| Classiques Du Chant Choral N 2 Chorale SATB SATB A Cappella A Coeur Joie
Composed by Henry Purcell (1659-1695). Collection. Secular. Choir part. 80 pages...(+)
Composed by Henry Purcell
(1659-1695). Collection.
Secular. Choir part. 80
pages. Published by
Editions a Coeur Joie
(CJ.A135300802).
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| Alleluia Canon Chorale SATB SATB [Octavo] - Intermédiaire Alfred Publishing
By Wolfgang Amadeus Mozart. Arranged by Donald Moore. For Choir. (SATB). Choral...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Donald Moore. For Choir.
(SATB). Choral Octavo.
Masterwork. Level: Level
4 (grade L4). Choral
Octavo. 8 pages.
Published by Alfred
Publishing.
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| Alleluia Canon Chorale 3 parties SAB [Octavo] - Intermédiaire Alfred Publishing
By Wolfgang Amadeus Mozart. Arranged by Donald Moore. For Choir. (SAB). Choral ...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Donald Moore. For Choir.
(SAB). Choral Octavo.
Masterwork. Level: Level
3 (grade L3). Choral
Octavo. 8 pages.
Published by Alfred
Publishing.
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| Alleluia Canon Chorale 2 parties 2 parties, Flûte [Octavo] - Facile Alfred Publishing
By Wolfgang Amadeus Mozart. Arranged by Donald Moore. For Opt. Flute. (2-Part)....(+)
By Wolfgang Amadeus
Mozart. Arranged by
Donald Moore. For Opt.
Flute. (2-Part). Choral
Octavo. Masterwork.
Level: Level 2 (grade
L2). Choral Octavo. 8
pages. Published by
Alfred Publishing.
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| Kanons / Musikalisches Opfer [Partition] Barenreiter
Urtext der Neuen Mozart-Ausgabe. By Johann Sebastian Bach. Edited by Christoph W...(+)
Urtext der Neuen
Mozart-Ausgabe. By Johann
Sebastian Bach. Edited by
Christoph Wolff. For
Instrument. Neue
Bach-Ausgabe. Serie VIII,
Band 1. Collection;
Score; Urtext Edition;
Complete Edition (cloth
bound). Published by
Baerenreiter-Ausgaben
(German import). (BA5042
01)
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| A Mozart Canon Chorale 3 parties SAB [Octavo] Alfred Publishing
Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo; Masterworks. Choral Desi...(+)
Choir Secular. 3-Part
Mixed Choir (SAB). Choral
Octavo; Masterworks.
Choral Designs.
Masterwork Arrangement. 8
pages. Published by
Alfred Music
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Urtext der Neuen Mozart-Ausgabe. By Johann Sebastian Bach. Edited by Christoph W...(+)
Urtext der Neuen
Mozart-Ausgabe. By Johann
Sebastian Bach. Edited by
Christoph Wolff. For
Chamber orchestra.
Baerenreiter
Studienpartituren - Study
scores. Study Score;
Urtext Edition
(paperbound). BWV 1079.
Published by
Baerenreiter-Taschenparti
turen (German import).
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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 | | |
| Peace I Leave with You (Based on a canon by Mozart) Chorale [CD d'accompagnement] Alfred Publishing
By Wolfgang Amadeus Mozart. Arranged by Donald Moore. For Choir. Choral Octavo. ...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Donald Moore. For Choir.
Choral Octavo. Choral
Designs. Masterwork;
Peace/Brotherhood.
Accompaniment and
performance CD. Published
by Alfred Publishing.
$27.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Peace I Leave with You (Based on a canon by Mozart) Flûte, Chorale [Octavo] - Intermédiaire Alfred Publishing
By Wolfgang Amadeus Mozart. Arranged by Donald Moore. For Opt. Flute or C-Instru...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Donald Moore. For Opt.
Flute or C-Instrument.
(SAB and Sign Language).
Choral Octavo.
Peace/Brotherhood. Level:
Level 3 (grade L3).
Choral Octavo. 8 pages.
Published by Alfred
Publishing.
