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Clarinette et Piano (28) Clarinette (17) Piano seul (8) Violon, Clarinette, Piano (tri… (8) Clarinette, Orchestre (4) Piano, Voix et Guitare (4) Flûte traversière (4) Clarinette, Alto et Piano (tri… (3) Violon (3) Trompette (2) Hautbois, Clarinette et Piano … (2) Violon et Piano (2) Hautbois (2) Instruments en Do (2) Orchestre d'harmonie (2) Clarinette Basse, Piano (2) Alto, Piano (1) 2 Clarinettes (duo) (1) Percussion (1) Orchestre (1) Fake Book (1) Saxophone (1) Violoncelle (1) Alto seul (1) Cor (1) 2 Clarinettes, Piano (1) 2 Saxophones, Piano (1) Saxophone Tenor et Piano (1) Trompette, Piano (1) Flûte à bec Soprano (1)
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Ferruccio Busoni: Early character pieces for Clarinet and Piano (first edition) Clarinette et Piano [Partition] G. Henle
First Edition. By Ferruccio Busoni. Edited by G. Meerwein. Clarinet. Pages: Scor...(+)
First Edition. By
Ferruccio Busoni. Edited
by G. Meerwein. Clarinet.
Pages: Score = X and 51 *
Cl B Part = 18. Urtext
edition-paper bound.
Published by G. Henle.
$40.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Party Time! 15 party pieces for clarinet and piano Clarinette et Piano - Facile ABRSM Publishing
By Harris. For clarinet, piano. Published by ABRSM (Associated Board of the Roya...(+)
By Harris. For clarinet,
piano. Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$11.99 - Voir plus => Acheter Délais: 4 to 6 weeks
Clarinet Album (Music and PlayAlong CD) Clarinette et Piano [Livre + CD] Peters
This is a re-issue of H 609A and H 609B, in one volume; it comes packaged with t...(+)
This is a re-issue of H
609A and H 609B, in one
volume; it comes packaged
with the PlayAlong CD.
For clarinet and piano,
or clarinet duet. .
Published by C.F. Peters.
$32.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition Instruments en Do [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. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
(14) $34.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Festival Performance Solos - Clarinet Volumes 1 & 2 (Piano Accompaniment) Clarinette et Piano Carl Fischer
Compiled by Andrew Balent. For piano accompaniment. Format: piano accompaniment ...(+)
Compiled by Andrew
Balent. For piano
accompaniment. Format:
piano accompaniment book.
With piano accompaniment.
Classical. Series: Carl
Fischer Festival
Performance Solos. 9x12
inches. Published by Carl
Fischer.
$29.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Serenade Violon, Clarinette, Piano (trio) Rosewood Publications
By Waldemar von Baussnern. For violin, clarinet and piano. Facsimile Editions - ...(+)
By Waldemar von
Baussnern. For violin,
clarinet and piano.
Facsimile Editions -
Winds, Strings and Piano.
A truly unique, clever
composition. Very
Romantic slow movement.
Amazing harmonies and
rhythms, for the time it
was composed. Romantic.
Published by Rosewood
Publications
$15.75 - Voir plus => Acheter Délais: 4 to 6 weeks
Classical Fake Book - 2nd Edition Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8) $49.99 - Voir plus => Acheter Délais: 24 hours - In Stock
La Clarinette classique Vol. C Clarinette et Piano [Partition] Combre
By Jacques Lancelot/Henri Classens. For clarinet and piano. Classical. Score. 38...(+)
By Jacques Lancelot/Henri
Classens. For clarinet
and piano. Classical.
Score. 38 16 pages.
Published by Editions
Combre
$33.95 - Voir plus => Acheter Délais: 3 to 4 weeks
2nd Clarinet Album (Clarinet / Piano) Clarinette et Piano Schott
Clarinet and Piano. By Various. Arranged by Pamela Weston. Schott. 24 pages. Pub...(+)
Clarinet and Piano. By
Various. Arranged by
Pamela Weston. Schott. 24
pages. Published by
Schott.
