790001102346. UPC:
073999195132.
9.0x12.0x0.057
inches.
Sonata C
major * Sonata D major *
Minuetto G major.
$20.99 - Voir plus => Acheter
Five Sonatas 2 Guitares (duo) EMB (Editio Musica Budapest)
2 Guitars SKU: HL.50510194 Guitar Duo . Composed by Domenico Scarla...(+)
2 Guitars
SKU:
HL.50510194
Guitar
Duo . Composed by
Domenico Scarlatti.
Arranged by Fodor Mosó
and czi. Baroque. EMB.
Book [Softcover]. 21
pages. Editio Musica
Budapest #Z7665.
Published by Editio
Musica Budapest
(HL.50510194).
ISBN
9790080076651. UPC:
073999267426.
9.0x12.0x0.111 inches.
Miklos Mosoczi; Ferenc
Fodor.
$17.45 - Voir plus => Acheter Délais: 24 hours - In Stock
Concerto for Bassoon and Orchestra in C major Basson, Piano (duo) [Reduction] - Intermédiaire/avancé Barenreiter
Composed by Carl Stamitz (1745-1801). Edited by Ondrej ?indelár. Arranged by ...(+)
Composed by Carl Stamitz
(1745-1801). Edited by
Ondrej
?indelár. Arranged by
Petr
Koronthály. This
edition:
urtext edition.
Paperback.
Barenreiter Urtext. Piano
reduction, Part (1).
Baerenreiter Verlag
#BA11563-
90. Published by
Baerenreiter
Verlag
$32.95 - Voir plus => Acheter Délais: 1 to 2 weeks
2 Sonatas for Viola with Cello accompaniment in C minor and C major Alto, Violoncelle (duo) - Avancé Gems Music Publications
By Luigi Boccherini (1743-1805). Edited by Kenneth Martinson. For viola, cello. ...(+)
By Luigi Boccherini
(1743-1805). Edited by
Kenneth Martinson. For
viola, cello. This
edition: Urtext, Staple
Center Bound with 1
insert. In the keys of C
minor, C major.
Classical. Level 6 (of
6). 2 Playing scores.
Text Language: English.
G. 18. 27 pages.
Published by Gems Music
Publications
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Sonata in C Major Violoncelle, Contrebasse (duo) Kunzelmann
By Georg Christoph Wagenseil. Edited by Werner Thomas-Mifune. Sonata in C Major ...(+)
By Georg Christoph
Wagenseil. Edited by
Werner Thomas-Mifune.
Sonata in C Major after
the original Suite for 3
Violoncelli and
Contrabass. Published by
Edition Kunzelmann.
$14.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Wolfgang Amadeus Mozart: Concerto for Oboe and Orchestra C major K. 314 Hautbois, Piano (duo) [Reduction] G. Henle
for Oboe and Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by ...(+)
for Oboe and Orchestra -
Piano Reduction. By
Wolfgang Amadeus Mozart.
Edited by I. Goritzki.
Oboe. Pages: Score =VI
and 28 * Ob Part =17,
Supplement = 19. Piano
Reduction-paper bound.
Published by G. Henle.
$29.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Wolfgang Amadeus Mozart: Oboe Concerto In C Major, K. 314 Hautbois, Piano (duo) [Set de Parties séparées] Barenreiter
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Franz Giegling. K. 31...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791), edited by
Franz Giegling. K. 314
(285d). For oboe and
piano. Urtext of the New
Mozart Edition. Format:
set of performance parts
(includes separate
pull-out oboe part). With
solo part and piano
reduction. Classical
Period. C Major. 40
pages. 9x12 inches.
Duration 23m. Published
by Baerenreiter-Ausgaben
(German import).
$28.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Mozart / Concerto in C Major, K. 299 Harpe, Flûte (duo) [Reduction|Set of Parts|Solo Part] G. Henle
For Flute, Harp and Piano - Piano Reduction. By Wolfgang Amadeus Mozart. Edited ...(+)
For Flute, Harp and Piano
- Piano Reduction. By
Wolfgang Amadeus Mozart.
Edited by A. Adorjan.
Flute. Pages: Score: II
and 41 * Fl Part = 13 *
Harp Part = 35. Urtext
edition (Paper-bound).
Published by G. Henle.
