| Christmastime Voix duo Hope Publishing Company
Composed by Michael W. Smith / Joanna Carlson. Arranged by Lloyd Larson. For Voc...(+)
Composed by Michael W.
Smith / Joanna Carlson.
Arranged by Lloyd Larson.
For Vocal Duet (Two
Medium Voices - Key of
E-Flat). Christmas, Call
To Worship, Children,
Contemporary, Hymntune.
Published by Hope
Publishing Company
$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Ludwig van Beethoven : Three Duos for Two Trombones 2 Trombones (duo) Cherry Classics
By Ludwig van Beethoven (1770-1827). Arranged by Ralph Sauer. For Trombone Duet....(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Ralph Sauer. For Trombone
Duet. Classical.
Moderately advanced. Two
parts only. Published by
Cherry Classics
$22.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Santa's Little Helper for Clarinet with CD Clarinette Santorella Publications
Clarinet SKU: SP.TS175 Composed by Tony Santorella. Arranged by Denise Ge...(+)
Clarinet SKU:
SP.TS175 Composed by
Tony Santorella. Arranged
by Denise Gendron.
Collection; Christmas.
Book and CD. Santorella
Publications #TS175.
Published by Santorella
Publications (SP.TS175).
ISBN 9781585604579.
UPC:
649571101756. Music
has always been an
integral part of the
holiday season. As
everyone knows, there is
no better way to
celebrate than with a
song. Re-live your
childhood memories and
share your love of music
this holiday season with
Santa's Little Helper
published by Santorella
Publications. Santa's
Little Helper for
Clarinet is written as
solos or duets in
accommodating keys for
Trumpet, Flute, Alto Sax
or Trombone. The Piano
Accompaniment book for
Brass & Reed instruments
is sold separately.
Santorella's String
Edition is also available
for violin, viola, cello
and bass. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music for Two, Volume 2 - Clarinet and Cello/Bassoon [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Arranged by Daniel Kelley. Duets. Music for Two. Wedding, Classical. Level: Inte...(+)
Arranged by Daniel
Kelley. Duets. Music for
Two. Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
$22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Im Volkston Clarinette/violon/violoncelle Violon, Violoncelle (duo) Durand
Clarinet, violin and cello SKU: HL.50562684 Composed by Nicolas Bacri. Sh...(+)
Clarinet, violin and
cello SKU:
HL.50562684 Composed
by Nicolas Bacri. Sheet
music. Editions Durand.
Set of parts. Editions
Durand #DF1479500.
Published by Editions
Durand (HL.50562684).
8.5x11.5x0.17
inches. $63.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Suite Guitar/fl/cl/vn/vc**pop** Violon, Violoncelle (duo) Schott
Guitar, flute, clarinet, violin and cello SKU: HL.49014501 Composed by Ni...(+)
Guitar, flute, clarinet,
violin and cello SKU:
HL.49014501 Composed
by Nicolas Marshall. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score and
Parts. 42 pages. Schott
Music #ED 11223.
Published by Schott Music
(HL.49014501). ISBN
9790220108884.
9.0x12.0x0.12
inches. $10.99 - Voir plus => Acheter | | |
| Santa's Little Helper for Cello with CD Violoncelle Santorella Publications
Cello SKU: SP.TS178 Composed by Denise Gendron. Arranged by Denise Gendro...(+)
Cello SKU:
SP.TS178 Composed by
Denise Gendron. Arranged
by Denise Gendron.
Collection; Christmas.
Book. Santorella
Publications #TS178.
Published by Santorella
Publications (SP.TS178).
ISBN 9781585604609.
UPC:
649571101787. Music
has always been an
integral part of the
holiday season. As
everyone knows, there is
no better way to
celebrate than with a
song. Re-live your
childhood memories and
share your love of music
this holiday season with
Santa's Little Helper
published by Santorella
Publications. Santa's
Little Helper for Cello
is also written as solos
or duets in accommodating
keys for Violin, Viola &
Bass. The Piano
Accompaniment book for
this Stringed Instrument
Edition is sold
separately. Santorella's
Horn Edition is also
available for trumpet,
clarinet, flute, alto sax
& trombone. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ludus Minor Clarinette, Violoncelle (duo) [Conducteur] Schott
Performance Score. By Paul Hindemith. Schott. Size 9x12 inches. 12 pages. Publis...(+)
Performance Score. By
Paul Hindemith. Schott.
