| With Gratitude Orchestre - Facile Highland/Etling
Orchestra - Grade 3 SKU: AP.48101 Composed by Katie O'Hara LaBrie. MakeMu...(+)
Orchestra - Grade 3
SKU: AP.48101
Composed by Katie O'Hara
LaBrie. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Thanksgiving.
Score and Part(s). 124
pages. Duration 4:30.
Highland/Etling
#00-48101. Published by
Highland/Etling
(AP.48101). ISBN
9781470661441. UPC:
038081553986.
English. With
Gratitude by Katie O'Hara
LaBrie is a flowing yet
spirited composition
written in memory of a
bright youngster who
always sought out the
good things in life.
Perfect for advancing
string orchestras, this
piece features soaring
melodies, rhythmic
independence, and higher
positions for violin 1
and cello, all while
exploring changing
modalities in C major and
A major. Students will
learn to play
expressively as they
connect to the story
behind the piece using
the hashtag
#yearofgratitude. (4:30)
This title is available
in MakeMusic Cloud. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| With Gratitude Orchestre - Facile Highland/Etling
Orchestra - Grade 3 SKU: AP.48101S Composed by Katie O'Hara LaBrie. MakeM...(+)
Orchestra - Grade 3
SKU: AP.48101S
Composed by Katie O'Hara
LaBrie. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score. 16
pages. Duration 4:30.
Highland/Etling
#00-48101S. Published by
Highland/Etling
(AP.48101S). ISBN
9781470661458. UPC:
038081553993.
English. With
Gratitude by Katie O'Hara
LaBrie is a flowing yet
spirited composition
written in memory of a
bright youngster who
always sought out the
good things in life.
Perfect for advancing
string orchestras, this
piece features soaring
melodies, rhythmic
independence, and higher
positions for violin 1
and cello, all while
exploring changing
modalities in C major and
A major. Students will
learn to play
expressively as they
connect to the story
behind the piece using
the hashtag
#yearofgratitude. (4:30)
This title available in
MakeMusic Cloud. $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Happiness Comes in Colors - songbook Jackman Music Corporation
Vocal songbook for medium voice, with music by Janice Kapp Perry. Guitar chords ...(+)
Vocal songbook for medium
voice, with music by
Janice Kapp Perry. Guitar
chords are
included. Songs in
this collection: If
Happiness Comes in
Color An Attitude of
Gratitude Everybody
Loves to Dance I Care
About You Friendly
Balloons Just Do Your
Best Feelings Show
and
Tell Darkness The
Language of
Smile Something Good
About Myself I Sing
Good Morning Get to
Know the World I
Wonder Why The Whole
World Has a
Party Single
Snowflakes To Be
Happy Composer: Janice
Kapp Perry Lyricist:
Val Camenish Wilcox
Difficulty: Medium /
medium acc. *** Some
Janice Kapp Perry
products may require a
few days additional
shipping time. Thank
you!
-
If Happiness Comes in
Color
-
An Attitude of Gratitude
-
Everybody Loves to Dance
-
I Care About You
-
Friendly Balloons
-
Just Do Your Best
-
Feelings
-
Show and Tell
-
Darkness
-
The Language of Smile
-
Something Good About
Myself
-
I Sing Good Morning
-
Get to Know the World
-
I Wonder Why
-
The Whole World Has a
Party
-
Single Snowflakes
-
To Be Happy
| | |
| I Thank You, Lord Voix Moyenne [Vocal Score] Hope Publishing Company
Composed by Joseph M. Martin. For medium voice solo (key of C). General Worship,...(+)
Composed by Joseph M.
Martin. For medium voice
solo (key of C). General
Worship, Praise and
Worship, Thanksgiving and
Gratitude. Vocal score. 8
pages. Published by Hope
Publishing Company
$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| A Music Teacher's Gratitude Journal Alfred Publishing
SKU: AP.49400 Creative Prompts to Nurture Joy, Reduce Stress, and Refl...(+)
SKU: AP.49400
Creative Prompts to
Nurture Joy, Reduce
Stress, and Reflect on
Your Teaching.
