| Song and Dance Edition HH
Soprano saxophone, vibraphone, violin, viola, violoncello SKU: HH.HH437-FSP(+)
Soprano saxophone,
vibraphone, violin,
viola, violoncello
SKU: HH.HH437-FSP
Composed by Stephen
Pratt. Soprano Saxophone,
Vibraphone, Violin,
Viola, Violoncello. Full
score and parts. Duration
7 minutes. Edition HH
Music Publishers
#HH437-FSP. Published by
Edition HH Music
Publishers
(HH.HH437-FSP). ISBN
9790708146438. Song
and Dance was written for
the 60th birthday of the
composer's friend and
colleague James Wishart,
and was first performed
by Ensemble 10/10 in a
celebratory concert in
October 2016. At the
outset a relaxed, slow
song is intoned by a
soprano saxophone (a
favourite instrument of
James) accompanied by
vibraphone and strings.
After a couple of stanzas
this is interrupted by
dance-like material,
whose 'Caledonian feel'
is intended to reflect
James's ancestry and his
keen interest in folk
music. In due course the
dance slips away and the
song makes a brief
return. Both of the
piece's sections draw, in
different ways, on the
numbers in the date of
James's birth -
07/24/56. $28.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Aurora Dances Orchestre d'harmonie - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-480-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-480-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2019. 40 pages.
Anglo Music Press #AMP
480-140. Published by
Anglo Music Press
(BT.AMP-480-140).
English-German-French-
Dutch. Aurora
Dances was
commissioned by the Hong
Kong-based Winter Band
Festival, and consists of
three movements, to be
played without a break.
‘Aurora
Borealis’ opens
with florid woodwind
figures and highlights
different sections of the
band in turn. The second
movement ‘Aurora
Australis’ leads
to a sombre chorale,
which builds to a
full-band climax. The
finale ‘Aurora
Dances’ is
characterised by
rhythmic, dance-like
themes. A central section
features a contrasting
legato melody, but
this doesn’t
dispel the energetic feel
of the opening, which
returns to close the
work.
Aurora
Dances werd
geschreven in opdracht
van het Winter Band
Festival in Hongkong. Het
werk bestaat uit drie
delen die in elkaar
overlopen. ‘Aurora
Borealis’ opent
met sierlijke motieven in
het hout en bevat korte,
herhaalde frasen waarin
de verschillende secties
afwisselend in de
schijnwerpers worden
gezet. Het melancholieke
koraal van deel twee,
‘Aurora
Australis’,
ontvouwt zich tot een
climax in het hele
orkest. Het laatste deel,
‘Aurora
Dances’ wordt
gekenmerkt door
ritmische, dansachtige
thema’s. Een
middengedeelte bevat een
contrasterende
legato melodie,
maar die gaat niet ten
koste van het energieke
gevoel van de opening,
waarmee het werk
wordtafgesloten.
Aurora
Dances wurde vom
Winter Band Festival in
Hongkong in Auftrag
gegeben und wird ohne
Pause gespielt. Aurora
Borealis“ beginnt
mit
überschwänglichen
Holzbläserfiguren und
hebt abwechselnd
verschiedene Sektionen
des Blasorchesters
hervor. Der zweite Satz,
Aurora Australis“,
führt zu einem
düsteren Choral, der
sich zu einem
Höhepunkt des
kompletten Orchesters
aufbaut. Das Finale,
Aurora Dances“,
zeichnet sich durch
rhythmische und
tänzerische Themen
aus. Ein zentraler
Abschnitt ist durch eine
kontrastierende
Legato-Melodie
geprägt, die jedoch
die energiegeladene
Stimmung des Anfangs
nicht aufhebt, welche am
Ende des Werkes
wiederkehrt
Comman
de du Festival hivernal
des harmonies, basé
Hong-Kong, Aurora
Dances se compose de
trois mouvements
interprétés sans
interruption. « Aurora
Borealis »
s’ouvre avec des
figures élaborées
aux bois et met en avant
divers pupitres de
l’orchestre. Le
deuxième mouvement,
« Aurora Australis
», introduit un choral
sombre qui aboutit un
climax en tutti. Le
final, « Aurora Dances
», se caractérise
par des thèmes
rythmiques et dansants.
