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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.
$42.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Thirty-two Rose Etudes for Flute Flûte traversière et Piano [Partition + CD] Carl Fischer
(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm F...(+)
(Based on the Etudes of
Franz Whilhelm Ferling).
By John Walker, Franz
Wilhelm Ferling. Edited
by Amy Porter. Arranged
by Cyrille Rose. For
flute and piano. Carl
Fischer Classic Studies.
Book and CD. 44 pages.
Published by Carl Fischer
$19.99 - Voir plus => Acheter Délais: 1 to 2 weeks
11 Duets for Flute 2 Flûtes traversières (duo) [Partition + CD] - Intermédiaire Mel Bay
For 2 Flutes or Clarinet and Flute. Composed by Matthias Petzold. Clarinet, ...(+)
For 2 Flutes or Clarinet
and
Flute. Composed by
Matthias
Petzold. Clarinet, Flute,
Fife and Oboe, Music
Styles and
Regions, Classical, Jazz,
Solos and Duets. Book and
Insert with CD. 52 pages.
Published by Mel Bay
Publications, Inc
$22.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Compatible Duets for Winds 2 Flûtes traversières (duo) Carl Fischer
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(31 Duets That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. For Flute,
Oboe. 48 pages. Published
by Carl Fischer
$12.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Abracadabra Flute Pupil's Book & CDs Flûte traversière [Partition + CD]
Flute SKU: BT.9781408105276 The Way to Learn Through Songs and Tunes(+)
Flute
SKU:
BT.9781408105276
The Way to Learn
Through Songs and
Tunes . Composed by
Malcolm Pollock.
Abracadabra. Method. Book
with CD. 64 pages.
Collins Music Publishing
#9781408105276. Published
by Collins Music
Publishing
(BT.9781408105276).
ISBN 9781408105276.
English.
The
perfect book for pupil
and teacher.
Tunes you know and
want to play.
Technique carefully
graded. Clear
fingering diagrams.
Concise theory
explanations.
Revised CD edition with
new extra CD.
Orchestral as well as
Piano backings. New
duets. Fresh new
look. $14.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Music for Two, Volume 1 - Flute/Oboe/Violin and Viola Violon, Alto (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Viol...(+)
Edited by Briana
Ackerman. Arranged by
Daniel Kelley. For Flute
(or Oboe or Violin) and
Viola. Duets. Music for
Two. Wedding, Classical.
Level:
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 1 - Flute/Oboe and Clarinet Flûte, Clarinette (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe) and Clarinet. Duets. Music for Tw...(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe) and Clarinet.
Duets. Music for Two.
Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
(1) $22.00 - Voir plus => Acheter Délais: 1 to 2 weeks
100 Classic Melodies for Flute Flûte traversière [Livre] - Facile Kevin Mayhew
Arranged by Amanda Oosthuizen. For flute. Flute. Classic. Beginning-Intermediate...(+)
Arranged by Amanda
Oosthuizen. For flute.
Flute. Classic.
Beginning-Intermediate.
Book. Published by Kevin
Mayhew Publishers
$15.95 - Voir plus => Acheter Délais: 2 to 3 weeks
The Young Flute Player Book 4 Music Distribution Services
2 or 3 flutes SKU: M7.APUE-516087 Beginner Duets & Trios . Composed...(+)
2 or 3 flutes
SKU:
M7.APUE-516087
Beginner Duets &
Trios . Composed by
Karen North. Sheet music.
32 pages. MDS (Music
Distribution Services)
#APUE 516087. Published
by MDS (Music
Distribution Services)
(M7.APUE-516087).
ISBN
9781875516087.
Youn
g players who are just
starting to read music
can find it very
difficult to follow a
duet or trio. This book
solves the problem with
colour coded music,
making it easy for
beginners to follow their
ensemble part. Students
only need to know 4 or 5
notes to start playing
the first duets in this
book, which covers
Beginner and Preliminary
levels. The music spans a
wide range of composers,
as well as traditional
tunes from around the
world. There is a
selection of festive
music, a section of
rounds, and there are
warm up exercises, each
focusing on one aspect of
ensemble technique. The
arrangements work well
with anything from two
players up to a large
flute choir/ensemble.
