(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
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.
Composed by Dan Welcher.
With Standard notation.
Duration 15 minutes.
Theodore Presser Company
#164-00261S. Published by
Theodore Presser Company
(PR.16400261S).
UPC:
680160038411.
Since
the bassoon is my own
instrument, many people
have asked me why I've
written so little for the
instrument. Beyond my
early Concerto Da Camera
for bassoon and small
orchestra, written for
Leonard Sharrow in 1975,
I've not written a single
piece that features the
bassoon as a solo vehicle
(though I have written
three woodwind quintets).
When I first began
composing seriously,
critics were quick to
point out that my
orchestral writing
revealed nothing of my
roots as a woodwind
player--and bassoonists
asked why my pieces
didn't have more bassoon
solos. Perhaps I was so
aware that people were
looking at me as a
bassoonist/composer that
I was determined to
remove that stigma. Now
that my transformation
from performer to
composer is complete,
however, it's time to
re-address my instrument.
I wanted this new piece
to be serious rather than
whimsical. The Wind Won't
Listen represents my
return to the bassoon as
the highly expressive,
poetic soul that it is.
As such, it
shouldn't come as a
surprise that the piece
is based on a poem, and
that the title of the
piece as well as both its
movement titles come from
lines in that poem. I
first read Beth Gylys'
poem Split at the
MacDowell Colony in the
summer of 2001, and it
made a big impression on
me. My personal life had
been ruptured by divorce
in the preceding year.
This poem, with its dry
insistence on observation
rather than feeling,
expressed the wrung-out
state of my emotions at
the time better than any
I had seen. I set it to
music, as a song,
immediately. In this
format, for voice and
piano, I was able to put
a musical note to every
word of the poem. The
first lines of the poem,
Everyone I know is
crying, or should be
crying, became a melody
that haunted me even
without the words.
The work for bassoon and
string quartet is an
outgrowth of the song.
The first movement is
labeled Romanza, and has
a loose formal arch
structure of A-B-C-B-A,
with B and C being fast
sections framed by the
lamenting A music. In
addition to hearing the
bassoon's first notes
attached to the lines
Everyone I know is
crying, there's a sense
of agitation, of loss, of
longing, and at times of
desperation in the music.
At one point, the opening
theme from Tristan even
appears in the strings.
The second
movement follows, without
a real pause--the
pizzicato final chords of
the first movement
becoming the increasingly
aggressive opening chords
of the second. The
recitative is actually a
foreshadowing of the
basic theme that will be
varied, again to the
words of the song: Life
makes itself without us.
Don't let me tell you how
it is. Go out. Look. The
recitative begins in an
anguished state, but
subsides into more gentle
singing by the end, when
it simply falls into an
ostinato 5/8-3/4 pattern
to begin the variations.
Marked Very steady tempo;
Dancing, this set of
variations consists of
three dances, each faster
than the previous. The
first, in the
aforementioned 5/8-3/4
meter, gives way to a 3/8
scherzo, which in turn
takes on a furious 2/4
scurrying motion. The
music becomes breathless,
almost pulse-less, and an
ethereal theme appears in
the violins while the
rushing music continues,
sotto voce in the
bassoon. This new theme
is also from the song:
Why do I do this? The
wind won't listen. The
bassoon re-states its
Everyone I know is crying
melody from the first
movement, and at length
the 5/8-3/4 music
returns, more subdued
this time. The piece ends
on a major-minor chord,
suspended. The
Wind Won't Listen is
dedicated to the man who
commissioned it,
bassoonist Steven
Dibner--who shares my
passion for poetry and
language. --Dan
Welcher.
Composed by Cesar Auguste Franck (1822-1890). Edited by Ernst-Gunter Heinemann...(+)
Composed by Cesar Auguste
Franck (1822-1890).
Edited by
Ernst-Gunter Heinemann.
Sheet
Music. Paperbound. Henle
Music Folios. Classical.
Score and Parts. 142
pages.
G. Henle #HN1142.
Published
by G. Henle
Quintet in F minor Piano Quintette: piano, 2 violons, alto, violoncelle [Conducteur et Parties séparées] Rosewood Publications
By Richard Walthew. For 2 violins, viola, cello and piano. Strings and Piano. Fi...(+)
By Richard Walthew. For 2
violins, viola, cello and
piano. Strings and Piano.
First edition. Romantic.
Score and set of parts.
Published by Rosewood
Publications
24 Piano Transcriptions - 2nd Edition (From Orchestral, Operatic, Vocal, and Cha...(+)
24 Piano Transcriptions -
2nd Edition (From
Orchestral, Operatic,
Vocal, and Chamber
Works). Edited by
Transcr. Robert Schultz.
For Piano. This edition:
2nd. Masterworks; Piano
Collection; Piano
Supplemental. Alfred's
Classic Editions.
Masterwork. Advanced.
Book. 124 pages.
Published by Alfred Music
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various.
Arranged by Peter
Lavender. Music Sales
America. Baroque and
Classical Period. Fake
book (softcover). With
melody line (no
accompaniment included)
and chord names. 128
pages. Music Sales
#AM92350. Published by
Music Sales
(for Woodwind Quintet). Composed by Wolfgang Amadeus Mozart (1756-1791). Edite...(+)
(for Woodwind Quintet).
Composed by Wolfgang
Amadeus
Mozart (1756-1791).
Edited
by William Purvis. Score
and
Parts. Southern Music.
Hal
Leonard #SU786. Published
by
Hal Leonard
(for Woodwind Quintet). Composed by Wolfgang Amadeus Mozart (1756-1791). Edite...(+)
(for Woodwind Quintet).
Composed by Wolfgang
Amadeus
Mozart (1756-1791).
Edited
by William Purvis. Score
and
Parts. Southern Music.
Hal
Leonard #SU787. Published
by
Hal Leonard
Piano quartet, Piano quintet (Instrument, Piano) SKU: BA.BA04913 Quart...(+)
Piano quartet, Piano
quintet (Instrument,
Piano)
SKU:
BA.BA04913
Quartet
in E-flat major op. 1 for
clarinet, horn, bassoon
and piano - Quintet in C
minor op. 5 and in A
major op. 6 for two
violins, viola,
violoncello and piano -
appendix. Composed by
Franz Berwald. Edited by
Bonnie Hammar and Ingmar
Bengtsson. This edition:
complete edition, urtext
edition. Linen. Franz
Berwald. Complete Works,
Volume 13. Complete
edition, Performance
score, anthology. Opus 6,
5, 1. Baerenreiter Verlag
#BA04913_00. Published by
Baerenreiter Verlag
(BA.BA04913).
ISBN
9790006460441. 33 x 26 cm
inches. Key: A major,
e-flat major, c
minor.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F).
ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major.
IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed by Gabriel Faure (1845-1924). 5 or More; Masterworks; Solo Small Ensemb...(+)
Composed by Gabriel Faure
(1845-1924). 5 or More;
Masterworks; Solo Small
Ensembles; String Quintet
(Piano Quintet). Kalmus
Edition. Impressionistic;
Masterwork; Romantic.
Book. 120 pages. Kalmus
Classic Edition
#00-K02181. Published by
Kalmus Classic Edition