Composed by Krista Hart.
This edition: Book.
Choral Resources;
Classroom Resources;
Classroom/Pre-School;
Concert Band Resources;
NAMM Best Tools for
Schools; Orchestra
Resources; Other
Classroom; Other
Resources; Piano
Resources; Reference
Textbooks; Resources;
Textbook - General; Vocal
Resources. Book. 152
pages. Alfred Music
#00-49400. Published by
Alfred Music (AP.49400).
ISBN 9781470647407.
UPC: 038081566641.
English. The
ability to experience
thankfulness and joy can
be developed, and the
practice of keeping a
gratitude journal will
help. This guided process
of self-reflection
invites educators to
focus on the positive
aspects of being a
teacher, musician, and
human being. The flexible
format allows for entries
on any schedule or
frequency. It's a
personal resource that
will remind you what's
truly important and
inspire positive change
in your life and work.
Includes inspiring
quotes, habit trackers
for gauging progress, and
simple yet insightful
writing prompts that lead
you to express
appreciation, reflect on
your teaching, and ignite
the joy of making
music. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gratitude Changes Everything - Performance/Accompaniment CD CD Chorale Lorenz Publishing Company
SKU: LO.99-2350L Composed by Mark Hayes. Choral. Sacred Anthem, General, ...(+)
SKU: LO.99-2350L
Composed by Mark Hayes.
Choral. Sacred Anthem,
General, Thanksgiving.
Performance/accompaniment
CD. Lorenz Publishing
Company #99/2350L.
Published by Lorenz
Publishing Company
(LO.99-2350L). UPC:
000308117813. Marry
a lyrical, memorable
melody with a unique new
text on gratitude, hand
it to a master
craftsman-composer and
the result is a fresh
alternative to
Thanksgiving worship or
any service where an
anthem of thanks is
desired. This warm,
inspirational anthem
celebrates the spiritual
truth that when we give
thanks to God, we are
dramatically changed. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gratitude Chorale SATB SATB, Piano Medallion Music
SATB choir, piano SKU: LO.10-5792MD Composed by David Wise. Choral. Sacre...(+)
SATB choir, piano SKU:
LO.10-5792MD Composed
by David Wise. Choral.
Sacred Anthem. Medallion
Music #10/5792MD.
Published by Medallion
Music (LO.10-5792MD).
ISBN
9780787779399. From
songwriters Brandon Lake,
Dante Bowe, and Benjamin
Hastings,
â??Gratitudeâ? is an
acknowledgement alone, we
will always fall short of
Godâ??s worthiness, but
He delights in the
praises of a grateful and
contrite heart. This
anthem of praise and
exaltation works
wonderfully for
congregational worship
throughout the year. $3.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gratitude and Grace from Unconditional Love Chorale SATB SATB, Piano - Intermédiaire MorningStar Music Publishers
Soprano solo, SATB choir, piano, organ and brass ensemble (Horns I and II in F, ...(+)
Soprano solo, SATB choir,
piano, organ and brass
ensemble (Horns I and II
in F, B-flat Trumpets I
and II, Trombones I and
II, Tuba, Piano, Organ
(or digital keyboard if a
tuned pipe organ is
unavailable)) -
Intermediate SKU:
MN.56-0126 Composed
by Howard Goodall.
MorningStar Music
Publishers #56-0126.
Published by MorningStar
Music Publishers
(MN.56-0126). UPC:
688670221545.
English. The final
movement in the larger
work Unconditional Love.
This piece challenges us
to live our lives through
acts of grace and with
expressions of
gratitude. $3.35 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Meditation and Gratitude - Avancé Schott
Score and Parts 10 musicians and singers (soprano and mezzo-soprano or alto) (1(...(+)
Score and Parts 10
musicians and singers
(soprano and
mezzo-soprano or alto)
(1(pic)-1.1.0-0.0.0.0-1pe
rc(vib, tenor drum,
tom-t, b.d, crot [A5],
tri,
tam-t)-pno-str(1.1.1.1.1)
) - advanced SKU:
HL.49046369 For 10
Musicians and Singers
Score and Parts.