$16.95 - Voir plus => Acheter
Clarinet Concerto (Clarinet / Concert Band) Clarinette, Orchestre [Conducteur et Parties séparées] - Intermédiaire Anglo Music
By Wolfgang Amadeus Mozart. Arranged by Philip Sparke. (Score and Parts). ANGLO...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Philip Sparke. (Score
and Parts). ANGLO MUSIC
PRESS. Size 9x12 inches.
Published by Anglo Music.
$282.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Serenade Galante, clarinet and piano Clarinette et Piano - Intermédiaire/avancé Tierolff Muziekcentrale B.V.
15 Intermediate Classical Solos Clarinette et Piano [Partition + CD] - Intermédiaire Anglo Music
Clarinet and Piano - intermediate SKU: BT.AMP-381-400 Clarinet and Pia...(+)
Clarinet and Piano -
intermediate
SKU:
BT.AMP-381-400
Clarinet and
Piano . Arranged by
Philip Sparke. Anglo
Music Play-Along Series.
Classical. Book with CD.
Composed 2014. 16 pages.
Anglo Music Press #AMP
381-400. Published by
Anglo Music Press
(BT.AMP-381-400).
ISBN
9789043135795. 9x12
inches.
English-German-French-Dut
ch.
Part of the
ANGLO MUSIC PLAY-ALONG
Series, Philip Sparkes 15
INTERMEDIATE CLASSICAL
SOLOS is aimed at the
young instrumentalist who
can play about an octave
and a half and follows on
from Sparkes 15 EASY
CLASSICAL SOLOS.
Specifically tailored to
suitthe individual
instrument, this book
introduces the developing
player to the world of
the classics by using
simple yet attractive
melodies that fit their
limited range.
The
carefully selected pieces
include music from the
17th to the 19th century
and cover a wide variety
of styles, from Handel to
Tchaikovsky and from
Clementi to
Brahms.
The book
will provide invaluable
additional material to
complement any teaching
method and includes both
piano accompaniment and a
demo/play-along
CD.
Philip
Sparkeâ??s
15
Intermediate Classical
Solos , onderdeel van
de
Anglo Music
Play-Along Series , is
bedoeld voor de jonge
instrumentalist die
ongeveer anderhalf octaaf
kan spelen. Het boek is
een vervolg op
Sparkeâ??s
15
EasyClassical Solos
en het sluit qua
instrumentaal bereik en
gebruikte toonsoorten aan
bij het Expert Level van
Hal Leonards
Essential
Elements ® , maar
het kan ook los daarvan
worden gebruikt.De
zorgvuldig geselecteerde
melodieën,
diespecifiek zijn
toegesneden op elk
instrument, beslaan een
breed scala van klassieke
stijlen: van Handel tot
Tsjaikovski en van
Clementi tot Brahms.Het
boek bevat waardevol
materiaal ter aanvulling
op elke lesmethode en
wordt geleverd
metpianobegeleiding en
een cd met demo- en
meespeeltracks.
15
INTERMEDIATE CLASSICAL
SOLOS ist als
Ergänzung zur
bewährten ANGLO MUSIC
PLAY-ALONG Reihe gedacht
und richtet sich an
Schüler, die
ungefähr einen
Tonumfang von eineinhalb
Oktaven beherrschen. Es
schlieÃ?t an Sparkes 15
EASY CLASSICAL SOLOS an
undentspricht dem Niveau
des Expert Levels der
ESSENTIAL ELEMENTS
Methode von Hal Leonard,
kann aber auch
unabhängig davon
verwendet werden.
Genau auf jedes
Instrument zugeschnitten,
ermöglichen die
sorgfältig
ausgewählten Melodien
noch mehr Spielerfahrung
mit klassischer Musik.
Die Stücke umfassen
verschiedene
Stilrichtungen und
Komponisten wie z.B.
Händel, Tschaikowsky,
Clementi undBrahms.
Jeder Band bietet
wertvolles
Ergänzungsmaterial,
das zu jeder
Instrumentalschule passt
und enthält sowohl
Klavier- als auch
CD-Begleitungen.
