| 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.
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| 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 | | |
| Pat Metheny: Pat Metheny Songbook Guitare [Fake Book] Hal Leonard
Performed by Pat Metheny. For guitar (no tablature). Format: fake book. With lea...(+)
Performed by Pat Metheny.
For guitar (no
tablature). Format: fake
book. With leadsheet
notation and chord names.
Jazz and jazz fusion. 448
pages. 9x12 inches.
Published by Hal Leonard.
(9)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ensemble Time - B Flat Clarinets (Bass Clarinet) Quatuor de Clarinettes: 4 clarinettes Rubank Publications
For Instrumental Trio or Quartet Playing. Arranged by Herman Hummel and Harvey S...(+)
For Instrumental Trio or
Quartet Playing. Arranged
by Herman Hummel and
Harvey S. Whistler.
Ensemble Collection.
Classical. 24 pages.
Published by Rubank
Publications
$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tachun Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.114422680 Spring Outing. Comp...(+)
Chamber Music String
Quartet SKU:
PR.114422680
Spring Outing.
Composed by Chen Yi. Set
of Score and Parts.
8+2+2+2+1 pages. Duration
5 minutes. Theodore
Presser Company
#114-42268. Published by
Theodore Presser Company
(PR.114422680). ISBN
9781491136041. UPC:
680160688197. TACHU
N (SPRING OUTING) was
composed in 2021 for
“The Joy
Project,†to
commission uplifting
works for performance at
free outdoor concerts in
the San Francisco Bay
region. The work’s
title comes from the
annual Chinese festival
when people go outdoors
and travel, to welcome
the arrival of the new
Spring season. This
cheerful 5-minute work
features energetic
melodic lines in unison,
contrasting with vivid
rhythmic patterns, which
the composer indicates as
expressing our excitement
upon breathing the fresh
Spring air. Tachun
(Spring Outing) was
commissioned by and
dedicated to the Del Sol
String Quartet as a part
of The Joy Project in
2021. Tachun is also the
name of a Chinese
traditional festival when
people go outdoors and
travel, to welcome the
arrival of the new spring
season each year. Here is
a statement from the Del
Sol String Quartet about
this project:“Del
Sol has commissioned a
body of short musical
works written to give
joy. As our gift to our
community during these
times, we are performing
these pieces in numerous
free concerts at public
settings around the Bay
Area — parks,
schoolyards, open spaces
— where people can
soak up some musical
“joy†while
safely practicing social
distancing in the open
air.â€My string
quartet has active
melodic lines in unison,
contrasting with vivid
rhythmic patterns, to
express our excitement
when we breathe the fresh
air. $32.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flowersongs Version 2012 For Flute, Oboe And Clarinet Parts [Set de Parties séparées] Wilhelm Hansen
Flute, Clarinet and Oboe SKU: HL.14043011 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe
SKU: HL.14043011
Composed by Hans
Abrahamsen. Music Sales
America. Classical.
Softcover. Composed 2014.
Edition Wilhelm Hansen
#WH31940A. Published by
Edition Wilhelm Hansen
(HL.14043011). ISBN
9788759829288.
9.7x14.0x0.079
inches. Hans
Abrahamsen 's Flowersongs
(2012 version) for Flute,
Oboe and Clarinet. Parts.
'I wrote Flowersongs for
three Flutes in the
spring of 1973, when I
was 20 years old. Looking
back now, 40 years begins
to feel like a really
long time and sometimes I
think that it is as if
someone in 1973 is
talking about a piece
from 1933! But in spite
of this long time, this
is still a very important
piece for me. In
Flowersongs , along with
works like '10 Preludes'
for String Quartet and
'Stratifications' for
Orchestra, I feel that I
was on my way to finding
my own voice in the
middle of the music of
the great Central
European modernist
tradition from the 50s
and the reaction from the
60s of thenew simplicity,
minimalism and the
possibility of
poly-stilisme. The
English title Flowersongs
links to the flower power
movement and the hippie
culture of the 60s and
the early 70s, and the
work is trying to find
the power inherent in
this imaginary world.
