| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Singer's Library of Musical Theatre, Volume 2 Voix Mezzo-Soprano [Partition + CD] Alfred Publishing
(Mezzo Soprano/Alto Voice). Edited by Lisa DeSpain. For Voice (Alto voice (Mezzo...(+)
(Mezzo Soprano/Alto
Voice). Edited by Lisa
DeSpain. For Voice (Alto
voice (Mezzo)). Vocal
Collection. Singer's
Library of Musical
Theatre. Broadway. Book
and CD. 224 pages
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| Singer's Library of Musical Theatre, Volume 2 Voix basse [Partition + CD] Alfred Publishing
(Baritone/Bass Voice). Edited by Lisa DeSpain. For Voice (Bass voice). Vocal Col...(+)
(Baritone/Bass Voice).
Edited by Lisa DeSpain.
For Voice (Bass voice).
Vocal Collection.
Singer's Library of
Musical Theatre.
Broadway. Book and CD.
188 pages
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The ABRSM Singing for Musical Theatre Songbook - Avancé ABRSM Publishing
Voice (Music For Voice) SKU: HL.354834 Grade 5. By Various. Vocal ...(+)
Voice (Music For Voice)
SKU: HL.354834
Grade 5. By
Various. Vocal
Collection. Broadway,
Musicals. Softcover. 68
pages. ABRSM (Associated
Board of the Royal
Schools of Music)
#9781839920059. Published
by ABRSM (Associated
Board of the Royal
Schools of Music)
(HL.354834). ISBN
9781839920059. UPC:
840126937725.
9.0x12.0x0.2
inches. This
songbook series features
a wealth of material from
ABRSM's Singing for
Musical Theatre syllabus.
The Grade 5 songbook
contains 12 songs.
Including classics such
as “No One Is
Alone†from Into
the Woods to favorites
“Just Around the
Riverbend†from
Pocahonatas, and
“You're
Welcome†from
Moana, this collection
has also been carefully
selected to encourage
safe singing and to
provide a route for
changing voices. With
four songs from each of
Lists A, B and C, this
unique choice of
repertoire is an
essential collection for
those preparing for ABRSM
exams, including for the
new Performance Grades,
and will inspire everyone
who loves to sing. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Nearer, My God, To Thee Moments of Meditation for Solo Piano Piano seul [Partition] - Intermédiaire FJH
Arranged by Shelley Helzerman Houser. For Piano. The FJH Sacred Piano Library. T...(+)
Arranged by Shelley
Helzerman Houser. For
Piano. The FJH Sacred
Piano Library. Titles
include: Open My Eyes,
That I May See; On
Jordan's Stormy Banks;
Poor Wayfaring Stranger;
Sweet By and By; Savior,
Like a Shepherd Lead Us;
Nearer, My God, to Thee;
Nothing but the Blood;
and It Came Upon the
Midnight Clear; as well
as some rare arrangements
of specialized hymns like
The King Shall Come;
Prayer Is the Soul's
Sincere Desire; Ring Out,
Wild Bells and Into the
Woods My Master Went.
Spiritual. Level: Late
Intermediate. Book.
Published by The FJH
Music Company Inc.
$6.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Stephen Sondheim : Into the Woods (Vocal Selections from the Disney Movie)
Piano, Voix Hal Leonard
(Vocal Selections from the Disney Movie). Composed by Stephen Sondheim (1930-)...(+)
(Vocal Selections from
the
Disney Movie). Composed
by
Stephen Sondheim (1930-).
For Vocal. Vocal Piano.
Softcover. 106 pages.
Published by Hal Leonard
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Day Time Impressions Piano seul - Intermédiaire Forsyth Publications
Piano Solo - Easy-Intermediate SKU: FP.FBS03 Composed by Sarah Baker. She...(+)
Piano Solo -
Easy-Intermediate SKU:
FP.FBS03 Composed by
Sarah Baker. Sheet Music
and Books. Nine pieces
on a day time theme
for solo piano, by Sarah
Baker. Suggested grade
4-5. Classical.
Collection. Forsyths
Publications #FBS03.
Published by Forsyths
Publications (FP.FBS03).
ISBN
9790570500192. Sara
h Baker is Vocal Composer
in Residence at Education
Music Services, an ABRSM
examiner and a well known
composer of songs and
musicals for primary
schools and massed-choral
events.
All this
experience has come
together in the creation
of this album of piano
pieces, inspired by
growing up in the
Chiltern Hills. Suitable
for players of around
grade 4-5 standard, her
evocative sound pieces
describe a crash-landing
hot air balloon, garden
invading cows and a even
a snake in a
pond!
Air
Balloon!: One vivid
memory I have as a child
is of the day that a hot
air balloon passed over
our house and made an
emergency landing on the
road in front! The sound
of the gas being blown
into the balloon to try
to keep it high enough to
pass the house sounded so
loud and intimidating,
and then there was the
bustle of the neighbours
as we all went out into
the street to watch. It
was both terrifying and
exhilarating to watch the
balloon float past and
then land so near
by.
