| Hannah Montana in Concert CD Chorale [CD d'accompagnement] Hal Leonard
By Hannah Montana. Arranged by Alan Billingsley. (Showtrax CD). Disney Choral. ...(+)
By Hannah Montana.
Arranged by Alan
Billingsley. (Showtrax
CD). Disney Choral. CD
only. Published by Hal
Leonard.
$34.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hannah Montana: Nobody's Perfect Ensemble Jazz [Conducteur et Parties séparées] - Facile Hal Leonard
(recorded by Hannah Montana). By Matthew Gerrard, Robbie Neville. Arranged by Ri...(+)
(recorded by Hannah
Montana). By Matthew
Gerrard, Robbie Neville.
Arranged by Rick Stitzel.
(Score and Parts).
Discovery Jazz. Published
by Hal Leonard.
$35.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Climb - from Hannah Montana - The Movie
Piano, Voix et Guitare [Feuillet] Hal Leonard
(from Hannah Montana - The Movie). Piano Vocal. 8 pages. Published by Hal Leonar...(+)
(from Hannah Montana -
The Movie). Piano Vocal.
8 pages. Published by Hal
Leonard
$3.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hard Hearted Hannah (The Vamp of Savannah) Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Composed by Bob Bigelow, Charles Bates, Jack Yellen, and Milton Ager. Arranged...(+)
Composed by Bob Bigelow,
Charles Bates, Jack
Yellen,
and Milton Ager. Arranged
by
Mark Taylor. Young Jazz
Classics. Jazz.
Softcover.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Les souvenirs sous ma frange Piano, Voix et Guitare [Conducteur] Bookmakers International
Voice, guitar or piano SKU: LM.PB769 By Rose. By Rose. Album. Pop, jazz. ...(+)
Voice, guitar or piano
SKU: LM.PB769 By
Rose. By Rose. Album.
Pop, jazz. Score.
Bookmakers International
#PB769. Published by
Bookmakers International
(LM.PB769). ISBN
9790231307696. Comm
ent c'etait deja - Chez
moi - Yes we did - De ma
fenetre - Ne partez pas -
Comme un marin - Hannah -
Ma corde au clou - J'ai
18 ans - Quitte-moi - Le
mal de l'aube - Les
souvenirs sous ma frange
- Qui peut dire ? -
Qu'est-ce qu'on attend de
moi ? - Les frangines -
Je gueris - La liste -
Ciao bella - Sombre
con. $23.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hannah Montana in Concert Chorale 2 parties 2 parties Hal Leonard
By Hannah Montana. Arranged by Alan Billingsley. (2 part). Disney Choral. 30 pa...(+)
By Hannah Montana.
Arranged by Alan
Billingsley. (2 part).
Disney Choral. 30 pages.
Published by Hal Leonard.
(1)$2.50 $2.375 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hannah Montana; The Best of Both Worlds Fanfare - Facile Hal Leonard
By Hannah Montana. Composed by Robbie Neville, Matthew Gerrard. Arranged by Mich...(+)
By Hannah Montana.
Composed by Robbie
Neville, Matthew Gerrard.
Arranged by Michael
Brown. (Score & Parts).
Easy Contemporary
Marching Band. Published
by Hal Leonard.
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hannah Montana: The Movie CD Chorale [CD d'accompagnement] Hal Leonard
((Medley)). By Hannah Montana and Miley Cyrus. Arranged by Mark A. Brymer. ShowT...(+)
((Medley)). By Hannah
Montana and Miley Cyrus.
Arranged by Mark A.
Brymer. ShowTrax CD. Pop
Choral Series. CD only
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hard Hearted Hannah (The Vamp of Savannah) Hal Leonard
Jazz Ensemble (Score) SKU: HL.7013729 Composed by Bob Bigelow, Charles Ba...(+)
Jazz Ensemble (Score)
SKU: HL.7013729
Composed by Bob Bigelow,
Charles Bates, Jack
Yellen, and Milton Ager.
Arranged by Mark Taylor.
Young Jazz Classics.
Jazz. Softcover. 8 pages.
Published by Hal Leonard
(HL.7013729). UPC:
840126964691.
9.0x12.0x0.016
inches. Arranged in
a medium swing Basie
style, this sultry chart
is a terrific feature for
a trumpet soloist. There
are plenty of tasty
ensemble accompaniment
figures along the way,
and the solo part is
completely written out. A
fun change of pace! $5.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ashrey Hagafrur Chorale SSATTB Transcontinental Music
By Elliot Z. Levine and Hannah Senesh. SSATTB. Transcontinental Music Choral. 12...(+)
By Elliot Z. Levine and
Hannah Senesh. SSATTB.
Transcontinental Music
Choral. 12 pages.