Composed by Kamran Ince.
Sheet music. Edition
Schott. Softcover.
Composed 2018. Duration
18'. Schott Music #ED
30318. Published by
Schott Music
(HL.49046369). ISBN
9781540083890. UPC:
840126906325.
9.0x12.0x0.964 inches.
English. I am very
thankful to John and Jan
as they have commissioned
many works from me for
Present Music. This has
been extremely
instrumental in my
creative relationship to
prosper with Kevin and
Present Music for over
twenty five years. I am
grateful.Written to
celebrate, and to show
gratitude, to Kevin's
many years of immense
contributions to new
music in the United
States and the world.-
Kamran Ince. $141.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| All Good Gifts Chorale SATB [Octavo] Hope Publishing Company
Arranged by Joseph M. Martin. Thanksgiving and Gratitude, General Worship, Sac...(+)
Arranged by Joseph M.
Martin. Thanksgiving and
Gratitude, General
Worship, Sacred. Octavo.
Published by Hope
Publishing Company
(HP.C6092).
$2.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gratitude Chorale 3 parties SSA Shawnee Press
Choral (SSA Choir) SKU: HL.35032465 Composed by Nichole Nordeman. Arrange...(+)
Choral (SSA Choir)
SKU: HL.35032465
Composed by Nichole
Nordeman. Arranged by
Heather Sorenson. Shawnee
Sacred. General Worship,
Sacred, Stewardship,
Thanksgiving. Octavo.
Duration 305 seconds.
Published by Shawnee
Press (HL.35032465).
UPC: 888680868444.
6.75x10.5x0.029 inches.
Dueteronomy 11:4,
Philippians 4:19, Psalm
132:15. This sacred
song is an evocative and
poetic prayer of need and
thanksgiving. Contending
with the deep matter of
“wantsâ€
versus
“needs†in
our petitions to God,
this choral is truly a
sermon in song as it
probes the heart's
priorities. A very
different and needed
teaching anthem! Score
and Parts (ob, vn, vc,
perc) available as a
digital download. Note
that StudioTrax CD
(35028906) works only
with the SATB voicing.
Note that Score and Parts
(35028904) works only
with the SATB voicing.
Note that Score and Parts
(35032466) works only
with the SSA voicing. $2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Giving Thanks Chorale SATB [Octavo] Hope Publishing Company
Composed by Pepper Choplin. Thanksgiving and Gratitude, Sacred, Stewardship, ...(+)
Composed by Pepper
Choplin. Thanksgiving and
Gratitude, Sacred,
Stewardship, Praise,
General Worship. Octavo.
12 pages. Published by
Hope Publishing Company
(HP.C6056).
$2.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Gratitude Orgue Zimbel Press
Organ SKU: SU.80101493 For Organ. Composed by Carson Cooman. Score...(+)
Organ SKU:
SU.80101493 For
Organ. Composed by
Carson Cooman. Score.
Zimbel Press #80101493.
Published by Zimbel Press
(SU.80101493).
Gratitude
(2021) is warm,
affirmative music. The
piece exists in two
versions (both included).
Version A (ca. 6 minutes)
is entirely slow and
quiet. Version B (ca. 10
minutes) incorporates
faster and louder music
as well. Instrumentation:
Organ Duration: 6' or 10'
Composed: 2021 Published
by: Zimbel Press. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gratitude CD Chorale [CD] Shawnee Press
By Nichole Nordeman. Arranged by Heather Sorenson. Studiotrax CD. Glory Sound Ce...(+)
By Nichole Nordeman.
Arranged by Heather
Sorenson. Studiotrax CD.
Glory Sound Celebration.
CD only. Published by
GlorySound
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I Thank You, Lord Chorale 3 parties SAB, Piano [Octavo] Hope Publishing Company
By Joseph M. Martin. For SAB choir and piano with optional orchestration and rhy...(+)
By Joseph M. Martin. For
SAB choir and piano with
optional orchestration
and rhythm. The Joseph M.
