(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.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

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

By Ludwig van Beethoven. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1500 pages. Published by Subito Music.

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

By Ludwig van Beethoven. Arranged by David Pearl. Easy Piano Composer Collection. Size 9x12 inches. 48 pages. Published by Cherry Lane Music.

Chamber Music flute, piano

SKU: CF.WF232

Composed by Antonin Dvorak. Edited by Robert Stallman. Arranged by Robert Stallman. Set of Score and Parts. With Standard notation. 28+16 pages. Carl Fischer Music #WF232. Published by Carl Fischer Music (CF.WF232).

ISBN 9781491153772. UPC: 680160911271.

Known internationally for superior flute editions, Robert Stallman continues his considerable expansion of the flute repertoire with re-creations, or “new” works for flute by Bach, Mozart, Schubert, Beethoven, Chopin, Dvořák, and other great composers.Conceived originally as a work for solo piano, this arrangement of Dvořák’s Suite in A Major for flute and piano is based on both the piano and orchestra versions. It is one in a series of Stallman’s “new” works for flute. Dvořák composed the Suite in A Major in 1894, inspired by his happy and fruitful stay in the “New World” —a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World” Symphony, Cello Concerto, “American” Quartet, String Quintet in E≤ Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.
PrefaceConceiv ed originally as a work for solo piano, the Suite in A Major was composed by Dvořák in 1894, during his famous two-year visit to the United States. He wrote the work in a mere ten days, and a year later made a full orchestration of it. The Suite was first performed in this second version in 1910 in Prague at the Rudolfinum. Dvořák, who died in 1904, never had a chance to hear a performance of this stirring orchestral realization.The Suite was inspired by the composer’s happy and fruitful stay in the “New World”, especially by his unforgettable summers spent in the quiet Czech-American village of Spillville, Iowa—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World” Symphony, Cello Concerto, “American” Quartet, String Quintet in Eb Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.Several of the Suite’s affecting melodies find echoes in these other, better known compositions of this American period. Wistful themes abound in all five movements, reflecting Dvořák’s transformative American experience as it found resonance in his own emotions. Contrasting with deeply felt, contemplative passages are Dvořák’s joyous and tempestuous expressions, which open the second, third and final movements.This arrangement for flute and piano is based on both the piano and orchestra versions. It is one in a series of my “new” works for flute by some of our greatest composers and I am delighted to add it to the collection. I predict that the A Major Suite will become a popular addition to our Romantic recital repertoire, much like the Dvořák Sonatina.—Robert StallmanMarblehead, Mass.June 1, 2018.