Le passage central
présente un contraste
avec une mélodie
legato, sans
pourtant dissiper la
sensation
d’énergie du
début qui revient pour
clore la pièce. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mikrokosmos for piano Volume 3-4, BB 105 Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ20084 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano SKU:
BT.EMBZ20084
Urtext
(1932-1939). Composed
by Bela Bartok. Arranged
by Yusuke Nakahara. EMB
Music of Bela Bartok.
Educational Tool. Book
Only. Composed 2021. 112
pages. Editio Musica
Budapest #EMBZ20084.
Published by Editio
Musica Budapest
(BT.EMBZ20084).
English-Hungarian.
Bartók's
Mikrokosmos has been one
of the milestones in
pedagogical piano
repertoire for 80 years -
and yet it is also far
more than a classical
piano primer. These 153
piano pieces, organized
in ascending order of
difficulty, engage not
only with technical
aspects of piano playing
but also with the
fundamentals of
composition - from
Imitation and Inversion,
Ostinato, and Free
Variations, concerning
compositional technique,
to mood pieces and pieces
with programmatic ideas
such as Notturno,
Boating, From the Diary
of a Fly, or the famous
Six Dances in Bulgarian
Rhythm. Mikrokosmos first
appeared in 1940 in six
volumes. Based on volume
40 of the Bartók
CompleteEdition published
in 2020(Z. 15040), the
present Urtext edition
offers the series
gathered in three
volumes. This edition
includes Bartók's
preface, exercises, and
notes written for the
first edition.
Furthermore, it also
features a preface and
comments by the editor,
which not only discuss
the genesis and the
compositional sources but
also provide performers,
teachers and pupils
alike, with authentic and
detailed information
about Bartók's
notation and the specific
performing problems of
Mikrokosmos. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| English Dances, Set 1, Op. 27: No. 1 Ensemble de cuivres - Intermédiaire/avancé De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1206265-130 Andantino. Composed b...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1206265-130
Andantino.
Composed by Sir Malcolm
Arnold. Arranged by Ray
Farr. Great Classics.
Classical. Score Only.
Composed 2020. 12 pages.
De Haske Publications
#DHP 1206265-130.
Published by De Haske
Publications
(BT.DHP-1206265-130).
English
Dances, Set I, opus
27, is a light
classic composition that
was written for orchestra
by the British composer
Malcolm Arnold in 1950.
The set contains four
dances that continue
without pause: the
individual movements are
indicated by the tempo
markings. The work came
about at the request of
Bernard de Nevers, at the
time the head of
publisher Alfred Lengnick
& Co., who asked Arnold
to write a suite of
dances as an English
counterpart to Dvo
ák’s Slavonic
Dances and
Bartók’s
Romanian Folk Dances. The
première took place in
the spring of 1951,
played by the London
Philharmonic Orchestra,
conducted by Sir Adrian
Boult. Following the
success of the first set,
DeNevers asked the
composer to write a
second one, which Arnold
completed the next year
(Op. 33). The
Andantino from the
first set has been
skilfully arranged and
orchestrated for brass
band by Ray Farr.
English
Dances, Set I, opus
27, is een licht
klassieke compositie die
in 1950 door de Britse
componist Malcolm Arnold
voor orkest geschreven
werd. De set bestaat uit
vier dansen die zonder
onderbreking in elkaar
overgaan: de
afzonderlijke delen
worden aangegeven met de
tempomarkering. Het werk
kwam tot stand op verzoek
van Bernard de Nevers,
destijds het hoofd van
uitgeverij Alfred
Lengnick & Co., die
Arnold vroeg om een reeks
dansen te schrijven als
een Engelse tegenhanger
voor de Slavische dansen
van Dvo ák en de
Roemeense volksdansen van
Bartók. De première
werd in het voorjaar van
1951 gebracht door het
London Philharmonic
Orchestra, onder leiding
van Sir Adrian Boult.Na
het succes van de eerste
set vroeg De Nevers om
een tweede, die Arnold
een jaar later voltooide
(opus 33). Het
Andantino uit de
eerste set is door Ray
Farr meesterlijk
gearrangeerd en ge
nstrumenteerd voor
brassband.