Martin Choral Series.
General Worship, Praise
and Worship, Thanksgiving
and Gratitude, Sacred.
Octavo. 12 pages.
Published by Hope
Publishing Company
$3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Gratitude Changes Everything - Violin and Cello Score and Parts [Conducteur et Parties séparées] Lorenz Publishing Company
Violin, cello SKU: LO.30-2402L Composed by Mark Hayes. Choral. Sacred Ant...(+)
Violin, cello SKU:
LO.30-2402L Composed
by Mark Hayes. Choral.
Sacred Anthem, General,
Thanksgiving. Score and
parts. Lorenz Publishing
Company #30/2402L.
Published by Lorenz
Publishing Company
(LO.30-2402L). UPC:
000308117806. Marry
a lyrical, memorable
melody with a unique new
text on gratitude, hand
it to a master
craftsman-composer and
the result is a fresh
alternative to
Thanksgiving worship or
any service where an
anthem of thanks is
desired. This warm,
inspirational anthem
celebrates the spiritual
truth that when we give
thanks to God, we are
dramatically changed. $22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Unconditional Love: A Cantata of Gratitude and Remembrance (Vocal Score) Chorale SATB SATB, Piano - Intermédiaire MorningStar Music Publishers
Soprano solo, SATB choir, piano, organ, and brass ensemble (Horns I and II in F,...(+)
Soprano solo, SATB choir,
piano, organ, and brass
ensemble (Horns I and II
in F, B-flat Trumpets I
and II, Trombones I and
II, Tuba, Piano, Organ
(or digital keyboard if a
tuned pipe organ is
unavailable)) -
Intermediate SKU:
MN.56-0119 Composed
by Howard Goodall.
Thanksgiving. Score.
MorningStar Music
Publishers #56-0119.
Published by MorningStar
Music Publishers
(MN.56-0119). UPC:
688670221477.
English. Uncond
itional Love is
Howard Goodall’s
heartfelt cantata of
gratitude and
remembrance, a poignant
reflection upon the
COVID-19 crisis. It seeks
both to give thanks to
those who sacrificed
their lives in the aid of
others and to offer
solace to the grieving.
Yet unifying each of its
seven movements is a call
to hope and to moving
forward in a world
rebuilt. The cantata
commemorates the
selflessness and
togetherness felt by
communities across the
world during the
pandemic, communities
that offer their
thanksgiving in many
different ways. It is
hoped that
Unconditional
Love’s
universal messages will
resonate with choirs of
all kinds and in all
places, for many years to
come.
$17.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Song of Gratitude Chorale SATB Schirmer
(Craig Hella Johnson Choral Series). Composed by Craig Hella Johnson. For Choral...(+)
(Craig Hella Johnson
Choral Series). Composed
by Craig Hella Johnson.
For Choral (SATB).
Choral. Anthem. Published
by G. Schirmer
$2.10 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Song of Gratitude - Instr Parts Lorenz Publishing Company
Composed by Edward Broughton. For 2 trumpets, 2 trombones and timpani. Exaltatio...(+)
Composed by Edward
Broughton. For 2
trumpets, 2 trombones and
timpani. Exaltation
Series. Sacred Anthem,
General, Thanksgiving.
Instrumental parts.
Published by Lorenz
Publishing Company
$39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Grieg For Bells (17 Piano Pieces) Bourne Music Co. (+)
-
Norwegian Dance
-
National Song
-
Spring Dance
-
Desire
-
Watchman's Song
-
Elfin Dance
-
Song Of The Outdoors
-
Folk Song
-
Gratitude
-
Song Of The Sea
-
Grandmother's Minuet
-
At The Cradle
-
Ballade
-
Remembrances
-
Album Leaf
-
Waltz
-
Bell Peal (5
octaves)
| | |
| Meditation and Gratitude Schott
Score SKU: HL.49046629 For 10 Musicians and Singers Score. Compose...(+)
Score SKU:
HL.49046629 For 10
Musicians and Singers
Score. Composed by
Kamran Ince. Edition
Schott. Softcover. Schott
Music #ED30318. Published
by Schott Music
(HL.49046629).