(1)$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Peace I Leave with You (Based on a canon by Mozart) Chorale SATB SATB, Flûte [Octavo] Alfred Publishing
By Wolfgang Amadeus Mozart. Arranged by Donald Moore. For Opt. Flute. (SATB (wi...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Donald Moore. For Opt.
Flute. (SATB (with Opt.
Sign Language)). Choral
Octavo.
Peace/Brotherhood. Level:
Level 4 (grade L4).
Choral Octavo. 8 pages.
Published by Alfred
Publishing.
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Peace I Leave with You (Based on a canon by Mozart) Chorale 2 parties 2 parties, Piano [Octavo] Alfred Publishing
By Wolfgang Amadeus Mozart. Arranged by Donald Moore. For Opt. Flute and Sign La...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Donald Moore. For Opt.
Flute and Sign Language.
(2-Part). Choral Octavo.
Peace/Brotherhood. Level:
Level 1 (grade L1).
Choral Octavo. 8 pages.
Published by Alfred
Publishing.
$2.05 $1.9475 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Serenade a 8 in C Minor, KV. 388 Orchestre [Conducteur d'étude / Miniature] Eulenburg
By Wolfgang Amadeus Mozart. Arranged by Harry Newstone. (Study Score). Schott. ...(+)
By Wolfgang Amadeus
Mozart. Arranged by Harry
Newstone. (Study Score).
Schott. 64 pages.
Published by Eulenburg
London (Schott).
$13.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| De Bach a nos jours - Volume 3B Piano seul Lemoine, Henry
Piano SKU: LM.28668D Composed by Charles Herve and Jacqueline Pouillard. ...(+)
Piano SKU:
LM.28668D Composed by
Charles Herve and
Jacqueline Pouillard. De
Bach a nos jours.
Classical. CD. Editions
Henry Lemoine #28668D.
Published by Editions
Henry Lemoine
(LM.28668D). ISBN
9790231701647. BACH
C.P.E. : Andante - BACH
J.C. : Andante (Sonate
Op.5 n. 2) - BACH W.F. :
Menuet - BACH J.S. :
Gavotte (Suite anglaise
en Sol mineur) - Menuet
(Suite francaise en Si
mineur) - BADINGS :
Scherzo Pastorale -
BARTOK : For Children
Vol.1 n. 29 - For
Children Vol.2 n. 27 -
For Children Vol.2 n. 33
- Lied (Mikrokosmos n.
116) - Nocturne
(Mikrokosmos n. 97) -
BEETHOVEN : Bagatelle
Op.33 n. 3 - Tempo di
menuetto (Sonate n. 20) -
BURGMULLER : Berceuse -
CHOPIN : Polonaise en Sol
mineur - CONSTANTINESCU :
Le Renard et le corbeau -
FRANCK : Canon - GRIEG :
Arietta - HAENDEL :
Courante - HAYDN : Sonate
en Sol majeur (Hob XVI
:G1) - HELLER : Etude
Op.47 n. 9 - HUMMEL :
Scherzo - IBERT : Premier
bal - KULLAK : Tanzchen
im freien - LIGETI :
Musica ricercata (n. IV
Tempo di valse) -
MENDELSOHN : Romance
(Kinderstuck Op.72 n. 2)
- MOZART : Rondo
(Sonatine viennoise en Re
majeur) - PROKOFIEFF :
Cortege de sauterelles -
Sur les pres la lune se
promene - REGER : A
toutes jambes - REGNER :
Dans la caverne - ROSSI :
Andantino - SCHUBERT :
Allegretto en Ut mineur -
SCHULHOFF : Invention
Op.36 n. 10 - SCHUMANN :
Theme et variations (1re
sonatine) - STOLZEL :
Menuet - TCHAIKOVSKI : La
Sorciere dans la foret -
TURINA : L'Enfant
s'endort - Boite a
musique. $19.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| A p'tits pas pour les p'tits doigts - Volume 1 Piano Facile Edition Delrieu
Piano - Level 1 SKU: LM.40009 Composed by Marguerite Canon. Classical. Sc...(+)
Piano - Level 1 SKU:
LM.40009 Composed by
Marguerite Canon.