English
Dances, Set I, opus
27, ist eine leicht
Klassische Komposition,
die 1950 von dem
britischen Komponisten
Malcolm Arnold für
Orchester geschrieben
wurde. Die Reihe
enthält vier Tänze,
die ohne Unterbrechung
gespielt werden. Die
einzelnen Sätze sind
mit Tempoangaben
versehen. Das Werk
entstand auf Wunsch von
Bernard de Nevers, dem
damaligen Leiter des
Verlags Alfred Lengnick &
Co., der Arnold bat, eine
Reihe von Tänzen als
englisches Gegenstück
zu Dvo áks Slawischen
Tänzen“ und
Bartóks Rumänischen
Volkstänzen“ zu
schreiben. Die
Uraufführung fand im
Frühjahr 1951 mit dem
London Philharmonic
Orchestra unter der
Leitung von Sir Adrian
Boult statt. Nach
demErfolg der ersten
Reihe bat de Nevers den
Komponisten, eine zweite
Reihe zu schreiben, die
Arnold im darauffolgenden
Jahr fertigstellte (op.
33). Das Andantino
aus der ersten Reihe
wurde von Ray Farr
gekonnt für Brass Band
arrangiert und
orchestriert.
English
Dances, Set I, opus
27, est une
composition de musique
légère classique
pour orchestre écrite
en 1950 par le
compositeur britannique
Malcolm Arnold. La
série comprend quatre
danses qui
s’enchaînent
sans interruption, les
divers mouvements
étant indiqués par
des changements de tempo.
Cette Å“uvre fut
écrite la demande de
Bernard de Nevers, alors
directeur de
l’éditeur
Alfred Lengnick & Co.,
qui pria Arnold de
composer une série de
danses qui serait
l’équivalent
anglais des Danses slaves
de Dvo ák et des
Danses populaires
roumaines de Bartók.
L’œuvre fut
créée le 14 avril
1951 par le London
Philharmonic Orchestra
sous la direction de Sir
Adrian Boult. la suite du
succès de la
première série, De
Nevers pria le
compositeur d’en
écrire une seconde,
qui fut achevée
l’année
suivante (Op. 33).
L’Andantino
de la première
série a été
habilement arrangé et
orchestré pour brass
band par Ray Farr. $21.95 - 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 | | |
| Nuptial Scene Carl Fischer
Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, P...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Flute, Mezzo-soprano
voice, Oboe, Percussion,
Viola, Violin SKU:
CF.FE189S Composed by
Samuel Adler. Large
Score. With Standard
notation. 41 pages.
Duration 10 minutes. Carl
Fischer Music #FE189S.
Published by Carl Fischer
Music (CF.FE189S).
ISBN 9780825877520.
UPC: 798408077525. 9.5 x
13 inches. Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler . $58.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nuptial Scene Carl Fischer
Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, P...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Flute, Mezzo-soprano
voice, Oboe, Percussion,
Viola, Violin SKU:
CF.FE189 Composed by
Samuel Adler. Set of
Score and Parts. With
Standard notation.
41+4+4+4+2+3+3+3+3 pages.
Duration 10 minutes. Carl
Fischer Music #FE189.
Published by Carl Fischer
Music (CF.FE189). ISBN
9780825877513. UPC:
798408077518. 9.5 x 13
inches. Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler . $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Claude Debussy: Preludes - Books 1 and 2
Piano seul [Partition] Schirmer
Composed by Claude Debussy (1862-1918). For piano. Format: piano solo book. With...(+)
Composed by Claude
Debussy (1862-1918). For
piano. Format: piano solo
book. With thematic
index. Impressionistic.
136 pages. 9x12 inches.
Published by Schirmer.
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Claude Debussy: Preludes - Books 1 and 2 (Preludes - 1er et 2e livres)
Piano seul [Partition] Durand
By Claude Debussy (1862-1918), edited by Claude Helffer, Roy Howat. Collection f...(+)
By Claude Debussy
(1862-1918), edited by
Claude Helffer, Roy
Howat. Collection for
solo piano. 139 pages.
Published by Editions
Durand.
(1)$34.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Shuo Chang Guitare Guitare classique Theodore Presser Co.
Revised edition, 2020. Composed by Chen Yi (1953-). Sws. Duration 6:30. Theo...(+)
Revised edition, 2020.
Composed by Chen Yi
(1953-).
Sws. Duration 6:30.
Theodore
Presser Company
#114-42214.
Published by Theodore
Presser
Company
$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Majestic Prelude Ensemble de cuivres - Intermédiaire/avancé De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-0930481-030 Composed by Jacob De Haan. I...(+)
Brass Band - Grade 4
SKU:
BT.DHP-0930481-030
Composed by Jacob De
Haan. Inspiration Series.