Transcontinental Music
#993423. Published by
Transcontinental Music
$2.75 $2.6125 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 1 2 3 Do Re Mi Elementary method book Piano seul [Conducteur] - Débutant Subito Music
Piano SKU: SU.12900010 For Piano. Composed by Hannah Reimann. Keyb...(+)
Piano SKU:
SU.12900010 For
Piano. Composed by
Hannah Reimann. Keyboard,
Piano/Harpsichord. Music
Theory, Childrenâ??s
Music. Score. Subito
Music Corporation
#12900010. Published by
Subito Music Corporation
(SU.12900010).
This is a
colorful picture book of
musical games and
exercises and features
first piano pieces at the
earliest reading level
for children ages 4-9.
Each musical element is
introduced in a clear,
interactive way,
providing opportunities
for the child to bond
with a parent and/or
instructor. Quarter
notes, half notes, eighth
notes and quarter rests
are taught experientially
with Rhythm Games and
some favorite tunes like
My Dreidel and Jingle
Bells can be learned
quickly with awareness of
skills of pitch
differentiation, rhythm
and fingering. The book
starts with simpler
character pieces, some
with only two or three
notes. The cheery and
charming illustrations
make this a fun musical
ride. Staves are
introduced in the
following book of the
same series. Illustrated
by Lisa Kaiser Piano
Composed: 2020 Published
by: Hannah Reimann
Innovations, LLC. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Heroic Rhapsody Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Kjos Music Company
Band concert band - Grade 2 SKU: KJ.JB83 Composed by Hannah Mahr and Timo...(+)
Band concert band - Grade
2 SKU: KJ.JB83
Composed by Hannah Mahr
and Timothy Mahr.
Bandworks. Score and
parts. Neil A. Kjos Music
Company #JB83. Published
by Neil A. Kjos Music
Company (KJ.JB83).
ISBN 9788402702678.
UPC:
8402702678. Filled
with rousing melodic
material and beautiful
harmonies, this gallant
horn feature from
award-winning composer
Timothy Mahr and his
daughter Hannah is
guaranteed to both
challenge and delight
your students. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Noah im Kalten Krieg Barenreiter
SKU: BA.BVK02265 Igor Strawinsky's musical play The Flood. Compose...(+)
SKU: BA.BVK02265
Igor Strawinsky's
musical play The
Flood. Composed by
Hannah Dübgen.
Paperback.
Musiksoziologie, Band 17.
Book. 130 pages.
Baerenreiter Verlag
#BVK02265_00. Published
by Baerenreiter Verlag
(BA.BVK02265). ISBN
9783761822654. 21 x 14.8
cm inches. Language:
German. Preface:
Dübgen,
Hannah. $51.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Show Drumming GIA Publications
SKU: GI.G-10768 An Expert's Guide to Theatre and Touring. Composed...(+)
SKU: GI.G-10768
An Expert's Guide to
Theatre and Touring.
Composed by Paul Hannah.
Music Education. GIA
Publications #10768.
Published by GIA
Publications
(GI.G-10768). ISBN
9781574635546. Are
you interested in a
career as a drummer in
musical theatre? Are you
already working in the
field and have questions?
Are you heading out on a
Broadway Show Tour and in
need of advice? This is
the book for you! Paul
Hannah has spent 30 years
in the arenas of musical
theatre and show drumming
and has compiled a
wonderful guidebook
filled with relevant
topics, honest
experiences and expert
guidance. Topics include:
A Primer on Drumset
Orchestration
Interpreting Drum Charts
Considerations for
designing setups
Suggestions for skill
development in essential
areas Numerous PROTIPS
from an experienced
player Pages and pages of
setup photos including:
Jesus Christ Superstar,
Wicked, The Wizard of
Oz, Hello
Dolly, Cats, Evita,
 Spamalot A special
section devoted to
interpreting and
performing West Side
Story To learn more,
visit showdrummingbook
.com. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dauntless Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Kjos Music Company
Band concert band - Grade 3 SKU: KJ.JB95 Composed by Hannah Mahr and Timo...(+)
Band concert band - Grade
3 SKU: KJ.JB95
Composed by Hannah Mahr
and Timothy Mahr. Kjos
Concert Band Legacy.
Score and parts. Neil A.
Kjos Music Company #JB95.
Published by Neil A. Kjos
Music Company (KJ.JB95).
UPC:
084027044278. Fathe
r and daughter composing
team Tim and Hannah Mahr
bring you Dauntless, a
work about the courage
needed to achieve a
miraculous feat. All
members of the band have
moments to shine with
bold, daring, and
sometimes tender,
melodies.