Many pieces offer maximum
flexibility as they can
be played as a trio; OR
the blue and red parts
are harmonically complete
to be played as a duet;
OR there are also
optional piano parts for
some pieces, to be found
in Book 3
(accompaniments). There
are free recordings of
all the duets and trios
on The Young Flute Player
YouTube channel. These
videos can be adjusted to
any speed, so are great
for students to practice
their part at home.This
ensemble book can be used
either independently, or
in conjunction with the
tutor/method books in The
Young Flute Player
series.
$21.95 - Voir plus => Acheter Délais: 4 to 6 weeks
The Young Flute Player Book 5 Book 5 - Débutant Music Distribution Services
2 or 3 flutes SKU: M7.APUE-516094 Intermediate Duets & Trios . Comp...(+)
2 or 3 flutes
SKU:
M7.APUE-516094
Intermediate Duets &
Trios . Composed by
Karen North. Sheet music.
36 pages. MDS (Music
Distribution Services)
#APUE 516094. Published
by MDS (Music
Distribution Services)
(M7.APUE-516094).
ISBN
9781875516094.
This
book of Duets and Trios
(Grade 1 - Grade 3 level)
makes it easy for
students to follow their
ensemble part by using
colour coded clefs/key
signatures. The music
covers a wide range of
composers, as well as
traditional tunes from
around the world. There
is a selection of festive
music, a section of
rounds, plus there are
warm up exercises, each
focusing on one aspect of
ensemble technique. The
arrangements work well
with anything from two
players up to a large
flute choir/ensemble.
Many pieces offer maximum
flexibility as they can
be played as a trio; OR
the blue and red parts
are harmonically complete
to be played as a duet;
OR there are also
optional piano parts for
some pieces, to be found
in Book 3
(accompaniments). There
are free recordings of
all the duets and trios
on The Young Flute Player
YouTube channel. These
videos can be adjusted to
any speed, so are great
for students to practise
their part at home. This
ensemble book can be used
either independently, or
in conjunction with the
tutor/method books in The
Young Flute Player
series.
$21.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Classic Hits for 2 Flutes 2 Flûtes traversières (duo) Barenreiter
Edited by Elisabeth Weinzierl; Edmund Wachter. For 2 Flutes. This edition: Stapl...(+)
Edited by Elisabeth
Weinzierl; Edmund
Wachter. For 2 Flutes.
This edition: Stapled
(2). Ready to Play. 2
Performance scores,
Anthology. Text Language:
German/English. 31/31
pages. Published by
Baerenreiter Verlag
$22.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Music for Two, Volume 1 - Flute/Oboe/Violin and Flute/Oboe/Violin [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Flute (or Oboe or V...(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and Flute
(or Oboe or Violin).
Duets. Music for Two.
Wedding, Classical.
Level:
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 1 - Flute/Oboe/Violin and Cello/Bassoon Flûte, Violoncelle [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Cello (or Bassoon)....(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and Cello
(or Bassoon). Duets.
Music for Two. Wedding,
Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
(4) $22.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Intermediate Music for Two, Volume 2 - Flute/Oboe/Violin and Flute/Oboe/Violin [Conducteur et Parties séparées] - Intermédiaire Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Flute (or Oboe or V...(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and Flute
(or Oboe or Violin).
Duets. Intermediate Music
for Two. Classical.
Intermediate. Score with
2 parts
$22.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Flute Methods, Studies and Ensembles: The Ultimate Collection Flûte traversière CD Sheet Music
SKU: SU.00220550 Woodwinds, Flute/Piccolo. Solo Flute, Flute Duets/Trios/...(+)
SKU: SU.00220550
Woodwinds, Flute/Piccolo.
Solo Flute, Flute
Duets/Trios/Quartets. CD
(PDF Scores). CD Sheet
Music #00220550.
Published by CD Sheet
Music (SU.00220550).
This CD Sheet
Musicâ?¢ collection
makes available fourteen
essential flute methods,
studies and exercises, as
well as over 150 works
for flute duos, trios and
quartets by over 30
composers from the 18th
and 19th centuries.
Methods, Studies and
Exercises include:
Altès (Method for
the Boehm Flute, 26
Selected Studies), J.S.