Hymns & Chorals. Set
(Score & Parts). Composed
1993. De Haske
Publications #DHP
0930481-030. Published by
De Haske Publications
(BT.DHP-0930481-030).
A composition
of much contrast based on
a well-known psalm
melody. As its title
announces, it starts with
a majestic introduction
in which parts of the
psalm melody can be
heard. Next we hear the
complete psalm melody in
the trombones,
interrupted by passages
full of dance in the
discant. This is
continued in a lively
Allegro Molto, in which
the psalm melody emerges
in the trumpets and
cornets, again
interrupted by
rhythmically pulsing
quaver movements. The
work ends with a flashing
passage in a presto
tempo. Majestic Prelude
typically is a
composition for the start
of a concert. $72.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Peter Maxwell Davies: Caroline Mathilde Act 2 (Concert Suite) (Score) Chester
High Voice and Orchestra SKU: HL.14020965 Composed by Sir Peter Maxwell D...(+)
High Voice and Orchestra
SKU: HL.14020965
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Score. Composed
1999. 92 pages. Chester
Music #CH60950. Published
by Chester Music
(HL.14020965). ISBN
9780711936959. The
story centres on the
English princess Caroline
Mathilde (1751-1775),
sister of George III, who
at the age of 15 was sent
to Denmark to marry the
17-year-old eccentric and
schizophrenic Danish
King, Christian VII. The
ballet portrays her
unhappy marriage, the
King's growing madness
and her fatal love-affair
with Struensee, the
King's influential
physician, which leads to
their arrest, his
execution and her exile,
at the age of 20,
separated from her two
young children. This
suite begins with the
act's opening number: a
boisterous, stamping
dance to which the people
rudely mock Queen
Caroline Mathilde and her
lover Struensee. After
this comes a dark Adagio,
The Conspiracy, in which
the theme passes like
persuasion from mouth to
mouth, its variations
suggesting the different
attitudes of the
conspirators, firmly
controlled by the
brass-driven gestures of
the Queen Dowager. The
conspiracy then works
itself out at a court
masked ball, from which
the suite includes two
dances: a gavotte, and a
slow, lubricious
passacaglia that is a pas
de deux for Caroline
Mathilde and Struensee.
The Arrest comes with a
gathering rush of music
that envelops the King,
the Queen and Struensee,
leading to a vociferous
climax in which they are
held apart. In The
Execution, slow white
music for wordless female
voices, harp and low
strings is interrupted by
pathetic, alienated
outbursts from the King.
The suite ends, as does
the ballet, with a quiet
adagio lament for
clarinets and alto flute
as the Queen goes into
exile. Score. Duration c.
33mins. $37.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| As Light as Bird from Brier Theodore Presser Co.
Chamber Music Piano, soprano Saxophone SKU: PR.164002950 Fantasy after...(+)
Chamber Music Piano,
soprano Saxophone SKU:
PR.164002950
Fantasy after
Mendelssohn. Composed
by Dan Welcher. Sws. Set
of Score and Parts. 20+8
pages. Duration 10
minutes. Theodore Presser
Company #164-00295.
Published by Theodore
Presser Company
(PR.164002950). ISBN
9781491114568. UPC:
680160633449. 9 x 12
inches. Dan
Welcher’s
fascinating work for
soprano sax is both a
refraction of
Mendelssohn’s
music for A Midsummer
Night’s Dream, and
his own incidental music
to Shakespeare’s
comedy. The work’s
title, AS LIGHT AS BIRD
FROM BRIER, quotes from
Oberon (King of the
Fairies) invoking revelry
at the play’s
climactic wedding scene.
Welcher’s fantasy
skips among the most
beloved themes of
Mendelssohn’s
Midsummer – giving
the saxophonist quite a
workout, and the listener
a midsummer
delight. AS LIGHT AS
BIRD FROM BRIER is
loosely based on
Shakespeare’s play
A Midsummer
Night’s Dream,
which has haunted me
since I was nine years
old. My parents
subscribed me to The
Children’s Record
Guild, and every month a
new 78rpm vinyl record
would arrive in the mail.
