| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Celtic Fake Book
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 256 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 256 pages.
Published by Hal Leonard.
(2)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 2 Flutes in 3 Scenes 2 Flûtes traversières, Piano Theodore Presser Co.
(For 2 Flutes and Piano). By Gary Schocker. For 2 Flutes, Piano. Standard notati...(+)
(For 2 Flutes and Piano).
By Gary Schocker. For 2
Flutes, Piano. Standard
notation
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Big Book of Christmas Songs for Flute Hal Leonard
By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published...(+)
By Various Composers.
Instrumental Folio. Size
9x12 inches. 146 pages.
Published by Hal Leonard.
(6)$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Saga of the Mississippi Theodore Presser Co.
Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4...(+)
Orchestra 2 Bassoons, 2
Oboes, 3 Clarinets, 3
Flutes, 3 Trombones, 3
Trumpets, 4 Horns, Bass
Drum, Contra-bassoon,
Cymbal, English Horn,
Percussion: Snare Drum,
Strings, Timpani, Tuba
SKU: PR.466411770
Composed by Harl
Mcdonald. This edition:
Study Score.
Contemporary. Full score.
With Standard notation.
84 pages. Duration 15
minutes. Theodore Presser
Company #466-41177.
Published by Theodore
Presser Company
(PR.466411770). UPC:
680160640850. 9 x 12
inches. Mississippi
I. Father of Waters: born
of the Highlands and the
Lakes; the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. Saga of the
Mississippi Harl McDonald
Born near Boulder,
Colorado, July 27, 1899
Now living in
Philadelphia The original
suggestion for a
symphonic work on the
subject of the
Mississippi came
indirectly from the late
Booth Tarkington who saw
in it color and movement
and atmosphere
translatable into the
terms of music. In the
course of time, by the
mysterious processes of
composers' chemistry, it
took shape as a tone-poem
of two sections, one
representing the rise of
the great stream from its
primeval geologic
sources, the other the
human history of the
river. Mr. McDonald
devised the following
verbal outline of the
general scheme of his
diptych: I. Father of
Waters: born of the
Highlands and the Lakes;
the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. The first of the
two movements, beginning
molto andante, is vaguel
modal to hint at
antiquity. It is built
upon the conventional two
themes, with an episode,
poco piu mosso,
misterioso, for
prehistoric murk and
muck. There are various
changes of pace and mood.
The second, Allegro ma
vigorosamente, prefigures
an Indian ceremony. A
theme presented by flute,
clarinet and bassoon is a
Canadian Indian fishing
call collected by the
late J.B. Beck. A later
passage of
quasi-Gregorian chant
identifies the French and
Spanish priests who made
the great river their
highway. The fishing-call
is altered in rhythm and
harmony to represent
Negro field hands and
roustabous. A turbulent
close brings all these
elemts together in the
muddy swirling currents
of the Mississippi. The
work was begun in the
summer of 1945, and was
revised and completed in
the summer of 1947. Harl
McDonald, who is the
manager of The
Philadelphia Orchestra,
has concerned himself
with music as an art, as
a science and as a
business in course of his
career. He was born on a
cattle ranch in the
Rockies, but since his
was a musical family, his
up-bringing combined
piano lessons with ranch
life. Years of study and
professional experience
followed in Los Angeles
and in Germany. In 1927
he was appointed lecuter
in composition at the
University of
Pennsylvania and he has
since then made is home
in Philadelphia. In 1933
under a grant of the
Rockefeller FOundation he
collaborated with
physicists in research
dealing with the
measurement of
instrumental and vocal
tone, new scale divisions
and the resultant
harmonies. In that same
year he was named head of
the University's music
faculty and conductor of
its choral organizations.
In 1939, having been a
member of the Board of
Directors for five years,
he was appointed manager
of The Philadelphia
Orchestra. He continus to
write, but otherwise his
entire attention is now
devoted to managerial
duties. Chief items in
the catalogue of his
compositions are four
symphonies, three
orchestra suites, a
half-dozen tone-poems,
three concertos and
considerable quantity of
choral music. $58.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 100 Christmas Carols and Hymns for Flute and Guitar Flûte et Guitare - Intermédiaire Mel Bay
With Suggested Chordal Accompaniment. Composed by William Bay. Flute, Fife and...(+)
With Suggested Chordal
Accompaniment. Composed
by
William Bay. Flute, Fife
and
Oboe,Guitar: Gospel and
Sacred,Style,Duets and
Ensembles,Solos,Duets and
Ensemble,Solos,Holiday:
Christmas. 100 Hymns.