Classical. Score. Edition
Delrieu #40009. Published
by Edition Delrieu
(LM.40009). ISBN
9790231700091. Bach
J.C. : Menuet en Sol
majeur - Beethoven : Sur
un air ukrainien - Canon
: A la ronde - Le
Ruisseau - Villageoise -
Chitte : Etude I - Etude
II - Le Poussin curieux -
Corelli : Sarabande -
Czerny : Etude Op.453 n.
4 - Etude Op.777 n. 2 -
Etude - Haydn : Danse
allemande en Re majeur -
Mozart : Le Printemps (4
mains) - Valse en Sib
majeur - Tchaikovsky :
Chanson enfantine -
Telemann : Gavotte - Turk
: Chanson a danser - Aria
- Anonyme : Sur un air
russe - Chansonnette
-Polka de Riga - Chanson
francaise - Gavotte -
Traditionnel : Le
Carillonneur - Dans la
foret lointaine - Petit
papa - Deux chansons
roumaines - Chanson
populaire ukrainienne -
Chanson populaire
slovaque (4 mains) -
Chanson populaire tatare
(4 mains). $21.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Pacem Noel Chorale SATB SATB, Piano [Octavo] Carl Fischer
By Traditional Canon. Arranged by Larry Clark, Rae Moses. For Soprano, Alto, Ten...(+)
By Traditional Canon.
Arranged by Larry Clark,
Rae Moses. For Soprano,
Alto, Tenor, Bass,
Keyboard, Optional Flute,
Optional Concert Band.
Octavo. 8 pages. Duration
3 minutes, 21 seconds.
Published by Carl Fischer
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Favorites for Electric Bass Basse electrique Mel Bay
Solos and Duets. Composed by Chuck Bianchi. Squareback saddle stitch, Solo...(+)
Solos and Duets. Composed
by
Chuck Bianchi. Squareback
saddle stitch,
Solos/Duets/Ensembles,
Featured Products,
Technique,
Theory and Reference,
Classical. Style. Book.
88
pages. Mel Bay
Publications,
Inc #30654. Published by
Mel
Bay Publications, Inc
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Singkreisel: School Canons Schott
Easy SKU: HL.49013230 Schulkanons fur alle Gelegenheiten. Composed...(+)
Easy SKU:
HL.49013230
Schulkanons fur alle
Gelegenheiten.
Composed by Fritz Joede.
This edition:
Paperback/Soft Cover.
Paperback. Bausteine fur
Musikerziehung und
Musikpflege. Classical.
64 pages. Schott Music #B
101. Published by Schott
Music (HL.49013230).
ISBN 9790001103633.
German. $15.99 - Voir plus => Acheter | | |
| D'une melodie a l'autre - Volume 2 Lemoine, Henry
Music teaching - Level 2 SKU: LM.27843 Composed by Elisabeth Lamarque and...(+)
Music teaching - Level 2
SKU: LM.27843
Composed by Elisabeth
Lamarque and Marie-Jose
Goudard. Method, studies.
Score. Editions Henry
Lemoine #27843. Published
by Editions Henry Lemoine
(LM.27843). ISBN
9790230978439. ABOU
LKER : Final
d'Atchafalaya (duo) -
ABSIL : Houp la-la !
(Chansons plaisantes -
duo) - ABSIL :
Marionnettes (Chansons
plaisantes - duo) -
BEETHOVEN : Der Abschied
- BERNSTEIN : I Feel
Pretty (West Side Story)
- BERNSTEIN : Tonight
(West Side Story) - B!ZET
: Pastorale - BRAHMS :
Die Meer Op.20 n. 3 (duo)
- CHERUBINI : Duetto I
(duo) - GRIEG : Guten
Morgen Op.21 n. 1 - LISZT
: Es muss ein Wunderbares
sein - MENDELSSONN :
Sonntagsmorgen Op.77 n. 1
(duo) - MILHAUD : Chanson
de troubadour : MOZART :
Ridente la calma - MOZART
: Canon O du eselhafter
Martin (4 voix) - SATIE :
Allons-y Chochotte -
SAUGUET : L'Alchimiste au
regard d'ambre (7
Chansons de l'alchimiste)
SCHUBERT : Schafers
klagelied - SCHUMANN : ln
meinem Garten (trio) -
SEVERAC de : Philis -
STOLZEL : Bist du bei mir
- WIENER : Le Glaieul
(Chantefables) - WIENER :
Le Leopard (Chantefables)
- WOLF : Nacht Op.10 n.