Size 9x12 inches. 12
pages. Published by
Schott.
$12.99 - Voir plus => Acheter | | |
| Sonatina No. 2, Op. 194 Violon, Alto (duo) Hal Leonard
Cello; Clarinet; Flute; Oboe d'amore; Saxophone; Viola; Violin SKU: HL.505626...(+)
Cello; Clarinet; Flute;
Oboe d'amore; Saxophone;
Viola; Violin SKU:
HL.50562627
Score. Composed by
Charles Koechlin.
Editions Durand.
Classical. Study Score.
Composed 2001. Hal
Leonard #ME0851100.
Published by Hal Leonard
(HL.50562627). UPC:
073999466034.
7.0x9.0x0.116
inches. Scored for
oboe d'amore or soprano
saxophone, flute,
clarinet, 2 violins, 2
violas, 2 violoncellos,
and piano. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Virtutes Schott
8a. Little March for percussion and piano duet, with 2 clarinets and cello ad li...(+)
8a. Little March for
percussion and piano
duet, with 2 clarinets
and cello ad lib.
Performance Score. By
Alexander Goehr. Schott.
12 pages. Published by
Schott.
$8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eight Instrumental Miniatures (Miniature Score) [Conducteur d'étude / Miniature] Chester
By Igor Stravinsky. For Flute (Duet), Oboe (Duet), Clarinet (Duet), Bassoon (Due...(+)
By Igor Stravinsky. For
Flute (Duet), Oboe
(Duet), Clarinet (Duet),
Bassoon (Duet), Horn,
Violin (Duet), Viola
(Duet), Cello (Duet).
20th Century. Sheet
Music. 16 pages.
Published by Chester
Music.
$17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Shadows Are Falling - Facile GIA Publications
By Tyrolean Carol. Arranged by Bud Wayne Bisbee. For Voices: SATB or 2 mixed voi...(+)
By Tyrolean Carol.
Arranged by Bud Wayne
Bisbee. For Voices: SATB
or 2 mixed voices or
duet; solo. Instruments:
Oboe, bassoon (or B
clarinet or viola); 2
violins, cello may
substitute for keyboard
(instruments required).
Keyboard accompaniment.
Christmas Sacred. Level:
easy. 9 pages. Published
by GIA Publications.
$1.20 $1.14 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Two Songs from Taizé: My Spirit Yearns for You / Mane nobiscum Chorale SATB SATB, Clavier - Débutant GIA Publications
SATB choir, keyboard accompaniment, flute, oboe, clarinet, cello, guitar - Begin...(+)
SATB choir, keyboard
accompaniment, flute,
oboe, clarinet, cello,
guitar - Beginning
SKU: GI.G-8519
My Spirit Yearns for
You Mane Nobiscum.
Composed by Taize
Community. Eastertide.
Taize Community. Sacred.
Octavo. With guitar chord
names. 8 pages. GIA
Publications #8519.
Published by GIA
Publications (GI.G-8519).
UPC: 785147851905.
Dutch, English, Latin.
Text by Taize
Community. My
Spirit Yearns for Your:
parts are Flute (Solo or
Duet), Oboe, Clarinet,
Cello and Guitar Mane
nobiscum only has a part
of Guitar. $2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ahava Basson, Piano (duo) Ricordi
Flute, Clarinet, Violin, Cello, Piano SKU: HL.50601654 For Flute, Clar...(+)
Flute, Clarinet, Violin,
Cello, Piano SKU:
HL.50601654 For
Flute, Clarinet, Violin,
Cello, and Piano
Score. Composed by
Adam Schoenberg. Ricordi
London. Softcover; Score.