$33.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Sonata in C Major for Oboe and Piano Hautbois, Piano (duo) Chester
By Jean-Baptiste Loeillet. For Oboe, Piano. Baroque. Sheet Music. 18 pages. Publ...(+)
By Jean-Baptiste
Loeillet. For Oboe,
Piano. Baroque. Sheet
Music. 18 pages.
Published by Chester
Music.
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Sonata in C Major Op. 40, No. 1 Violoncelle, Contrebasse (duo) G. Henle
For Cello and Double Bass. Composed by Jean-Baptiste Breval. Edited by Tabea ...(+)
For Cello and Double
Bass.
Composed by Jean-Baptiste
Breval. Edited by Tabea
Umbreit. Henle Music
Folios.
Softcover. 24 pages. G.
Henle
#HN1480. Published by G.
Henle
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Mozart - Concerto C Major K 314 Oboe/Piano Urtext Hautbois, Piano (duo) G. Henle
Oboe, Piano SKU: HU.HN695 Composed by Wolfgang Amadeus Mozart. Edited by Ingo G...(+)
Oboe, Piano
SKU: HU.HN695
Composed by Wolfgang
Amadeus Mozart. Edited by
Ingo Goritzki. Woodwind,
Repertoire, Solos.
Concerto for Oboe and
Orchestra C major K. 314.
Softcover Book. 72 pages.
G. Henle #HN695.
Published by G. Henle
(HU.HN695).
$39.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Rondo in C Major, Op. 73 Piano seul - Avancé Alfred Publishing
Composed by Fr�©d�©ric Chopin. Edited by Maurice Hinson and Allison Ne...(+)
Composed by
Fr�©d�©ric
Chopin. Edited by Maurice
Hinson and Allison
Nelson. For Piano. Book;
Masterworks; Piano Duo (2
Pianos, 4 Hands). Alfred
Masterwork Edition. Form:
Rondo. Masterwork;
Romantic. Advanced. 44
pages. Published by
Alfred Music
$8.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Concerto in F major RV Anh. 152 (olim RV 458) Hautbois, Piano (duo) Breitkopf & Härtel
Oboe, piano SKU: BR.MR-2295 Authenticity disputed . Composed by Ant...(+)
Oboe, piano
SKU:
BR.MR-2295
Authenticity
disputed . Composed by
Antonio Vivaldi. Edited
by Manfred Fechner. Solo
instruments; stapled.
Musica Rara. In this
first edition for oboe
and piano, the
non-ornamented version is
given first and followed
by the version supplied
by editor Sandro Caldini
with ornaments typical of
Vivaldi's time. Solo
concerto; Baroque. Piano
reduction. 16 pages.
Breitkopf and Haertel #MR
2295. Published by
Breitkopf and Haertel
(BR.MR-2295).
ISBN
9790004488430. 9 x 12
inches.
It is
difficult to determine
exactly how many oboe
concertos Antonio Vivaldi
wrote. Although the
present Concerto in F
major was earlier seen as
a secure work by Vivaldi
(therefore it has the old
RV-number 458), Vivaldi's
authorship got even more
disputable (in contrast
to the C major Concerto
RV 446 MR 2294). The
doubts cannot even be
dispelled by the
existence of two sources
from a large collection
in Lund, Sweden. The
Adagio central movement
deserves our particular
attention, as it was
transmitted in different
versions in the two
sources. In this first
edition for oboe and
piano, the non-ornamented
version is given first
and followed by the
version supplied by
editor Sandro Caldini
with ornaments typical of
Vivaldi's time, which
make this version of the
Adagio particularly
interesting for
performers. In
this first edition for
oboe and piano, the
non-ornamented version is
given first and followed
by the version supplied
by editor Sandro Caldini
with ornaments typical of
Vivaldi's time.
$18.95 - Voir plus => Acheter Délais: 3 to 4 weeks
Johann Sebastian Bach: Trio sonata for two Flutes and Basso Continuo in G major BWV 1039 with reconstructed version for two Violins 2 Violons (duo) [Partition] G. Henle
And B.c. - Figured Bass Realization by H. Eppstein - with the reconstructed Vers...(+)
And B.c. - Figured Bass
Realization by H.
Eppstein - with the
reconstructed Version for
2 Violins. By Johann
Sebastian Bach. Edited by
H. Eppstein. Trio
Sonatas. Pages: Score = V
and 23 * Fl I (Vl I) Part
= 7 * Fl II (Vl II) Part
= 7 * Vc Part = 7. Urtext
edition without
fingering-paper bound.