<
br>
15 Intermediate
Classical Solos , de
Philip Sparke, est un
ouvrage qui sâ??adresse
aux jeunes musiciens,
maîtrisant un peu plus
dâ??une octave et demie.
Il fait suite au recueil
15 Easy Classical
Solos , et a été
conçu pour être
joué en corrélation
avec la série Expert
Level de la collection
Essential Elements
® , publiée par
les éditions Hal
Leonard. Mais il peut
également être
utilisé
indépendamment.Spéc
ifiquement adapté
chaque instrument, ce
volume rassemble quinze
mélodies écrites
par des compositeurs
aussi variés que
Hændel, Tcha kovski,
Clémenti et
Brahms.Comprenant les
parties
dâ??accompagnement de
piano et une version
dâ??accompagnement sur
compactdisc, ces ouvrages
représentent une
source complémentaire
inestimable toute
méthode
pédagogique.
Part of the
Anglo Music Play-along
Series , Philip
Sparkeâ??s
15
Intermediate Classical
Solos is aimed at the
young instrumentalist who
can play about an octave
and a half and follows on
from Sparkeâ??s
15
Easy Classical
Solos .Specifically
tailored to suit the
individual instrument,
this book introduces the
developing player to the
world of the classics by
using simple yet
attractive melodies that
fit their limited range.
The carefully selected
pieces include music
fromthe 17th to the 19th
century and cover a wide
variety of styles, from
Handel to Tchaikovsky and
from Clementi to
Brahms.The book will
provide invaluable
additional material to
complement any teaching
method and includes both
piano accompaniment and
ademo/play-along CD.
$22.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Serenade D 957 No. 4 Clarinette et Piano [Conducteur et Parties séparées] Editions Marc Reift (Swiss import)
By Franz Schubert. For clarinet and piano. Swiss import. Score and parts. Publis...(+)
By Franz Schubert. For
clarinet and piano. Swiss
import. Score and parts.
Published by Editions
Marc Reift. (EMR
6073C) Level: 2 .
$6.95 - Voir plus => Acheter Délais: 3 to 4 weeks
Solo Album Vol. 04 Clarinette et Piano [Conducteur et Parties séparées] - Intermédiaire Editions Marc Reift (Swiss import)
By Dennis Armitage. For clarinet and piano (organ). Swiss import. Level: 3. Scor...(+)
By Dennis Armitage. For
clarinet and piano
(organ). Swiss import.
Level: 3. Score and
parts. Published by
Editions Marc Reift. (EMR
907C)
$13.95 - Voir plus => Acheter Délais: 3 to 4 weeks
The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => Acheter Délais: 24 hours - In Stock
Classical Solos for Clarinet - Volume 2 Clarinette et Piano [Partition + Accès audio] - Facile Hal Leonard
15 Easy Solos for Contest and Performance with Online Audio and Printable Pian...(+)
15 Easy Solos for Contest
and
Performance with Online
Audio
and Printable Piano
Accompaniments. Composed
by
Various. Arranged by
Philip
Sparke. Essential
Elements
Band Folios. Classical.
Softcover Media Online.
16
pages. Published by Hal
Leonard
$14.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Pacific Serenade Clarinette et Piano Peermusic Classical
(Clarinet in B-flat and Piano). By Miguel Del Aguila. For Clarinet, Piano Accomp...(+)
(Clarinet in B-flat and
Piano). By Miguel Del
Aguila. For Clarinet,
Piano Accompaniment.
Peermusic Classical. 16
pages. Peermusic
#70061-346. Published by
Peermusic
$19.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Selected Classics: Famous Classical Pieces Bk/cd Clarinet/pno (easy-intrmd) Clarinette et Piano [Partition + CD] Hal Leonard
Serenade - Classiques No. 59 Clarinette Leduc, Alphonse
Clarinet (Clarinet) SKU: HL.48180810 For Clarinet and Piano . Compo...(+)
Clarinet (Clarinet)
SKU: HL.48180810
For Clarinet and
Piano . Composed by
André, E.Modeste
Gré, and try.