Ricordi #RICL00039300.
Published by Ricordi
(HL.50601654). ISBN
9781540049759. UPC:
888680930448. $22.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Phillips Duettino Hal Leonard
Cello; Clarinet SKU: HL.48022691 Clarinet and Cello. Composed by O...(+)
Cello; Clarinet SKU:
HL.48022691
Clarinet and
Cello. Composed by
Olli Kortekangas. Boosey
& Hawkes Chamber Music.
Classical, Contemporary.
Softcover. Hal Leonard
#M550111172. Published by
Hal Leonard
(HL.48022691).
$31.00 - Voir plus => Acheter | | |
| 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 | | |
| Thickly Settled Basson, Piano (duo) Peters
Clarinet, violin, cello, piano SKU: PE.EP68440 For Clarinet, Violin, V...(+)
Clarinet, violin, cello,
piano SKU:
PE.EP68440 For
Clarinet, Violin,
Violoncello and
Piano. Composed by
David Rakowski. Chamber
Quartet. Edition Peters.
Living Composer. Piano
score and parts. 20
pages. Duration 00:19:00.
Edition Peters
#98-EP68440. Published by
Edition Peters
(PE.EP68440). ISBN
9790300766799. This
product is Printed on
Demand and may take
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| Duetti Amorosi Score And Parts (2vln/vla/vc/db/cl/bsn/hn) - Intermédiaire Schott
2 violins, viola, cello, double bass, clarinet, bassoon and horn (also alpenhorn...(+)
2 violins, viola, cello,
double bass, clarinet,
bassoon and horn (also
alpenhorn) - intermediate
SKU: HL.49043935
Based on Ovid's
Metamorphoses.
Composed by Wilfried
Hiller. This edition:
Saddle stitching. Sheet
music. Ensemble.
Softcover. Composed 1999.
52 pages. Duration 20'.
Schott Music #ED21574.
Published by Schott Music
(HL.49043935). ISBN
9790001191647.
9.25x12.0x0.158
inches. Two
instruments - sometimes
two violins, sometimes
violin and double-bass or
clarinet and bassoon -
always take the lead as a
duo in the ensemble which
is arranged around the
audience. In the
love-song of Polyphem the
One-Eyed, however, the
alphorn does not find a
partner. $68.00 - Voir plus => Acheter | | |
| Mary, Did You Know? Chorale SATB [Vocal Score] Hope Publishing Company
Composed by Buddy Greene. Arranged by Jack Schrader. For medium and high voice d...(+)
Composed by Buddy Greene.
Arranged by Jack
Schrader. For medium and
high voice duet (key of D
Minor). Hope's All-Time
Best Sellers series.
Christmas, Devotion,
Contemporary,
Contemporary Gospel.
Vocal score. 12 pages.
Published by Hope
Publishing Company
$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| In Christ Alone with Cornerstone Hope Publishing Company
Vocal Duet (2 Med. Voices - Key of C Minor) SKU: HP.9099 Arranged by Joel...(+)
Vocal Duet (2 Med. Voices
- Key of C Minor) SKU:
HP.9099 Arranged by
Joel Raney. Vocal Score.
12 pages. Hope Publishing
Company #9099. Published
by Hope Publishing
Company (HP.9099).
UPC:
763628190996. Medle
y of songs by Keith
Getty, Stuart Townend,
Eric Liljero, Rueben
Morgan, & Jonas Myrin
Originally, this appeared
in Joel Raney and Lloyd
Larson's best-selling
Lenten cantata, 'Hope in
the Shadows,' code no.
8801. This medley pairs
the popular Keith Getty
song with the praise
chorus, 'Cornerstone' and
'When I Survey the
Wondrous Cross.'. $7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Weather Jazz Basson, Piano (duo) Peters
Voices (Solo) in Ensemble high voice, flute, clarinet, violin, cello, piano S...(+)
Voices (Solo) in Ensemble
high voice, flute,
clarinet, violin, cello,
piano SKU:
PE.EP67712 Composed
by David Rakowski. Voices
(Solo) in Ensemble.