I am very
thankful to John and Jan
as they have commissioned
many works from me for
Present Music. This has
been extremely
instrumental in my
creative relationship to
prosper with Kevin and
Present Music for over
twenty five years. I am
grateful. Written to
celebrate, and to show
gratitude, to Kevin's
many years of immense
contributions to new
music in the United
States and the world.
-Kamran Ince. $200.00 - Voir plus => Acheter | | |
| Proclamation of Gratitude Chorale SATB Shawnee Press
Composed by David Angerman and Mark Austin. For Choral, Handbells (SATB). Harold...(+)
Composed by David
Angerman and Mark Austin.
For Choral, Handbells
(SATB). Harold Flammer.
16 pages. Published by
Shawnee Press
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gratitude Chorale SATB [Octavo] Shawnee Press
By Nichole Nordeman. Arranged by Heather Sorenson. For Choral (SATB). Glory Soun...(+)
By Nichole Nordeman.
Arranged by Heather
Sorenson. For Choral
(SATB). Glory Sound
Celebration. Octavo. 12
pages. Published by
GlorySound
$2.50 $2.375 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Our Hymn of Gratitude Chorale SATB SATB, Piano Lorenz Publishing Company
SATB choir, piano SKU: LO.10-5571L Composed by Mary McDonald. Choral. Sac...(+)
SATB choir, piano SKU:
LO.10-5571L Composed
by Mary McDonald. Choral.
Sacred Anthem,
Discipleship, General,
Thanksgiving. Octavo.
Lorenz Publishing Company
#10/5571L. Published by
Lorenz Publishing Company
(LO.10-5571L). ISBN
9780787773380. Expr
essing our gratitude for
gifts and blessings from
God, this anthem with
original words and music
from Mary McDonald is
beautifully singable and
programmable for
Thanksgiving or any time
throughout the year.
Intuitive choral parts
and melodies make this
easy to learn and execute
with choirs of any size
and is well-suited for
re-introducing your choir
into your worship
service. $2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Voyage Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1104903-140 Flight into a ...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1104903-140
Flight into a Hopeful
Future. Composed by
Satoshi Yagisawa. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2010. 28 pages. De Haske
Publications #DHP
1104903-140. Published by
De Haske Publications
(BT.DHP-1104903-140).
9x12 inches.
English-German-French-Dut
ch. This opening
piece by Japanese
composer Satoshi Yagisawa
expresses joy, gratitude,
hope and courage. The
three sections are
performed without
interruption. We hear
‘Joy’ in the
brilliant introduction,
‘Gratitude’
in the chorale-like
middle section and
‘Courage and
Hope’ in the
closing section. A
fantastic new addition to
the Grade 4 repertoire
for Concert Band.
Für das
symphonische
Blasorchester einer
japanischen Schule
schrieb Satoshi Yagisawa
ein erfrischendes
Eröffnungswerk, das
Freude und Dankbarkeit
und zugleich Mut und Hoff
nung ausdrücken
sollte. Das Ergebnis ist
ein Werk aus drei ohne
Unterbrechung zu
spielenden Teilen: Auf
eine brillante
Eröffnung namens Joy
folgt ein choralartiger
Mittelteil, der mit
Gratitude
überschrieben ist. Der
Schlussteil heißt
Courage and Hope. Im
Mittelteil wurde das
Schullied in einem Choral
im typischen Stil
Yagisawas
verarbeitet.
Vo
yage est une pièce
en trois parties qui
s’enchaînent
sans interruption : une
ouverture brillante et
joyeuse (Joy), un passage
central qui expose une
mélodie sous la forme
d’un choral
(Gratitude), et un fi
nale optimiste qui
décline le courage et
l’espoir (Courage
and Hope). Voyage
porte les prémisses
d’un avenir
prometteur.