Leduc. Classical.
Softcover. Alphonse Leduc
#AL19285. Published by
Alphonse Leduc
(HL.48180810).
For clarinet
and piano.
$13.50 - Voir plus => Acheter Délais: 2 to 3 weeks
Clarinet Solos, Duets, Ensembles, Methods & Studies for: The Ultimate Collection Clarinette CD Sheet Music
SKU: SU.00220629 Woodwinds, Clarinet. USB (PDF Scores). CD Sheet Music #0...(+)
SKU: SU.00220629
Woodwinds, Clarinet. USB
(PDF Scores). CD Sheet
Music #00220629.
Published by CD Sheet
Music (SU.00220629).
This CD Sheet
Music collection on USB
Flash Drive contains 2
complete CDSM titles: The
Clarinet Solos & Duos
collection makes
available a wealth of
music for solo clarinet
including sonatas,
concertos, and solo works
by 28 composers from the
18th, 19th and early 20th
centuries. Also included
are two complete volumes
of collected works: Easy
Duets and Album of Short
Solos by Various
Composers. Works include:
Baermann, C. (Duo
Concertante); Baermann,
H. (Adagio);
Beethoven (3 Duos for
Clarinet and Bassoon);
Berg (4 Pieces for
Clarinet & Piano);
Brahms (Sonata Nos. 1
& 2); Busoni (Elegie
for Clarinet & Piano);
Cavallini (30
Caprices for Clarinet);
Debussy (Première
Rhapsodie); Fauré
(Berceuse); Gade (4
Fantasy Pieces);
Glazunov (Saxophone
Concerto [for clarinet &
piano]); Jeanjean
(Variations on Au Clair
de la Lune); Klosé
)Souvenir); Mason
(Sonata for Clarinet &
Piano); Mendelssohn
(Concert Piece for 2
Clarinets & Piano);
Mozart, L. (Concerto
in Bb major); Mozart,
W.A. (3 Duets for 2
Clarinets); Paganini
(14 Caprices);
Pierné (Pièce
in G minor);
Prokofiev (Visions
Fugitives); Reger
(Sonata Nos. 1 & 2);
Reinecke (Sonata,
Undine);
Saint-Saëns
(Sonata in Eb major);
Schumann (Fantasy
Pieces, 3 Romances);
Spohr (Concerto Nos.
1-4); Stravinsky (3
Pieces for Clarinet
Solo); Wagner (Adagio
for Clarinet & Strings);
Weber (Fantasia &
Rondo, Grand Duo
Concertante) Easy
Duets Book 1: works
by Fodor, Pleyel,
Volckmar, Wanhal; Book 2:
works by Mazas, Bruni,
Campagnoli, Gebauer,
Geminiani, Haydn, Pleyal,
Viotti Album of Short
Solos by Various
Composers: 30
familiar works arranged
for clarinet, including
Brahms (Cradle Song),
Dvorák
(Humoreske), Fibich
(Poéme), Handel
(Largo), Giordani
(Caro mio bien),
Richter
(Seppl-Polka),
Schubert (Ave Maria),
Schumann
(Träumerei), Weber
(Bauernwalzer), and more
Also includes composer
biographies and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 1200+ pages The
Clarinet Methods, Studies
& Ensembles
collection makes
available eight essential
clarinet methods, studies
and exercises, as well as
over 30 works for
clarinet with instruments
including duos, trios and
quartets by 20 familiar
and lesser-known
composers from the 18th,
19th and early 20th
centuries. Scores and
parts are included for
many ensemble works.
Methods, Studies &
Exercises include:
Baermann (Complete
Method for Clarinet, Op.