They were mostly fairy
tales and “kids
lit,†but in this
case it was a very
condensed performance of
the actual play, with
Mendelssohn’s
music. I loved it
immediately, and still do
– I saw a
performance in 2014 at
the Stratford Festival
that literally stalks my
dreams.When I was
commissioned by
saxophonist Stephen Page
to compose a work for
soprano saxophone and
piano two years later, I
channeled Mendelssohn as
an inspiration:
specifically, the
Overture, the Scherzo,
the Intermezzo, the
fairy’s song
“You spotted snakes
with double
tongue,†and the
Rustics’ Dance.
But it’s not a
pastiche – most of
the music is completely
my own, though attentive
listeners will detect
snatches of
Mendelssohn’s
haunting score
throughout.This piece
joins MILL SONGS and
FLORESTAN’S FALCON
among works honoring my
favorite 19th-century
composers (in those
cases, Schubert and
Schumann) without ripping
them off. As Stravinsky
did in his ballet
Pulcinella, I have
borrowed fragments of
melody from a much-loved
composer, and made a
fabric of harmonies and
scales that are
genetically related to
Mendelssohn, but
unmistakably Welcher.In
this work, the
saxophonist is Puck
– skittish,
dazzlingly fast, and
brilliant in the outer
parts, and a mischievous
Cupid in the long,
central Love Song.
(Remember how Puck
anoints Titania’s
eyes with the juice from
a magic flower, which
causes her to fall in
love with Bottom the
weaver, who has been
bewitched and wears a
donkey’s head?)
The music traces
Puck’s magic
flight, the finding of
the flower,
Titania’s
love-scene with Bottom
and her fairies, and the
rustic players –
whose rehearsal of the
funniest
play-within-the-play in
literature is interrupted
by Puck’s dirty
tricks.I greatly enjoyed
the process of writing
this piece, and often
found myself quite moved
even as I was writing
it... which rarely
happens. Stephen Page,
who commissioned the
work, is a consummate
artist (and a bit of a
Puck himself). The title
comes from
Oberon’s final
speech in the
play:Through the house,
give glimmering light,By
the dead and drowsy
fire.Every elf and fairy
spriteHop as light as
bird from brier,And this
ditty, after me,Sing, and
dance it trippingly. $21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fascinations Piano seul Boosey and Hawkes
35 Pieces for Piano Solo on the Quirky Side. By Various. Boosey and Hawkes Piano...(+)
35 Pieces for Piano Solo
on the Quirky Side. By
Various. Boosey and
Hawkes Piano. 56 pages.
Published by Boosey &
Hawkes.
$18.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cosmic Expedition Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Oboe 1, Oboe 2,
Percussion 1 and more. -
Grade 3 SKU:
CF.CPS216 Composed by
Michael J. Miller.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+2+4+2+8+16+16+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+8+6+2+
2+4+10+36+4 pages.
Duration 3 minutes, 3
seconds. Carl Fischer
Music #CPS216. Published
by Carl Fischer Music
(CF.CPS216). ISBN
9781491152423. UPC:
680160909926. Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mechanical and Fantastical Studies. Piano Piano seul Stainer and Bell
Piano SKU: ST.Y288 Composed by Rhian Samuel. Piano & keyboard music. Scor...(+)
Piano SKU: ST.Y288
Composed by Rhian Samuel.
Piano & keyboard music.
Score. Stainer & Bell
Ltd. #Y288. Published by
Stainer & Bell Ltd.
(ST.Y288). ISBN
9790220223204. 1.
Mechanical Study I 2.
In the Air 3.
Mechanical Study II
4. Falling Star 5.
Mechanical Study III
The three
'mechanical' studies of
this set of five all
employ a clear structural
technique based on
regularity. The first
presents a stream of fast
semiquavers in duple
metre which constantly
interplays with short
motivic figures; the
second offers a 14-bar
ostinato (melody) that
begins at the top of the
keyboard and gradually
descends to the bottom;
around this ostinato a
sustained counter-melody
weaves. The third
presents a igorous,
stomping 9/8 dance rhythm
which interacts with
lengthening patterns in
the second voice. The two
'fantastical' studies
which intersperse the
'mechanical' contrast
greatly with them: much
freer in expression,
tempo and rhythm, they
evoke the outdoors and
the calming presence of
nature. The first moves
like wafts of the breeze;
the second, more complex,
is the heart of the work.