Many of my later works
have titles in German,
for example 'Winternacht'
(1976/78), 'Nacht und
Trumpeten' (1981) and
much later 'Schnee'
(2006-08). If we think of
Flowersongs in German, it
must be Blumenlieder, and
to me it now sounds
suddenly very different,
more romantic and into
the world of Schumann.
Perhaps it is also a way
in which to hear the
piece? Another thing is
that the correct English
title is Flower Songs (as
two words) and not as one
word like in German or
Danish. This is perhaps
the German connection, as
I incorrectly wrote the
title as one word, but
perhaps it is also a kind
of naivety, which is also
part of the work. I
cannot help but carry
with me to this day the
ideas from my early
works. For example, there
are clear links in this
work from the 8th Prelude
from '10 Preludes' and to
Canon 2a from 'Schnee'
from 2008. This work is
written for the wonderful
ensemble recherche and it
was meeting them that
made me consider making a
version of Flowersongs
for Flute, Oboe and
Clarinet.' - Hans
Abrahamsen. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flowersongs Partitur, Kopi [Conducteur] Music Sales
Flute [Trio-] SKU: HL.14011531 Composed by Hans Abrahamsen. Music Sales A...(+)
Flute [Trio-] SKU:
HL.14011531 Composed
by Hans Abrahamsen. Music
Sales America. Classical.
Score. 20 pages. Music
Sales #KP00379. Published
by Music Sales
(HL.14011531). ISBN
9788759877104.
10.25x14.25x0.44 inches.
Danish. Hans
Abrahamsen 's Flowersongs
(1973) for three Flutes.
Score. 'I wrote
Flowersongs for three
Flutes in the spring of
1973, when I was 20 years
old. Looking back now, 40
years begins to feel like
a really long time and
sometimes I think that it
is as if someone in 1973
is talking about a piece
from 1933! But in spite
of this long time, this
is still a very important
piece for me. In
Flowersongs , along with
works like '10 Preludes'
for String Quartet and
'Stratifications' for
Orchestra, I feel that I
was on my way to finding
my own voice in the
middle of the music of
the great Central
European modernist
tradition from the 50s
and the reaction from the
60s of the new
simplicity,minimalism and
the possibility of
poly-stilisme. The
English title Flowersongs
links to the flower power
movement and the hippie
culture of the 60s and
the early 70s, and the
work is trying to find
the power inherent in
this imaginary world.
Many of my later works
have titles in German,
for example 'Winternacht'
(1976/78), 'Nacht und
Trumpeten' (1981) and
much later 'Schnee'
(2006-08). If we think of
Flowersongs in German, it
must be Blumenlieder, and
to me it now sounds
suddenly very different,
more romantic and into
the world of Schumann.
Perhaps it is also a way
in which to hear the
piece? Another thing is
that the correct English
title is Flower Songs (as
two words) and not as one
word like in German or
Danish. This is perhaps
the German connection, as
I incorrectly wrote the
title as one word: but
perhaps it is also a kind
of naivety, which is also
part of the work. I
cannot help but carry
with me to this day the
ideas from my early
works. For example, there
are clear links in this
work from the 8th Prelude
from '10 Preludes' and to
Canon 2a from 'Schnee'
from 2008. This work is
written for the wonderful
ensemble recherche and it
was meeting them that
made me consider making a
version of Flowersongs
for Flute, Oboe and
Clarinet.' - Hans
Abrahamsen. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flowersongs Version 2012 For Flute, Oboe And Clarinet Score [Conducteur] Wilhelm Hansen
Flute, Clarinet and Oboe SKU: HL.14043012 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe
SKU: HL.14043012
Composed by Hans
Abrahamsen. Music Sales
America. Classical.
Softcover. Composed 2014.
Edition Wilhelm Hansen
#WH31940. Published by
Edition Wilhelm Hansen
(HL.14043012). ISBN
9788759829271. Hans
Abrahamsen 's Flowersongs
(2012 version) for Flute,
Oboe and Clarinet. Score.