Voyage
è un brano in tre
parti che
s’intrecciano
senza interruzione:
un’ouverture
brillante gioiosa (Joy),
un passaggio centrale che
espone una melodia sotto
forma di un corale
(Gratitude) e in finale
impregnato di ottimismo
che rappresenta il
coraggio e la speranza
(Courage and Hope). $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Voyage Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1104903-010 Flight into a ...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1104903-010
Flight into a Hopeful
Future. Composed by
Satoshi Yagisawa. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2010. De Haske
Publications #DHP
1104903-010. Published by
De Haske Publications
(BT.DHP-1104903-010).
9x12 inches.
English-German-French-Dut
ch. This opening
piece by Japanese
composer Satoshi Yagisawa
expresses joy, gratitude,
hope and courage. The
three sections are
performed without
interruption. We hear
‘Joy’ in the
brilliant introduction,
‘Gratitude’
in the chorale-like
middle section and
‘Courage and
Hope’ in the
closing section. A
fantastic new addition to
the Grade 4 repertoire
for Concert Band.
Für das
symphonische
Blasorchester einer
japanischen Schule
schrieb Satoshi Yagisawa
ein erfrischendes
Eröffnungswerk, das
Freude und Dankbarkeit
und zugleich Mut und Hoff
nung ausdrücken
sollte. Das Ergebnis ist
ein Werk aus drei ohne
Unterbrechung zu
spielenden Teilen: Auf
eine brillante
Eröffnung namens Joy
folgt ein choralartiger
Mittelteil, der mit
Gratitude
überschrieben ist. Der
Schlussteil heißt
Courage and Hope. Im
Mittelteil wurde das
Schullied in einem Choral
im typischen Stil
Yagisawas
verarbeitet.
Vo
yage est une pièce
en trois parties qui
s’enchaînent
sans interruption : une
ouverture brillante et
joyeuse (Joy), un passage
central qui expose une
mélodie sous la forme
d’un choral
(Gratitude), et un fi
nale optimiste qui
décline le courage et
l’espoir (Courage
and Hope). Voyage
porte les prémisses
d’un avenir
prometteur.
Voyage; un
brano in tre parti che
s’intrecciano
senza interruzione:
un’ouverture
brillante gioiosa (Joy),
un passaggio centrale che
espone una melodia sotto
forma di un corale
(Gratitude) e in finale
impregnato di ottimismo
che rappresenta il
coraggio e la speranza
(Courage and Hope). $191.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Grace and Glory Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-0991617-140 Allein Gott ...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-0991617-140
Allein Gott in der
Höh sei Ehr.
Composed by Wim Stalman.
Musica Sacra. Hymns and
Chorals. Score Only.
Composed 1999. De Haske
Publications #DHP
0991617-140. Published by
De Haske Publications
(BT.DHP-0991617-140).
Eins der meist
gesungenen Kirchenlieder
ist Allein Gott in der
Höh sei Ehr. Der
Text des Hymnus ist ein
Ausdruck der Ehre Gottes
und Dankbarkeit für
seine Gnade. Wim Stalman
basierte sein Werk
Grace and Glory
auf die international
bekannte Melodie dieses
Chorals. Deutsche
Chorstimmen sind
ebenfalls erhältlich;
dadurch eignet sich das
Werk auch für eine
Aufführung mit
Blasorchester und
gemischtem Chor.
Allein Gott in
der Höh sei Ehr
(Gloire ton Nom) est une
hymne chrétienne
universellement connue.
Elle est la fois une
louange la Gloire de Dieu
et lâ??expression de la
gratitude des Hommes.
Lâ??arrangement pour
Orchestre dâ??Harmonie,
réalisé par Wim
Stalman, est basé sur
la mélodie de ce
choral. Fidèle au sens
du texte du cantique,
Grace and Glory
(â??Gloire et Gr
ceâ?) nous transmet
par des sonorités
brillantes et douces la
ferveur des louanges et
la gratitude profonde de
la communauté
chrétienne. Cette
superbe pièce de
concert peut également
être interprétée
avec un Ch?ur mixte
(texte disponible en
français). $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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