Book.
124 pages. Published by
Mel
Bay Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| International Carols for Flute Flûte traversière [Partition + CD] - Facile Mel Bay
by Costel Puscoiu. For flute. Christmas. Level: Beg-Intermediate. Book/CD packag...(+)
by Costel Puscoiu. For
flute. Christmas. Level:
Beg-Intermediate. Book/CD
package. Solos. Size
8.75x11.75. 120 pages.
Published by Mel Bay
Pub., Inc.
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ollie and Me Flûte traversière et Piano [Reduction] Theodore Presser Co.
For Flute and Piano. Composed by Gary Schocker. Solo part with piano redu...(+)
For Flute and
Piano. Composed by
Gary Schocker. Solo part
with piano reduction.
With Standard notation.
10 pages. Duration 4
minutes. Theodore Presser
Company #114-41363.
Published by Theodore
Presser Company
(PR.114413630).
$11.99 - Voir plus => AcheterDélais: 1 to 2 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 | | |
| Le Petit Chevrier Corse (flute/piano) Flûte traversière et Piano Leduc, Alphonse
(Flute/Piano) SKU: HL.48181498 Composed by Henri Tomasi. Leduc. Post-1900...(+)
(Flute/Piano) SKU:
HL.48181498 Composed
by Henri Tomasi. Leduc.
Post-1900. Softcover. 4
pages. Alphonse Leduc
#AL21072. Published by
Alphonse Leduc
(HL.48181498). UPC:
888680842635. 0.052
inches. French
composer and conductor,
Henri Tomasi (1901-1971)
composed The Little
Corsican Goatherd in
1952. As with his other
woodwind compositions,
The Little Corsican
Goatherd was
well-received by
audiences. Tomasi was
born in Marseille, but
his Father and Mother
were originally from La
Casinca in Corsica.
Despite being pressured
in to musical studies by
his parents, Tomasi
dreamed of becoming a
sailor, and during the
summer, he stayed with
his Grandmother in
Corsica where he learnt
traditional Corsican
songs. However, in 1921,
he began his studies at
the Paris Conservatoire
and went on to become a
high profile composer and
conductor. Tomasi did not
forget his Corsican
routes, often
incorporating themes of
the songs he had learnt
during the summers with
his Grandmother. This is
apparent in The Little
Corsican Goatherd for
Flute and Piano or Harp
accompaniment. This
Tomasi piece is suitable
to intermediate level
flautists and its
popularity has been
proven by its inclusion
in the ABRSM grade 5
syllabus since 2005.. $14.20 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Giulio Briccialdi: The Carnival of Venice Flûte traversière et Piano Lauren Keiser Music Publishing
For Flute and Piano. Composed by Giulio Briccialdi (1818-1881). Arranged by J...(+)
For Flute and Piano.
Composed by Giulio
Briccialdi (1818-1881).
Arranged by James Galway.
Southern Music.
Softcover.
16 pages. Lauren Keiser
Music Publishing #SU797.
Published by Lauren
Keiser
Music Publishing
$11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Claire de Lune (Flute or Violin and Piano) Flûte traversière et Piano [Set de Parties séparées] - Intermédiaire Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Flute solo or V...(+)
By Claude Debussy
(1862-1918). Arranged by
Jonathan Robbins. For
Flute solo or Violin solo
and piano accompaniment.
Set of parts
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| At Her Ladyship's Request Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass, Contrabass
Clarinet, Contrabassoon,
Crash Cymbals, Euphonium,
Flute 1, Flute 2, Flute
3, Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1 and more. SKU:
PR.11540233F A
Period Piece for Bands of
Winds. Composed by
Carter Pann. Sws. Full
score. 60 pages. Duration
12:30. Theodore Presser
Company #115-40233F.