'I wrote Flowersongs for
three Flutes in the
spring of 1973, when I
was 20 years old. Looking
back now, 40 years begins
to feel like a really
long time and sometimes I
think that it is as if
someone in 1973 is
talking about a piece
from 1933! But in spite
of this long time, this
is still a very important
piece for me. In
Flowersongs , along with
works like '10 Preludes'
for String Quartet and
'Stratifications' for
Orchestra, I feel that I
was on my way to finding
my own voice in the
middle of the music of
the great Central
European modernist
tradition from the 50s
and the reaction from the
60s of thenew simplicity,
minimalism and the
possibility of
poly-stilisme. The
English title Flowersongs
links to the flower power
movement and the hippie
culture of the 60s and
the early 70s, and the
work is trying to find
the power inherent in
this imaginary world.
Many of my later works
have titles in German,
for example 'Winternacht'
(1976/78), 'Nacht und
Trumpeten' (1981) and
much later 'Schnee'
(2006-08). If we think of
Flowersongs in German, it
must be Blumenlieder, and
to me it now sounds
suddenly very different,
more romantic and into
the world of Schumann.
Perhaps it is also a way
in which to hear the
piece? Another thing is
that the correct English
title is Flower Songs (as
two words) and not as one
word like in German or
Danish. This is perhaps
the German connection, as
I incorrectly wrote the
title as one word, but
perhaps it is also a kind
of naivety, which is also
part of the work. I
cannot help but carry
with me to this day the
ideas from my early
works. For example, there
are clear links in this
work from the 8th Prelude
from '10 Preludes' and to
Canon 2a from 'Schnee'
from 2008. This work is
written for the wonderful
ensemble recherche and it
was meeting them that
made me consider making a
version of Flowersongs
for Flute, Oboe and
Clarinet.' - Hans
Abrahamsen. $38.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| You Are My Sunshine Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Facile De Haske Publications
String Quartet - early intermediate SKU: BT.DHP-1196191-070 Composed by J...(+)
String Quartet - early
intermediate SKU:
BT.DHP-1196191-070
Composed by Jimmie Davis,
Charles Mitchell.
Arranged by Nico Dezaire.
De Haske Pops for String
Quartet. Set (Score &
Parts). Composed 2019. De
Haske Publications #DHP
1196191-070. Published by
De Haske Publications
(BT.DHP-1196191-070).
ISBN 9789043157988.
English-German-French-Dut
ch. With its
simple, memorable melody
and folk-song style,
You Are My
Sunshine is
undoubtedly one of
America’s most
successful old-time music
love songs. Its success
in the 1940s massively
boosted the popularity of
the song’s singer
and guitarist, Jimmie
Davis and Charles
Mitchell, so much so that
it helped to springboard
Davis’ political
career, culminating in
his successful election
as Governor of Louisiana
in 1944. Dezaire’s
skilful arrangement
retains the
quintessential country
sound of the original
with this new string
quartet
orchestration.
You Are My Sunshine
is een liefdesliedje in
de Amerikaanse
old-time-muziektraditie
met een eenvoudige,
volksliedachtige en
bijzonder aanstekelijke
melodie. Zanger Jimmie
Davis en gitarist Charles
Mitchell werden er in de
jaren 1940 enorm populair
mee. Het succes gaf Davis
zelfs een beslissende
boost in zijn politieke
carrière, die hij
bekroonde met zijn
verkiezing tot gouverneur
van de Amerikaanse staat
Louisiana. Nico Dezaire
heeft met dit arrangement
de kenmerkende
countrysound van het
origineel op vakkundige
wijze bewerkt voor
strijkkwartet.
You Are My Sunshine
ist ein Lovesong in der
Tradition der
US-amerikanischen
Old-Time Music, dessen
einfache, volksliedartige
Melodie sich sofort
einprägt. Sänger
Jimmie Davis und
Gitarrist Charles
Mitchell erlangten mit
diesem Titel in den
1940er-Jahren eine enorme
Popularität. Bei Davis
beflügelte dieser
Erfolg sogar
maßgeblich seine
politische Karriere, die
er mit seiner Wahl zum
Gouverneur des
US-Bundesstaats Louisiana
krönen konnte. Nico
Dezaire setzt in seiner
Bearbeitung den typischen
Country-Sound des
Originals gekonnt auf
eine
Streichquartett-Besetzung
um.