Published by G. Henle.
$31.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Duet F Major 2 Flûte à bec (duo) Schott
With Alternatives in C Major. By George Frideric Handel. Schott. 8 pages. Publis...(+)
With Alternatives in C
Major. By George Frideric
Handel. Schott. 8 pages.
Published by Schott.
$6.99 - Voir plus => Acheter
Sonata A major RV 82 2 Guitares (duo) [Conducteur] Zimmermann
2 Guitars SKU: PR.ZM35400 After the Trio per leuto, violin und figured...(+)
2 Guitars
SKU:
PR.ZM35400
After
the Trio per leuto,
violin und figured bass C
major . Composed by
Antonio Vivaldi. Step By
Step. Score. With
Standard notation. RV 82.
40 pages. Zimmermann
#ZM35400. Published by
Zimmermann (PR.ZM35400).
$22.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Oboe Concerto in C Major Hautbois, Piano (duo) Peters
By Wolfgang Amadeus Mozart. Edited by Schenck. For oboe, piano. K.314(285d). Pub...(+)
By Wolfgang Amadeus
Mozart. Edited by
Schenck. For oboe, piano.
K.314(285d). Published by
C.F. Peters.
(1) $20.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Oboe Concerto in C Major Hautbois, Piano (duo) [Livre + CD] Peters
By Wolfgang Amadeus Mozart. Edited by Schenck. For oboe, piano. K.314(265d).Play...(+)
By Wolfgang Amadeus
Mozart. Edited by
Schenck. For oboe, piano.
K.314(265d).Play-along
CD. Published by C.F.
Peters.
$32.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Two Sonatas (C major and G minor) 2 Flûtes traversières (duo) Zimmermann
2 flutes SKU: PR.ZM12910 C-Dur und g-Moll . Composed by Joseph de B...(+)
2 flutes
SKU:
PR.ZM12910
C-Dur
und g-Moll . Composed
by Joseph de Boismortier.
With Standard notation.
Zimmermann #ZM12910.
Published by Zimmermann
(PR.ZM12910).
$10.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Haydn, Joseph: String trios, volume III (attributed to Haydn) 2 Violons et Basse continue [Partition] G. Henle
For 2 Violins and Basso. By Franz Joseph Haydn. Edited by Barry S. Brook. String...(+)
For 2 Violins and Basso.
By Franz Joseph Haydn.
Edited by Barry S. Brook.
String Duo and Trios.
Pages: Vl I Part = 18 *
Vl II Part = 18 * Basso
(Vc) Part = 17. Urtext
edition without
fingering-paper bound.
Published by G. Henle.
$40.95 - Voir plus => Acheter Délais: 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 => Acheter Délais: 24 hours - In Stock
Zwei Duos aus Musikalisches Vielerley - 2 Duos from Musikalisches Vielerley [Conducteur] Nagels Musik-Archiv
Duo fur Flote und Violine (2 Fl, 2 V) e-moll - Duo fur 2 Klarinetten (2 V, 2 Fl)...(+)
Duo fur Flote und Violine
(2 Fl, 2 V) e-moll - Duo
fur 2 Klarinetten (2 V, 2
Fl) C-dur - Duo for Flute
and Violin (2 Fl, 2 V) in
E minor - Duo for 2
Clarinets (2 V, 2 Fl) in
C major. By Carl Philipp
Emanuel Bach. Edited by
Stephan, Wolfgang. For
Flute 1/Clarinet (B Flat)
1/Violin 1/, Flute 2,
Clarinet (B Flat) 2,
Violin 2. Nagels
Musik-Archiv. Playing
Score. Wq 140, 142.
Published by Nagels
Musik-Archiv (German
import).
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Ludwig van Beethoven: String trios and duo Trio à Cordes: violon, alto, violoncelle [Partition] G. Henle
Revised Edition. By Ludwig van Beethoven. Edited by E. Platen. String Duo and Tr...(+)
Revised Edition. By
Ludwig van Beethoven.
Edited by E. Platen.
String Duo and Trios.
Pages: Vl Part = 61 * Va
Part = 66 * Vc Part = 58.
Urtext edition without
fingering-paper bound.
Published by G. Henle.
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