Edition Peters. Living
Composer. Score. 20
pages. Duration circa 3
minutes. Edition Peters
#98-EP67712. Published by
Edition Peters
(PE.EP67712). ISBN
9790300744018.
English. Weather
Jazz - (Eng)
This
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Demand and may take
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Please order from your
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| Four Graphic Duets [Conducteur] Seesaw Music Corp
By Robert Kleiman. For any instrument (Flute, Oboe, Trumpet, Horn, Clarinet, Vio...(+)
By Robert Kleiman. For
any instrument (Flute,
Oboe, Trumpet, Horn,
Clarinet, Violin,
Trombone, Cello).
(Chamber Music). Sheet
music. Published by See
Saw.
$14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Melange Theodore Presser Co.
Chamber Music Bass Clarinet, Celesta, Cello, Clarinet, Flute, Percussion, Piano,...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Clarinet, Flute,
Percussion, Piano,
Violin, alto Flute
SKU: PR.114410060
Composed by William
Kraft. Set of Score and
Parts. With Standard
notation. 29+5+5+7+7+8+11
pages. Theodore Presser
Company #114-41006.
Published by Theodore
Presser Company
(PR.114410060). UPC:
680160014859. The
solo of the opening
movement is a cadenza for
four suspended cymbals
played in a wide variety
of ways - on the dome,
the face, the edge; with
the tip, the shank, or
the ball of the stick;
with a metal rod; ect.
The metric structure of
this movement is utilized
as framework in the third
and fourth movements,
creating a partial
isometric relationship.
Flute and clarinet form
the Duet of the second
movement, with light
accompaniment from the
rest of the ensemble. The
Quartet of Movement Three
is made up of violin,
cello, piano and
percussion. Towards the
center of this movement,
two duets are formed
between the violin/cello
and the percussion/piano,
wherin they function at
different, through
related, speeds. The
isometric relationship is
more fully developed in
the fourth movement where
the actual metric
structure of the cymbal
cadenza is duplicated
while the clarinet and
percussion perform the
rhythmic structure of the
first two large segments
of the cymbal cadenza and
there is also a suggested
augmented version in the
piano part. All this
leads to a rich interplay
of varied and specific
material from the cymbal
cadenza, concluding with
a large section of
bell-like sounds. $110.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Melange Theodore Presser Co.
Chamber Music Bass Clarinet, Celesta, Cello, Clarinet, Flute, Percussion, Piano,...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Clarinet, Flute,
Percussion, Piano,
Violin, alto Flute
SKU: PR.11441006S
Composed by William
Kraft. World Premiere:
Dallas. Contemporary.
Full score. With Standard
notation. Composed 1985.
29 pages. Theodore
Presser Company
#114-41006S. Published by
Theodore Presser Company
(PR.11441006S). UPC:
680160592838. 8.5 x 11
inches. The solo of
the opening movement is a
cadenza for four
suspended cymbals played
in a wide variety of ways
- on the dome, the face,
the edge; with the tip,
the shank, or the ball of
the stick; with a metal
rod; ect. The metric
stucture of this movement
is utilized as framework
in the third and fourth
movements, creating a
partial isometric
relationshiop. Flute and
clarinet form the Duet of
the movement, with light
accompaniment from the
rest of the ensemble. The
Quartet of Movement Three
is made up of violin,
cello, piano and
percussion. Towards the
center of this movement,
two duets are formed
between the violin/cello
and the percussion/piano,
wherein they function at
different, though
related, speeds. The
isometric relationship is
more fully developed in
the fourth movement where
the actual metric
structure of the cymbal
cadenza is duplicated
while the clarinet and
percussion perform the
rhythmic structure of the
first two large segments
of the cymbal cadenza and
there is also a suggested
augmented version in the
piano part. All this
leads to a rich interplay
of varied and specific
material from the cymbal
cadenza, concluding with
a large section of
bell-like sounds. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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