Bach (24 Flute
Concert Studies),
Andersen (24 Etudes,
Op. 33), Gariboldi
(20 Studies, Op. 132, 30
Easy and Progressive
Studies), Hughes (24
Studies, Op. 32/75);
Karg-Elert (30
Studies, Op. 107),
Köhler (25
Romantic Etudes, Op. 66,
20 Easy Melodic
Progressive Exercises,
Op. 93), Reichert (7
Daily Exercises, Op. 5),
Wagner (Flute Studies
in Old and Modern Styles)
Duets, Trios and
Quartets include:
W.F. Bach (6 Duets),
de la Barre
(Prelude), Beethoven
(Allegro and Mineut),
Berbiguier (Six
Duets, Op. 59),
Boismortier (Two
Sonatas), Bordet
(Timbourins),
Briccaldi (Eight
Duos, Op. 132),
Chinzer/Bordet (The
Hunt), Devienne (6
Duets, Op. 82),
Dietter(Romance),
Finger Fugue);
Fürstenau (6
Duets, Op. 137),
Gariboldi (Six Easy
Duets), Hotteterre
(Les Fargis sur les
délices),
Hugot/Wunderlich
(Four Duets),
Koechlin (Sonata for
Two Flutes),
Köhler (Forty
Progressive Duets),
Kuhlau (Three
Brilliant Duos, Op. 81
and 102, Three Grand
Duets, Op. 39, Three
Grand Trios, Op. 86),
Kummer (Trio, Op.
24)), de Lasso (Two
Fantasies),
Legoux/Bordet
(Musette), Le Loup
(Sarabande), Loeillet
(Sonata in E minor and
Sonata in G minor for two
flutes and piano),
Mozart (3 Duets, Op.
156 and 157),
Müller (Theme with
Variations), Naudot
(Gavotte), Quantz
(Three Duets, Op. 2),
Reicha (Sinfonico for
Four Flutes),
Soussman (Twelve
Duets, Op. 53),
Stamitz (Three Duets,
Op. 27), Sweelinck
(Duo), Telemann
(Sonata in E major,
Sonata in A major for two
flutes and piano),
Tulou (Three Easy
Duets, Op. 102 and 103)
Also includes composer
biographies and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 1800 pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
$20.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Intermediate Music for Two, Volume 2 - Flute/Oboe/Violin and Clarinet [Conducteur et Parties séparées] - Intermédiaire Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Clarinet. Duets. In...(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and
Clarinet. Duets.
Intermediate Music for
Two. Classical. Level:
Intermediate. Score with
2 parts. Published by
Last Resort Music
Publishing.
(1) $22.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Progressive Duets, Volume 2 - Flute 2 Flûtes traversières (duo) Carl Fischer
For Flute. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1...(+)
For Flute. Composed by
Johann Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF104. Published
by Carl Fischer Music
$16.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Step One: Play Flute Flûte traversière [Partition + CD] - Débutant Music Sales
By Hal Archer. For Flute. Sheet Music and Audio CD. 48 pages. Published by Music...(+)
By Hal Archer. For Flute.
Sheet Music and Audio CD.
48 pages. Published by
Music Sales.
$7.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Step One: Play Flute Flûte traversière [Partition + CD] - Débutant Music Sales
Step One. Tuition. Book with CD. Composed 2003. 48 pages. Music Sales #MUSAM...(+)
Step One. Tuition. Book
with
CD. Composed 2003. 48
pages.
Music Sales #MUSAM974358.
Published by Music Sales
$11.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Music for Two Flutes, Volume 2 Flûte traversière [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute Duet. Duets. Music for Two. Classical. Leve...(+)
Arranged by Daniel
Kelley. For Flute Duet.
Duets. Music for Two.
Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
$22.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Classical Duets For Trumpet with CD 2 Trompettes (duo) [Partition + CD] Santorella Publications
Classical Duets for Trumpet with CD composed by Various. Arranged by Jonathon Ro...(+)
Classical Duets for
Trumpet with CD composed
by Various. Arranged by
Jonathon Robbins. For
trumpet. This edition:
Paperback. Collection.
Classical, Play Along.
Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
$14.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Classical Duets for Trombone with CD 2 Trombones (duo) [Partition + CD] Santorella Publications
Classical Duets for Trombone with CD composed by Various. Arranged by Jonathon R...(+)
Classical Duets for
Trombone with CD composed
by Various. Arranged by
Jonathon Robbins. For
trombone. This edition:
Paperback. Collection.
Classical. Book and CD.
Text Language: English.
48 pages. Published by
Santorella Publications
$14.95 - Voir plus => Acheter Délais: 24 hours - In Stock
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