You Are My
Sunshine est une
chanson d’amour
dans la tradition de la
Old-time music
américaine, dont la
mélodie simple aux
résonnances
folkloriques reste dans
la tête. Gr ce ce
titre, le chanteur Jimmie
Davis et le guitariste
Charles Mitchell
connurent une immense
popularité dans les
années 1940. Pour
Davis, ce succès donna
même un tournant
déterminant sa
carrière politique
puisqu’il fut
élu gouverneur de
l’État de
Louisiane. Dans son
arrangement pour quatuor
cordes, Nico Dezaire
transpose avec talent les
sonorités country
caractéristiques de
l’original. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet in A Minor, Op. 29, D. 804 Rosamunde Quatuor à cordes: 2 violons, alto, violoncelle G. Henle
Composed by Franz Schubert (1797-1828). Henle Study Scores. Classical. Softcover...(+)
Composed by Franz
Schubert (1797-1828).
Henle Study Scores.
Classical. Softcover. 56
pages. G. Henle #HN9849.
Published by G. Henle
(HL.51489849).
$13.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Longing for Spring - Facile Hal Leonard
Score and Parts Clarinet Quartet (Score & Parts) - Grade 3 SKU: HL.4009002(+)
Score and Parts Clarinet
Quartet (Score & Parts) -
Grade 3 SKU:
HL.4009002
Clarinet Quartet,
Grade 3 2:50 Score and
Parts. Composed by
Andreas Ziegelbä and
ck. Symphonic Dimensions.
Chamber, Concert.
Softcover. Duration 170
seconds. Hal Leonard
#SDP283-24. Published by
Hal Leonard (HL.4009002).
UPC:
196288283966. This
short, evocative piece
was written for a
clarinet quartet,
optionally accompanied by
a vibraphone. It can be
seen as a kind of song
without words and aims to
express the longing for
warmer seasons. The short
days of winter carry a
certain melancholy, but
at the same time, an
unparalleled calm. This
interplay between
tranquility and longing
is intended to be
expressed through the
harmonies in the piece.
The composition is
written in the harmonic
context of D minor at
many points, although not
a single D minor chord
appears throughout the
entire piece. This
harmonic openness remains
unresolved until the end,
leaving the listener with
a sense of
uncertainty. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Adagio in A major Deutscher Verlag für Musik
Double bass and 1 other inst. SKU: BR.DV-8109 Composed by Johann Matthias...(+)
Double bass and 1 other
inst. SKU:
BR.DV-8109 Composed
by Johann Matthias
Sperger. Solo
instruments; stapled.
Deutscher Verlag.
Sperger, musician at the
Mecklenburg court in
Ludwigslust, achieved
fame above all with his
works for double bass.
Thematically, the A major
Adagio closely recalls
Anton Franz Hoffmeister?s
Double Bass Concerto No.
3. Classical period.
Piano reduction. 12
pages. Deutscher Verlag
fur Musik #DV 8109.
Published by Deutscher
Verlag fur Musik
(BR.DV-8109). ISBN
9790200482898. 10 x 13
inches. Johann
Matthias Sperger, no
doubt the leading double
bass player of his time,
was born on 23 March 1750
in the Lower Austrian
town of Feldsberg (today
Valtice, Czech Republic).
After studying in Vienna
and occupying various
posts in Pressburg and
Eberau, he was hired by
Grand Duke Friedrich
Franz I of
Mecklenburg-Schwerin for
the Duke's court ensemble
in Ludwigslust. There
Sperger died on 13 May
1812, a highly esteemed
man. His extensive
compositional oeuvre
(which includes 45
symphonies, chamher
works, church music and
concertos) found its
climax in his works for
double bass solo. His 18
concertos, sonatas and
chamber works for various
instrumental comhinations
off er the soloist
gratifying musical tasks
both from a musical as
well as a technical point
of view. The Adagio for
Double Bass and String
Quartet was composed
around 1796/97, no doubt
for the composer's own
use. The autograph
belongs to the
Landesbibliothek
Mecklenburg-Vorpommern
(class. no. Mus. 5179).