3. $28.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| 77 Canonic Variations on "Twinkle Twinkle Little Star" Piano seul Subito Music
Piano SKU: SU.28150020 For Piano. Composed by Nathan L. Lam. Keybo...(+)
Piano SKU:
SU.28150020 For
Piano. Composed by
Nathan L. Lam. Keyboard,
Piano/Harpsichord. Score.
Subito Music Corporation
#28150020. Published by
Subito Music Corporation
(SU.28150020).
A 21st century
homage to the canonic
arts and Mozart's famous
piano variations. This
suite takes the genre of
canonic variations to the
next level in terms of
the number of variations,
the variety of
transformations, and the
addition of rare and
non-traditional canon
types, such as table
canons and interscalar
canons by intervallic
augmentation. For sample
scores and media, visit
Piano Duration: 40'
Composed: 2020 Published
by: Nathan L. Lam
Music. $45.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I'm a Quartet Violon [Partition + CD] Fentone Music
11 Well-Known Pieces for Solo Violin As Part of a String Quartet. Fentone Play A...(+)
11 Well-Known Pieces for
Solo Violin As Part of a
String Quartet. Fentone
Play Along Books. Book
and CD Package. Size 9x12
inches. 20 pages.
Published by Fentone
Music/De Haske.
(3)$22.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Mozart Canon - Soundtrax CD (CD only) Chorale [CD d'accompagnement] Alfred Publishing
By Donald Moore. For Choir. Choral Octavo. Choral Designs. Performance / Accompa...(+)
By Donald Moore. For
Choir. Choral Octavo.
Choral Designs.
Performance /
Accompaniment CD only -
No Sheet Music included.
Masterwork. CD only - No
Sheet Music included.
Published by Alfred
Publishing.
$27.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Mozart Canon Chorale 2 parties 2 parties [Octavo] Alfred Publishing
By Donald Moore. For Choir. (2-Part). Choral Octavo. Choral Designs. Masterwork...(+)
By Donald Moore. For
Choir. (2-Part). Choral
Octavo. Choral Designs.
Masterwork. Choral
Octavo. 8 pages.
Published by Alfred
Publishing.
(1)$2.05 $1.9475 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| My First Concert On Recorder Alto Flûte à bec Alto, Piano Schott
Treble recorder and piano (A) SKU: HL.49007054 27 Pieces for Treble Re...(+)
Treble recorder and piano
(A) SKU:
HL.49007054 27
Pieces for Treble
Recorder and Piano.
Edited by Johannes
Weigart. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. 92 pages.
Schott Music #ED7213.
Published by Schott Music
(HL.49007054). ISBN
9790001075572.
9.0x12.0x0.28
inches. $24.99 - Voir plus => Acheter | | |
| Spielbuch 2 Clarinet/piano Clarinette et Piano - Facile Schott
2-3 clarinets / clarinet and piano (CL/PF) - easy SKU: HL.49015420 Compos...(+)
2-3 clarinets / clarinet
and piano (CL/PF) - easy
SKU: HL.49015420
Composed by Rudolf Mauz.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Performance
Book. 62 pages. Schott
Music #ED 8084. Published
by Schott Music
(HL.49015420). ISBN
9783795751562.
9.0x12.0x0.269 inches.
German. Tune Book 2
of Mauz' Clarinet Method
is adjusted to the
content of Vol. 2 of the
method. It provides
additional performance
material for clarinet and
piano as well as for 2 or
3 clarinets. German and
international songs,
several canons as well as
short pieces from the
Classical, Romantic and
Modern eras shall further
deepen the joy of joint
music-making. $16.99 - Voir plus => Acheter | | |
| Un pour tous, tous pour la musique Piano, Voix Combre
Voice and piano - Level 1 SKU: LM.C06103 Composed by Jacques Ballue. Clas...(+)
Voice and piano - Level 1
SKU: LM.C06103
Composed by Jacques
Ballue. Classical. Score.