Buzzards
Circling: There is
something so calming and
restful about watching
birds of prey circling in
the thermal currents of a
summer sky. Growing up in
the Chilterns gave me
plenty of opportunity to
watch buzzards and red
kites. This piano solo
captures the beauty of
their flight as they
glide so effortlessly
through the
air.
There’
s A Cow In The Garden
Eating The Flowers:
Inspired by the memory of
seeing an unexpected cow
in the garden! This
surreal image is captured
in a quirky waltz, as I
portray both the
absurdity of the moment
and the sense of wonder I
felt as a child, looking
out of the window and
seeing the cow walking
round and eating the
flowers. The final phrase
articulates my longing:
‘I wish it would
come
again’.
Wat
ching The World Go By: A
short, reflective piece,
remembering what it was
like to have time to just
sit and watch the world
go by from my bedroom
window.
Autumn
Skies: A miniature about
the beauty of Autumn
skies and the poignant
sense of loss for a
summer gone. Friends I
was fortunate to have
several children of my
own age living close by.
We seemed to be forever
making dens, playing out
in the street and
generally enjoying each
other’s company.
This piece reflects that
sense of
well-being.
Snake
In The Pond: One hot
summer I was astonished
and scared to see a grass
snake cooling off in our
garden pond! I watched,
both horrified and
fascinated, as it rose up
from the depths and then
disappeared again. Here I
portray the sense of the
hazy summer afternoon as
I peacefully watched the
tiny movements of fish in
the pond, contrasted with
the fear and excitement
of seeing the snake
appear.
Morning
Commute: I recollect many
mornings stuck in traffic
as my Dad took me to
school on his way to
work. There is one main
road out of the village
where I grew up, and that
got more and more
congested the closer we
got to the town. We may
not have chatted a lot,
but it was always good to
be together with my Dad,
lost in our own
thoughts.
The
Witch’s Cottage:
My siblings and I had a
fascination with a small
cottage nearby. It was
set back from the road in
a dark part of the woods
and we called it 'the
witch's cottage’.
Every time we passed, I
imagined I heard the
distant cackle of the
witch and wished I could
catch a glimpse of
her.
These pieces
are written to complement
my other collection,
Night Time Impressions,
which also draw on
childhood recollections,
particularly of the woods
behind the house where I
grew up. - Sarah Baker
2023. $12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| On the Beaten Path Batterie [Partition + CD] Alfred Publishing
The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich ...(+)
The Drummer's Guide to
Musical Styles and the
Legends Who Defined Them.
By Rich Lackowski. For
Drum Set. Percussion -
Drum Set Method or
Collection. Instructional
Book and Examples CD. 244
pages. Published by
Alfred Publishing.
(1)$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Singer's Library of Musical Theatre, Vol. 2 Voix seule [Partition] Alfred Publishing
For Voice. (Mezzo Soprano/Alto Voice). Vocal Collection. Broadway. Book. 224 pa...(+)
For Voice. (Mezzo
Soprano/Alto Voice).
Vocal Collection.
Broadway. Book. 224
pages. Published by
Alfred Publishing.
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lyrics Paroles Seulement [Partition] Hal Leonard
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
(1)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Into the Woods (Vocal Score)
Voix seule [Vocal Score] Hal Leonard
(Vocal Score). By Stephen Sondheim (1930-). Vocal Score. Softcover. 320 pages. ...(+)
(Vocal Score). By
Stephen Sondheim (1930-).
Vocal Score. Softcover.
320 pages. Published by
Hal Leonard
$75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Singer's Library of Musical Theatre, Vol. 2 Voix basse [Partition] Alfred Publishing
For Voice. (Baritone/Bass Voice). Vocal Collection. Broadway. Book. 188 pages. ...(+)
For Voice.
(Baritone/Bass Voice).
Vocal Collection.
Broadway. Book. 188
pages. Published by
Alfred Publishing.
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonata (Spirit of the Hudson) Flûte traversière et Piano Theodore Presser Co.
Chamber Music Bass Flute, Piano SKU: PR.114418900 Composed by Daniel Dorf...(+)
Chamber Music Bass Flute,
Piano SKU:
PR.114418900 Composed
by Daniel Dorff. Set of
Score and Parts. 24+8
pages. Duration 14
minutes. Theodore Presser
Company #114-41890.
Published by Theodore
Presser Company
(PR.114418900). ISBN
9781491129517. UPC:
680160668632. A
welcome addition to the
bass flute repertoire,
Dorff’s 14-minute
sonata is designed as two
pairs of slow-fast
movements. While composed
as a complete 4-movement
sonata, either half may
be performed alone as a
7-minute recital work.