About Kjos
Concert Band
Legacy The
Neil A. Kjos Music
Company's legacy of
producing superb
literature for concert
band spans its entire 80
year history. We're proud
to honor that legacy by
continuing to publish
compositions of the
utmost quality at all
grade levels in the Kjos
Concert Band Legacy
series. Each composition
is carefully selected and
edited to provide the
best in wind band
literature by both
celebrated and rising
composers of today.
Skillful engraving with
logical page turns,
measure numbers,
rehearsal marks,
essential cueing, and
other useful indications
ensure that the rehearsal
process runs smoothly, so
bands can focus on making
great music. $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dauntless - Score Orchestre d'harmonie [Conducteur] - Facile Kjos Music Company
Band concert band - Grade 3 SKU: KJ.JB95F Composed by Hannah Mahr and Tim...(+)
Band concert band - Grade
3 SKU: KJ.JB95F
Composed by Hannah Mahr
and Timothy Mahr. Score
only. Neil A. Kjos Music
Company #JB95F. Published
by Neil A. Kjos Music
Company (KJ.JB95F).
UPC:
084027044285. Fathe
r and daughter composing
team Tim and Hannah Mahr
bring you Dauntless, a
work about the courage
needed to achieve a
miraculous feat. All
members of the band have
moments to shine with
bold, daring, and
sometimes tender,
melodies.
Da
untless (Video)
$7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Book Volume III - Second Edition - CD-ROM Tous Les Instruments [CD-ROM] Hal Leonard
| | |
| Complete Jazz Music Collection Piano, Voix et Guitare [Partition] - Intermédiaire Alfred Publishing
Songbook for voice, piano and guitar (chords only). 260 pages. Published by Alfr...(+)
Songbook for voice, piano
and guitar (chords only).
260 pages. Published by
Alfred Publishing.
(5)$21.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Photos Found At Hukvaldy Hautbois [Conducteur] University Of York Music Press
Oboe SKU: BT.MUSM570201457 Composed by Anthony Gilbert. Book Only. Univer...(+)
Oboe SKU:
BT.MUSM570201457
Composed by Anthony
Gilbert. Book Only.
University of York Music
Press #MUSM570201457.
Published by University
of York Music Press
(BT.MUSM570201457).
English. Anthony
Gilbert 's Photos Found
At Hukvaldy for solo
Oboe. Published 2001.
First performance: Hannah
Rowland, BBC young
musician of the year,
Manchester 2001.
Score. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 100 Tunes for Piano Accordion Accordéon [Partition] - Intermédiaire Mel Bay
Accordion (keyboard) - Intermediate SKU: MB.97210 Composed by David DiGiu...(+)
Accordion (keyboard) -
Intermediate SKU:
MB.97210 Composed by
David DiGiuseppe. Style,
Squareback saddle stitch,
Tunebooks, Piano
Accordion, Celtic /
Irish, Folk, European,
World. Acoustic Music.
Book. 112 pages. Mel Bay
Publications, Inc #97210.
Published by Mel Bay
Publications, Inc
(MB.97210). ISBN
9780786648009. UPC:
796279062350. 8.75 x
11.75 inches. An
extensive collection of
reels, jigs, hornpipes
and polkas from the
French Canadian, Cape
Breton, Scottish,
Shetland, New England,
and Southern Old-Time
Traditions arranged for
the piano accordion.
Written with the beginner
as well as the advanced
player in mind, the
arrangements are complete
with ornamentation,
fingering, left-hand
notation and chord
symbols. Appropriate for
any G clef
instrument. (1)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Shades Without Angles for Flute, Viola, and Harp - Score Schott
Flute, viola and harp (fl-hp-va) - difficult SKU: HL.49045749 For flut...(+)
Flute, viola and harp
(fl-hp-va) - difficult
SKU: HL.49045749
For flute, viola and
harp. Composed by Han
Lash. This edition:
Saddle stitching. Sheet
music. Ensemble.
Softcover. Composed 2013.
48 pages. Duration 8'.
Schott Music #ED31217.
Published by Schott Music
(HL.49045749). ISBN
9781540019714. UPC:
888680726515.
9.0x12.0x0.155
inches. Three
Shades Without Angles is
a piece that plays with
the idea of
transformation of musical
shapes. When writing this
piece, I was inspired by
Auguste Rodin's sculpture
The Three Shades, a
detail sitting atop the
sculptor's work The Gates
of Hell, depicting a
scene from Dante's The
Inferno. Although my
music is not
representative or
depictive of Dante or an
image of hell, I was
deeply drawn to the
sinewy character of
Rodin's work, its
intensity, muscularity,
consistency, and the way
in which movement and
energy is represented in
his shapes. -Hannah
Lash. $65.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Climb (from Hannah Montana: The Movie) Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Arrangers' Publishing Company
| | |
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