The work is based on
thematic material from
the second movement of
Anton Franz Hoffmeister's
Double Bass Concerto No.
3. The relationship
between the two works and
the mutual influence of
both composers is plainly
visible.In order to allow
a performance of this
charming little work
without a string quartet,
we are also offering a
version with piano
accompaniment (DVfM 8109)
as well. Since the
original solo part was
written for a double bass
tuned in thirds and a
fourth (Viennese tuning:
A-D-F sharp-A), it was
necessary to arrange the
enclosed for the solo
tuning customary today: F
sharp-B-E-A. The editor
and publisher wish to
thank the
Landesbibliothek
Mecklenburg-Vorpommern
for its permission to
print this first edition.
Klaus Trumpf, Munich,
Spring 1997 Klaus
Trumpf
Sperger,
musician at the
Mecklenburg court in
Ludwigslust, achieved
fame above all with his
works for double bass.
Thematically, the A major
Adagio closely recalls
Anton Franz Hoffmeister's
Double Bass Concerto No.
3. $14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Complete Works (JSW) Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet SKU: BR.SON-634 Composed by Jean Sibelius. Edited by Tuija...(+)
String Quartet SKU:
BR.SON-634 Composed
by Jean Sibelius. Edited
by Tuija Wicklund Pekka
Helasvuo. Chamber music;
Linen. Complete Works.
Late-romantic; Early
modern. Complete Works.
328 pages. Breitkopf and
Haertel #SON 634.
Published by Breitkopf
and Haertel (BR.SON-634).
ISBN 9790004803691. 9
x 12
inches. Sibelius's
oeuvre contains four
string quartets. They
appeared over a long time
span and in different
phases of his
professional career. Most
of his early compositions
were chamber music, and
he composed his three
earliest quartets (in E
flat major (JS 184,
1885), A minor (JS 183,
1889), B flat major (Op.
4, 1890)) around his
study years. They
remained unprinted during
his lifetime, and the
string quartet in E flat
major was also not
performed in public. The
quartet in D minor Voces
intimae op. 56, on the
other hand, was completed
in London in the spring
of 1909, and Sibelius
wrote to his wife Aino:
It became wonderful. Just
the kind that raises a
smile on one's face even
at the moment of death.
Voces intimae was
published in the same
year. Even later,
Sibelius seemed to be
very satisfied with his
composition, for he wrote
in his diary: It is
generally claimed to be
my best work. I do not
think quite that, but it
does belong among my best
ones.. $438.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Pavane
Flûte, Clarinette, Piano (trio) [Conducteur et Parties séparées] Theodore Presser Co.
Composed by Gabriel Faure (1845-1924). Arranged by Michael Webster. Classical. S...(+)
Composed by Gabriel Faure
(1845-1924). Arranged by
Michael Webster.
Classical. Score and
part(s). With Standard
notation. Composed 2005.
Opus 50. 28 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41756. Published by
Theodore Presser Company
(PR.114417560).
$20.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jupiter Hymn Quatuor de cuivres: 4 trombones - Facile De Haske Publications
4 Trombones - early intermediate SKU: BT.DHP-1125359-070 From The Plan...(+)
4 Trombones - early
intermediate SKU:
BT.DHP-1125359-070
From The Planets.
Composed by Gustav Holst.
Arranged by Robert van
Beringen. De Haske Brass
Series. Set (Score and
Parts). Composed 2012. 8
pages. De Haske
Publications #DHP
1125359-070. Published by
De Haske Publications
(BT.DHP-1125359-070).
9x12 inches.