Its deep contemplations
are several times
interrupted by a modest
refrain, drawing it back
in the 'real world' -
that of the three
'mechanical' studies
which surround it. This
refrain is also a
mediator, its last
appearance as gentle as
the breeze evoked in the
second study. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Charango Capriccioso Peermusic Classical
Score and Parts SKU: HL.300175 For Piano and String Quartet Score and ...(+)
Score and Parts SKU:
HL.300175 For
Piano and String Quartet
Score and Parts.
Composed by Miguel Del
Aguila. Peermusic
Classical. Softcover.
Peermusic Classical
#70264-790. Published by
Peermusic Classical
(HL.300175). ISBN
9781540061935. UPC:
888680961008.
9.0x12.0x0.177
inches. Many of
Miguel del Aguila's works
reflect on South America
and its history. Here,
his evocation of the
charango, a lute-like
Andean stringed
instrument, plays a
central part. The
meditative opening
section seems to invite
us to a remote,
pre-Columbian place high
in the Andes. A hint of
sadness is interrupted by
an upbeat Andean-inspired
theme introduced by the
charango (the piano).
This theme gathers
momentum and builds in
intensity through
shifting rhythms and
colorful orchestrations.
Before the dance flies
out of control, the solo
cello reappears with the
meditative theme as
distant bells (also
played by the piano)
restore the peace. $32.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tangled Orchestre [Conducteur]
Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover...(+)
Orchestral Score.
Composed by
Alan Menken. This
edition:
Paperback/Softcover.
Sheet
music. Study score.
Composed
2010. Omni Music
Publishing
#OMNI 50796. Published by
Omni
Music Publishing
$106.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Robert Starer - Album for Piano Piano seul - Intermédiaire Hal Leonard
Performed by Robert Starer. Piano. Size 9x12 inches. 240 pages. Published by Hal...(+)
Performed by Robert
Starer. Piano. Size 9x12
inches. 240 pages.
Published by Hal Leonard.
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Solstice Sonata Orgue, Trompette (duo) SATB, Clavier Zimbel Press
Trumpet & Organ SKU: SU.80101343 For Trumpet & Organ. Composed by ...(+)
Trumpet & Organ SKU:
SU.80101343 For
Trumpet & Organ.
Composed by Carson
Cooman. Brass, Trumpet,
Keyboard, Organ. Score &
Parts. Zimbel Press
#80101343. Published by
Zimbel Press
(SU.80101343).
Solstice Sonata
(2013) for trumpet and
organ was commissioned by
the American Guild of
Organists for its 2014
Biennial National
Convention in Boston,
Massachusetts. It was
premiered on June 24,
2014 at the Memorial
Church, Harvard
University, by trumpeter
Chris Gekker and organist
Christian Lane. At the
solstice (summer in the
Northern Hemisphere and
winter in the Southern),
the sun is directly
aligned with the tropical
latitude lines, and the
longest day of the year
occurs (marking the start
of summer). This sonata
is music of celebration
and contemplation, taking
the inspiration of the
longest day as a starting
place for both meditation
both thoughtful and
joyous. Take Flight soars
and leaps with
vigor-perhaps the image
of a hang-glider's
journey over a dramatic
landscape under the late
evening sun. The Dream of
Peace is lyrical and
passionate; it is perhaps
night music of reflection
and intensity.
Glittering, Aglow begins
with quiet, mystical
music: a gradual
awakening. A vibrant,
syncopated dance breaks
out, is interrupted by
the quiet music again,
and returns to push
forward to a vibrant
conclusion. The new
season has
begun.Instrumentation:
Trumpet and Organ.
Composed: 2013 Published
by: Zimbel Press. $34.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sleigh Ride 2 Pianos, 4 mains - Avancé Alfred Publishing
(A Holiday Excursion for Two Pianos). Composed by Leroy Anderson (1908-1975). Ar...(+)
(A Holiday Excursion for
Two Pianos). Composed by
Leroy Anderson
(1908-1975). Arranged by
Greg Anderson. For Piano.
This edition: 2 copies
required. Book; Duet or
Duo; Piano Duo (2 Pianos,
4 Hands). Anderson and
Roe Duos and Duets.
Christmas; Holiday Pops;
Light Concert; Recital;
Secular; Standard;
Winter. Advanced. 16
pages. Published by
Alfred Music
$6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| November Evening Marimba [Partition] Innovative Percussion
November Evening by Christopher Norton. Marimba Solo - Unaccompanied. For marimb...(+)
November Evening by
Christopher Norton.