Editions Combre #C06103.
Published by Editions
Combre (LM.C06103).
ISBN
9790230361033. Se
Canto (melodie populaire
du Bearn) - J'ai cueilli
la rose (melodie
populaire de l'Artois) -
BRAHMS J. : Jungfraulein
- Una Cansoneta Nova
(melodie populaire du
Roussilon) - Jeiki Jeiki
(melodie populaire du
Pays Basque) - Leggets
reel (air irlandais) -
Thro' the field (air
irlandais) BRAHMS J. :
Wiegenlied - Farandole
(melodie populaire de
Provence) - Jibeli Jibela
(Danse de Bretagne) -
MOZART W.A. : Air de
Papageno MOZART W.A. :
Papagenos Glockenspiel -
Ha ! Ha ! Ha ! (Canon a 3
voix) - Le canon du
metronome (Canon a 4
voix) - L'avoine (melodie
populaire de Gascogne) -
Histoire drole, Les
mesaventures du pelican -
Svegliati (serenade
corse) - Mendelssohn -
VIVALDI A. : Laudamus te
Gloria - HAENDEL G.F. :
Watermusic. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Happy Flutes Volume 1 MDS (Music Distribution Services) (+)
-
G-A-B
-
Fluit Duet
-
Cd
-
Kleine Dans
-
Advokaatje
-
Zandvoort aan C
-
Van Boven Naar Beneden
(Upstairs
Downstairs)
-
Hymn
-
Klein Koraal
-
Fis en Bes
-
Een Toegift (je)
-
Fray Martin
(canon)
-
Oh When The Saints
-
E1-E2
-
Orient
-
Dans
-
Au Claire De La Lune
-
Michael, Row The Boat
Ashore
-
And He's a Jolly Good
Fellow
-
De Marktventer
(Griekenland)
-
Aua Lee
-
Fray Martin
(canon)
-
O Sole Mio
-
Grandfathers Clock
-
Brown girl in the ring
-
My Bonnie
-
Happy Birthday
-
Lang zal ze leven
-
Perpetuum Mobile
(canon)
-
Muss i denn
-
Donna
-
We Wish You a Merry
Christmas
-
Hoe leit dit kindeke
-
An English Country Garden
-
Scarborough Fair
-
Greensleeves
-
Mozart Thema uit Sonata
No.11 K.331
-
Trepak (Russian
volkslied)
| | |
| Easy Piano Classical Anthology (International Edition) Piano seul - Facile Alfred Publishing
44 All Time Classical Songs Arranged for Easy Piano. Arranged by Franco Conc...(+)
44 All Time Classical
Songs
Arranged for Easy Piano.
Arranged by Franco
Concino.
Masterworks; Piano - Easy
Piano Collection.
Classical;
Masterwork Arrangement.
Book.
Alfred Music #99-MB397.
Published by Alfred Music
$26.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lord, Be Glorified - Timeless Hymns in Classical Settings Piano seul [Partition] FJH
By Marilyn Reimer. For Piano. The FJH Sacred Piano Library. Contents include: Lo...(+)
By Marilyn Reimer. For
Piano. The FJH Sacred
Piano Library. Contents
include: Lord, Be
Glorified (in the setting
of Pachelbel's Canon in
D); Be Thou My Vision (in
the setting of Bach's
Jesu, Joy of Man's
Desiring); Silent Night!
Holy Night! (in the
setting of Bach's Prelude
in C); O Worship the King
(in the setting of
Handel's Allegro Maestoso
from Water Music);
Savior, Like a Shepherd
Lead Us (in the setting
of Bach's Air on the G
string); Hark! The Herald
Angels Sing (in the
setting of Mozart's Eine
Kleine Nachtmusik); For
the Beauty of the Earth
(in the setting of Bach's
Musette from English
Suite No. 3); This is My
Father's World (in the
setting of Sinding's
Rustle of Spring);
Majesty (in the setting
of Chopin's Polonaise Op.
40 No. 1). Sacred. L
(2)$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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