International. J
upiter Hymn is a
beautiful, easy-to-play
arrangement from the
wonderful fourth movement
of the seven-part
orchestral suite The
Planets by Gustav
Holst: Jupiter, the
Bringer of Jollity. Holst
took inspiration for this
suite?one of his
best-known works?from the
astrological aspect of
the planets rather than
their astronomical or
physical characteristics.
Holst wrote The
Planets at the
beginning of the 20th
century, at a time when
certain features of the
work, such as exotic time
signatures (5/4),
dissonances and unusual
instrumentation were
uncommon.
Jupit
er Hymn is een mooie,
eenvoudig speelbare
bewerking van het
schitterende vierde deel
uit de zevendelige
orkestsuite The
Planets van Gustav
Holst: â??Jupiter - The
Bringer of Jollityâ??.
Holst liet zich voor de
suite, een van zijn
bekendste werken,
inspireren door het
astrologische karakter
van de planeten, en dus
niet op de astronomische
of fysische
eigenschappen. Hij
schreef The
Planets aan het begin
van de 20e eeuw. Voor die
tijd in het oog
springende bijzonderheden
zijn de toepassing van
ongebruikelijke
instrumenten, de ongewone
maatsoorten (5/4) en de
dissonante
samenklanken.
J
upiter Hymn ist eine
schöne, einfach
spielbare Bearbeitung aus
dem glanzvollen vierten
Satz der siebenteiligen
Orchester-Suite The
Planets von Gustav
Holst: Jupiter - The
Bringer of Jollity.
Holst lie� sich für
dese Suite, die eines
seiner bekanntesten Werke
ist, von dem
astrologischen Aspekt der
Planeten inspirieren und
nicht von deren
astronomischen oder
physischen Eigenschaften.
Er schrieb The
Planets zu Beginn des
20. Jahrhunderts.
Auffällig für seine
Zeit waren die Verwendung
ungebräuchlicher
Instrumente,
ungewöhnlicher
Taktarten (5/4) und
Dissonanzen.
Ju
piter Hymn est un
arrangement
délicieusement
accessible du
quatrième mouvement
extrait du poème
symphonique en sept
mouvements The
Planets (Les
Planètes) de Gustave
Holst : Jupiter, the
Bringer of Jollity
(Jupiter, celui qui
apporte la gaieté).
Holst sâ??inspira de
notre système solaire
lorsquâ??il composa
cette suite, lâ??une de
ses ?uvres les plus
connues, donnant chacun
des mouvements sa propre
couleur. Holst écrivit
Les Planètes au
début du XXe
siècle, employant une
certaine signature alors
inhabituelle (mesures
5/4), faisant appel de
nombreuses dissonances et
une instrumentation
atypique. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet E Minor Quatuor à cordes: 2 violons, alto, violoncelle G. Henle
Parts. Composed by Giuseppe Verdi (1813-1901). Edited by Anselm Gerhard. Henle...(+)
Parts. Composed by
Giuseppe
Verdi (1813-1901). Edited
by
Anselm Gerhard. Henle
Music
Folios. Classical.
Softcover.
69 pages. G. Henle
#HN1588.
Published by G. Henle
$32.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Selections from the Four Seasons for String Quartet Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] - Facile Latham Music Enterprises
Orchestra Violin 1, Violin 2, Viola, Cello - Grade 3 SKU: AP.36-52703112 ...(+)
Orchestra Violin 1,
Violin 2, Viola, Cello -
Grade 3 SKU:
AP.36-52703112
Composed by Antonio
Vivaldi. Arranged by
Lynne Latham. Performance
Music Ensemble; String
Quartet. Ludwig Masters.
Score. 68 pages. Latham
Music Enterprises
#36-52703112. Published
by Latham Music
Enterprises
(AP.36-52703112). ISBN
9781621567479. UPC:
679360715857.
English. This
collection from Vivaldi's
great set of concertos
features movements from
Spring and Autumn. A nice
collection for the
advancing student quartet
as well as extra
repertoire for the
working quartet. Includes
an optional Violin 3
substitute part for
Viola.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $26.99 - Voir plus => Acheter | | |
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