Marimba Solo -
Unaccompanied. For
marimba solo (marimba
(low F)). Level 5. Book.
Duration 8 minutes, 15
seconds. Published by
Innovative Percussion
$16.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Danse Macabre Orchestre d'harmonie [Conducteur] - Intermédiaire Baton Music
(Symphonic Poem). By Camille Saint-Saens (1835-1921). Arranged by Gerhart Drijve...(+)
(Symphonic Poem). By
Camille Saint-Saens
(1835-1921). Arranged by
Gerhart Drijvers. For
Concert Band and optional
solo Violin. Grade 5.
Score. Duration 7:00.
Published by Baton Music
$34.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cosmic Expedition Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Oboe 1, Oboe 2,
Percussion 1 and more. -
Grade 3 SKU:
CF.CPS216F Composed
by Michael J. Miller.
Concert Band (CPS). Full
score. With Standard
notation. 36 pages. Carl
Fischer Music #CPS216F.
Published by Carl Fischer
Music (CF.CPS216F).
ISBN 9781491153109.
UPC:
680160910601. Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Introduction et Variations sur une Ronde Populaire Quatuor de Saxophones: 4 saxophones Leduc, Alphonse
Saxophone Quartet SKU: HL.48180918 For Saxophone Quartet. Composed...(+)
Saxophone Quartet SKU:
HL.48180918 For
Saxophone Quartet.
Composed by Gabriel
Pierne. Leduc. Classical.
Alphonse Leduc #AL19728.
Published by Alphonse
Leduc (HL.48180918).
UPC: 888680858148.
9.0x12.0x0.177
inches. This
quartet for saxophones,
entitled Introduction and
Variations on a Popular
Rondo by Gabriel
Pierné, is a standard
in the saxophone quartet
repertoire. Composed in
1934 and dedicated to the
Marcel Mule Quartet, this
piece for advanced
players is as bright and
cheerful as a round dance
should be, and yet, quite
delicate and light in
terms of writing. With
many ornaments and
variations, Introduction
and Variations begins
slowly but is interrupted
twice by the rondo.
Gabriel Pierné
(1863-1937) won the Prix
de Rome in 1882. The
composer wrote many
chamber compositions,
piano pieces, symphonic
music and some
oratorios. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Danse Macabre Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Baton Music
(Symphonic Poem). By Camille Saint-Saens (1835-1921). Arranged by Gerhart Drijve...(+)
(Symphonic Poem). By
Camille Saint-Saens
(1835-1921). Arranged by
Gerhart Drijvers. For
Concert Band and optional
solo Violin. Grade 5.
Full score and set of
parts. Duration 7:00.
Published by Baton Music
$189.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Peter Maxwell Davies: Strathclyde Concerto No. 9 Score And Parts Chester
Stringorchestra with Wind SKU: HL.14020989 Composed by Sir Peter Maxwell ...(+)
Stringorchestra with Wind
SKU: HL.14020989
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Set. Composed
1999. 72 pages. Chester
Music #CH61154. Published
by Chester Music
(HL.14020989). ISBN
9780711952027.
9.0x12.0x0.433
inches. The solo
group consists of a
sextet of the woodwind
instruments which are
normally doubled with
more regular members of
the orchestra: these six
strangers, now brought to
the fore, are piccolo,
alto flute, cor anglais,
clarinet in Eb, bass
clarinet in Bb and
contrabassoon. They make
a motley group, diverse
in colour as in register,
and one of the tasks of
the piece sets itself is
to have them blend and
cohere, both together as
an ensemble and in
partnership with the
string orchestra (which
itself is used with
unusual variety and
subtlety). Another
evident task of the work
is to provide fine solos
for each member of the
woodwind sextet: bright
dances for the piccolo,
recitatives for the alto
flute, a stoical song
from the contrabassoon in
the extreme bass. The
work is cast as a single
movement, which begins in
the composer's
first-movement style of
rapid regeneration. This
is interrupted by slow
interventions, including
one for divided strings
which gives rise to a
sextuple cadenza for the
soloists. Out of this
comes a slow movement, or
sequence of short slow
movements, followed by a
dancing finale with its
own slow episodes.
Altogether this is music
of songs and dances,
heavily tinged with
Scottish rhythms and
tonalities: one might
think of a magic bagpipe,
having six chanters and a
drone of variegated
string texture. $43.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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