Published by Theodore
Presser Company
(PR.11540233F). ISBN
9781491114452. UPC:
680160667734. 9 x 12
inches. At Her
Ladyships Request (2016)
was an idea born out of
admiration for the wind
works of Percy Grainger
most notably his
Lincolnshire Posey. The
names and places here are
all fictitious. Four
countrymen have come
forward at Her Ladyships
request as we com. At
Her Ladyshipas Request
(2016) was an idea born
out of admiration for the
wind works of Percy
Grainger a most notably
his Lincolnshire Posey.
The names and places here
are all fictitious. Four
countrymen have come
forward at Her Ladyshipas
request as we commoners
(and for as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship. I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his fatheras fortune.
Cecil Abel may be the
richest man in the land
save for His Lordship.
Tom, his only son, will
run his face straight
into that pile the moment
his old man kicks. II. It
is rare to spy Father
Daniel Bennett, High
Priest from the Abbey at
Lockwood Cross, loitering
in our very own town
squarea|but not as of
late. III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway? IV. Pettybone!
Connivinga| insidious. I
donat believe there has
been a greater rivalry
among men for
generations. The Dukeas
ego alone could run our
nation. The grudges he
grows are notorious. His
mount is legendary. The
day has come to collect
his toll. At Her
Ladyship's Request (2016)
was an idea born out of
admiration for the wind
works of Percy Grainger -
most notably his
Lincolnshire Posey. The
names and places here are
all fictitious. Four
countrymen have come
forward at Her Ladyship's
request as we commoners
(and for as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship. I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father's fortune.
Cecil Abel may be the
richest man in the land
save for His Lordship.
Tom, his only son, will
run his face straight
into that pile the moment
his old man kicks. II. It
is rare to spy Father
Daniel Bennett, High
Priest from the Abbey at
Lockwood Cross, loitering
in our very own town
square...but not as of
late. III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway? IV. Pettybone!
Conniving... insidious. I
don't believe there has
been a greater rivalry
among men for
generations. The Duke's
ego alone could run our
nation. The grudges he
grows are notorious. His
mount is legendary. The
day has come to collect
his toll. At Her
Ladyship’s Request
(2016) was an idea born
out of admiration for the
wind works of Percy
Grainger – most
notably his Lincolnshire
Posey.The names and
places here are all
fictitious. Four
countrymen have come
forward at Her
Ladyship’s request
as we commoners (and for
as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship.I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father’s
fortune. Cecil Abel may
be the richest man in the
land save for His
Lordship. Tom, his only
son, will run his face
straight into that pile
the moment his old man
kicks.II. It is rare to
spy Father Daniel
Bennett, High Priest from
the Abbey at Lockwood
Cross, loitering in our
very own town
square…but not as
of late.III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway?IV. Pettybone!
Conniving…
insidious. I don’t
believe there has been a
greater rivalry among men
for generations. The
Duke’s ego alone
could run our nation. The
grudges he grows are
notorious. His mount is
legendary. The day has
come to collect his
toll. $30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rhinoceros Variations Orchestre d'harmonie Theodore Presser Co.
Concert band Bass Clarinet, Bassoon 1, Bassoon 2, Bells, Chimes, Clarinet, Clari...(+)
Concert band Bass
Clarinet, Bassoon 1,
Bassoon 2, Bells, Chimes,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion,
Piccolo, Timpani and
more. SKU:
PR.16500077F For
Concert Band.
Composed by David Cohen.
Full score (study). With
Standard notation. 52
pages. Duration 7
minutes. Theodore Presser
Company #165-00077F.
Published by Theodore
Presser Company
(PR.16500077F). UPC:
680160039272. Key: Bb
major.
English. ABOUT THE
MUSIC: From the moment
that the woodwinds
introduce the spritely
theme to the concluding
statement, the theme
undergoes a variety of
treatments with
constantly changing
instrumental textures.
This work was written for
Kenneth Snapp and the
Arizona State University
Symphonic Winds. ABOUT
THE COMPOSER: David Cohen
was born in Pulaski,
Tennessee, in 1927. He
was educated at the
Philadelphia Conservatory
of Music and The Julliard
School where he received
the Bachelor of Science
and Master of Science
degrees. He continued his
education at the Paris
Conservatory and the
University of Southern
California where he
received the Doctor of
Musical Arts degree in
composition in 1966.