The movement titles are:
I. Sprawling, burbling;
II. Sparkling,
glistening; III. Under
Winter; and IV. Spring
Spirits. When Peter
Sheridan commissioned me
to write a piece for bass
flute and piano, his only
requests were a
sonata-like
multi-movement work, and
some kind of reference to
New York, where we both
grew up. Just the thought
of a bass flute, with its
broad and mighty
airstream, already
reminded me of the mighty
Hudson River: from the
dense woods of upstate
New York, through the
beautiful landscapes of
New Paltz and
Poughkeepsie, down
through the celebrated
Manhattan waterway.As I
daydreamed how to build a
sonata inspired by the
Hudson, I thought of its
deep primal nature carved
by the Ice Age, and the
life within the river and
on its shores long before
humans arrived. I thought
of how the river’s
magnetism drew Native
Americans who honored and
built their lives around
it. I thought of
beautiful trees and
wildlife, the annual
cycles of ecosystems, and
the natural symbiosis
between the river itself,
the life within, and the
life on land spawned by
the river’s
resources.I wondered what
if Thoreau had sat by the
Hudson rather than by
Walden Pond; I wondered
what if Hesse had set
Siddhartha in the Hudson
Valley with this river as
his metaphor for the flow
of life and time.I
wondered whether the
sonata should flow from
north to south, or have
chronological references.
I wondered if I should
allude to the many poets
and painters who have
drawn inspiration from
the mighty Hudson. Every
thought led to the
river’s essence,
its own spirit and life
— flowing through
raw nature, from skinny
trickles to mightiness
spawning cities;
supporting subtle life,
and becoming a central
commons for human
societies.The subtitle
Spirit of the Hudson
brings it all together.*
* *The sonata is built in
4 movements, with formal
inspiration from the
Baroque: A slow Mvt. 1
“Sprawling,
burbling†leads
directly to the rapid
Mvt. 2 “Sparkling,
glistening,â€
followed by another
slow-fast pair: Mvt. 3
“Under
Winter†which leads
directly into Mvt. 4
“Spring
Spirits.†In
addition to performances
of the complete sonata,
either pair of movements
may be performed on its
own for a shorter concert
segment.SONATA (SPIRIT OF
THE HUDSON) was premiered
at the International Low
Flutes Festival in April
2018 by its commissioner,
bass flutist Peter
Sheridan, with Hyeeun
Hahm as pianist. $21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Guitar Collection -- Early Rock 'n' Roll Guitare notes et tablatures Alfred Publishing
61 Golden Oldies. Composed by various artists and composers. This edition: ...(+)
61 Golden Oldies.
Composed
by various artists and
composers. This edition:
Guitar TAB Edition. Book;
Guitar Mixed Folio;
Guitar
TAB. The Guitar
Collection.
Rock. 216 pages.
Published
by Alfred Music
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Singer's Musical Theatre Anthology - Volume 7 Voix Soprano, Piano [Partition + Accès audio] Hal Leonard
Soprano Book/Online Audio. Composed by Various. Vocal Collection. Broadway, M...(+)
Soprano Book/Online
Audio.
Composed by Various.
Vocal
Collection. Broadway,
Musicals. Softcover Audio
Online. 252 pages.
Published
by Hal Leonard
$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Into the Woods - Revised Edition (Vocal Selections).
Piano, Voix [Partition] Hal Leonard
(Vocal Selections). By Stephen Sondheim (1930-). Vocal Selections. Published by ...(+)
(Vocal Selections). By
Stephen Sondheim (1930-).
Vocal Selections.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Into The Woods Movie Easy Piano Selections Piano, Voix - Facile Hal Leonard
| | |
| The Real Book - Volume VI Instruments en Do [Fake Book] Hal Leonard
C Instruments. Composed by Various. Fake Book. Softcover. Published by Hal Le...(+)
C Instruments. Composed
by
Various. Fake Book.
Softcover. Published by
Hal
Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume VI Instruments en Sib Hal Leonard
Bb Instruments. Composed by Various. Fake Book. Jazz. Softcover. 488 page...(+)
Bb Instruments.
Composed by Various. Fake
Book. Jazz. Softcover.
488 pages. Published by
Hal Leonard (HL.223637).
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Piano Prayer and Praises Piano seul [Partition] - Intermédiaire/avancé FJH
Arranged by Johnie Dean. For Piano. The FJH Sacred Piano Library. Sacred. Level:...(+)
Arranged by Johnie Dean.
For Piano. The FJH Sacred
Piano Library. Sacred.
Level: Early Advanced.
Book. Published by The
FJH Music Company Inc.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Into the Woods (Karaoke CD) Karaoke CD [Karaoke CD] Stage Stars Records
Performed by Various Artists. By Stephen Sondheim. 2 discs. Broadway. Karaoke CD...(+)
Performed by Various
Artists. By Stephen
Sondheim. 2 discs.
Broadway. Karaoke CD.
Published by Stage Stars
Records.
(1)$29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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