63); Klosé
(Conservatory Method, 25
Daily Exercises, 30
Studies after Aument);
Langenus (Complete
Method for Clarinet);
Rose (32 Etudes for
Clarinet) Ensembles
include: Amberg
(Fantasiestücke, Suite
for Flute, Oboe, Clarinet
& Piano); Beethoven
(Quintet for Piano and
Winds); Brahms
(Quintet for Clarinet &
Strings, Trio for
Clarinet, Cello & Piano);
Bruch (8 Piece for
Clarinet, Cello & Piano);
Cavallini (Rêverie
Russe for Flute,
Clarinet, and Piano);
d'Indy (Trio for
Piano, Clarinet, and
Cello); Fibich
(Quintet for Clarinet,
Violin, Cello, Horn, &
Piano); Glinka (Trio
Pathétique, for
Clarinet, Cello, &
Piano); Hummel
(Serenade No. 1 for
Flute, Clarinet, Viola, &
Cello); Liadov (8
Russian Folk Dances);
Mozart (Twelve
Minuets for 2 Clarinets
or Basset Horns, Five
Divertimenti for 2
Clarinets & Bassoon),
Quintet for Clarinet &
Strings, Quintet for
Piano & Winds, Trio for
Clarinet, Viola & Piano);
Ravel (Intruduction &
Allegro); Reger
(Quintet for Clarinet &
Strings);
Rimsky-Korsakov
(Quintet for Piano &
Winds);
Saint-Saëns
(Tarantella for Flute,
Clarinet & Piano);
Schubert (Der Hirt
auf dem Felsen);
Schumann
(Märchenerzählu
ngen, for Clarinet, Viola
& Piano); Spohr
(Fantasy & Variations);
Titl (Serenade for
Violin, Clarinet &
Piano); Zemlinsky
(Trio for Clarinet,
Violin & Cello) Also
includes composer
biographies and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 2100+ pages
Published by: CD Sheet
Music.
$24.95 - Voir plus => Acheter Délais: 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 => Acheter Délais: 24 hours - In Stock
Indispensable Folios - Clarinet And Piano Clarinette et Piano Hal Leonard
E-Z Play Today #199 - Jumbo Songbook Piano, Voix et Guitare [Partition] - Débutant Hal Leonard
Keyboard/vocal/chords songbook for voice and keyboard. With lyrics, chord names,...(+)
Keyboard/vocal/chords
songbook for voice and
keyboard. With lyrics,
chord names, big note
notation and registration
guide. Series: Hal
Leonard E-Z Play Today.
488 pages. Published by
Hal Leonard.
(6) $19.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Twilight Serenade Clarinette et Piano - Intermédiaire C.L. Barnhouse
Clarinet solo with piano accompaniment - Grade 3 SKU: CL.083-9116-08 Comp...(+)
Clarinet solo with piano
accompaniment - Grade 3
SKU:
CL.083-9116-08
Composed by Luscomb.
Solo. Composed 1917.
Duration 2 minutes, 30
seconds. C.L. Barnhouse
#083-9116-08. Published
by C.L. Barnhouse
(CL.083-9116-08).
This song has
some captivating musical
moments before fading
into the twilight at the
end.
$10.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Easy Classics for Clarinet - With Piano Accompaniment Clarinette [Partition] Mel Bay
Clarinet - Beginning SKU: MB.96297 Arranged by Peter Spitzer. Duets and E...(+)
Clarinet - Beginning
SKU: MB.96297
Arranged by Peter
Spitzer. Duets and
Ensembles, Style,
Classical,
Saddle-stitched, Solos
and Duets, Piano and
Keyboard. Easy Classics.
Classic. Book. 72 pages.
Mel Bay Publications, Inc
#96297. Published by Mel
Bay Publications, Inc
(MB.96297).
ISBN
9780786624645. UPC:
796279039178. 8.75 x
11.75 inches.
This
series of books was
meticulously designed to
provide beginning to
intermediate
instrumentalists with an
enjoyable introduction to
classical melodies.
Selections include: Ode
to Joy; Sleeping Beauty
Waltz; The Trout;
Scheherazade; Emperor
Humn; Cancan; plus 10
more by Bach, Bizet,
Brahms, Mozart, Strauss,
Rossini and others.
 Includes a 32-page
pull-out part for the
clarinetist.
(2) $15.99 - Voir plus => Acheter Délais: 1 to 2 weeks
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