Cohen has taught at the
University of Alabama and
Arizona State University
and is presently Director
of the Arizona State
University Electronic
Music Studio. He has been
the recipient of the
Coolidge Chamber Music
Prize, a Fulbright
Scholarship, University
of Alabama Research Grant
and a Research Grand from
the IBM
Corporation. ABOUT THE
MUSIC: From the moment
that the woodwinds
introduce the spritely
theme to the concluding
statement, the theme
undergoes a variety of
treatments with
constantly changing
instrumental
textures.This work was
written for Kenneth Snapp
and the Arizona State
University Symphonic
Winds.ABOUT THE COMPOSER:
David Cohen was born in
Pulaski, Tennessee, in
1927. He was educated at
the Philadelphia
Conservatory of Music and
The Julliard School where
he received the Bachelor
of Science and Master of
Science degrees. He
continued his education
at the Paris Conservatory
and the University of
Southern California where
he received the Doctor of
Musical Arts degree in
composition in 1966.Cohen
has taught at the
University of Alabama and
Arizona State University
and is presently Director
of the Arizona State
University Electronic
Music Studio.He has been
the recipient of the
Coolidge Chamber Music
Prize, a Fulbright
Scholarship, University
of Alabama Research Grant
and a Research Grand from
the IBM Corporation. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Play A Song of Christmas Flûte traversière [Conducteur] Theodore Presser Co.
35 Favorite Christmas Songs and Carols in Easy Arrangements. By Ruth L. Zimmerma...(+)
35 Favorite Christmas
Songs and Carols in Easy
Arrangements. By Ruth L.
Zimmerman. For Flute.
Part. Published by
Theodore Presser Company.
(1)$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 101 Most Beautiful Songs (Flute) Flûte traversière [Partition + Accès audio] Hal Leonard
For Flute. By Various. Instrumental Folio. Pop, Standards. Softcover. Publish...(+)
For Flute. By Various.
Instrumental Folio. Pop,
Standards. Softcover.
Published by Hal Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fantasie, Op. 3 on a theme from Donizetti's Lucia di Lammermoor Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Rosewood Publications
By Johann Sobeck. Winds. For solo clarinet, flute, oboe, horn, and bassoon (wind...(+)
By Johann Sobeck. Winds.
For solo clarinet, flute,
oboe, horn, and bassoon
(wind quintet) or
clarinet and piano. This
edition: Facsimile
Editions. Showpiece for
the clarinet.. Romantic.
Piano score and parts.
Published by Rosewood
Publications (RW.RFE-67).
Piano score and parts.
Romantic.
$9.25 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Christmas Trios For All (Flute, Piccolo) Trio de Flûtes: 3 flûtes Belwin
(Holiday Songs from Around the World) Arranged by William Ryden (1939-), edited ...(+)
(Holiday Songs from
Around the World)
Arranged by William Ryden
(1939-), edited by Thom
Proctor. Instrumental
trio book for 3 flutes or
piccolos. With standard
notation. Series:
Educational Instrumental
Collection. 24 pages.
Published by Belwin.
(5)$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pavane
Flûte, Clarinette, Piano (trio) [Conducteur et Parties séparées] Theodore Presser Co.
Composed by Gabriel Faure (1845-1924). Arranged by Michael Webster. Classical. S...(+)
Composed by Gabriel Faure
(1845-1924). Arranged by
Michael Webster.
Classical. Score and
part(s). With Standard
notation. Composed 2005.
Opus 50. 28 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41756. Published by
Theodore Presser Company
(PR.114417560).
$20.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Intermediate Music for Three, Christmas, Part 2 - Flute/Oboe/Violin [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Flute or Oboe or Violin
in C. Trios. Intermediate
Music for Three.
Christmas. Intermediate.
Partbook - Part 2.
Published by Last Resort
Music Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Intermediate Music for Three, Christmas, Part 1 - Flute/Oboe/Violin [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Flute or Oboe or Violin
in C. Trios. Intermediate
Music for Three.
Christmas. Intermediate.
Partbook - Part 1.
Published by Last Resort
Music Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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