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Falling in Love with Love (with This Can't Be Love) Chorale 3 parties SAB Hal Leonard
Composed by Richard Rodgers. Arranged by Kirby Shaw. Jazz Chorals. Thirties, C...(+)
Composed by Richard
Rodgers.
Arranged by Kirby Shaw.
Jazz
Chorals. Thirties,
Concert,
Jazz, Vocal Jazz, Medley,
Standards, Swing. Octavo.
12
pages. Published by Hal
Leonard
$2.35 - Voir plus => Acheter Délais: 24 hours - In Stock
Folk Songs North America Sings (Kodaly Collection) Piano, Voix [Partition] E.C. Kerby
Voice and Piano. By Richard Johnston. (resource book). Vocal Collection. Size 8....(+)
Voice and Piano. By
Richard Johnston.
(resource book). Vocal
Collection. Size 8.5x11
inches. 400 pages.
Published by E.c. Kerby.
$50.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Chord Progressions -- Theory and Practice Formation musicale - Solfège [Livre] Alfred Publishing
(Everything You Need to Create and Use Chords in Every Key). By Dan Fox and Dick...(+)
(Everything You Need to
Create and Use Chords in
Every Key). By Dan Fox
and Dick Weissman. Book;
Reference Textbooks;
Textbook - General;
Theory. 96 pages.
Published by Alfred Music
$17.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Weihnachten Im Barockstil Alto Recorder/piano Bkcd (easy) Flûte à bec Alto, Piano [Livre + CD] Hal Leonard
The Perfect Workbook: Everything You Need To Organize Your Choral Program Chorale [Partition + CD] Shawnee Press
By Dr. Timothy Seelig. "The Perfect" Series. Choral. Level: Advanced. Reproducib...(+)
By Dr. Timothy Seelig.
"The Perfect" Series.
Choral. Level: Advanced.
Reproducible workbook and
CD-ROM. 79 pages.
Published by Shawnee
Press.
$34.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Canadian Fiddle Music Volume 1 Violon [Partition] Mel Bay
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
compiled by Dr. Ed
Whitcomb. For Fiddle.
songbook. Canadian.
Level:
Beginning-Intermediate.
Book. Size 8.75x11.75.
224 pages. Published by
Mel Bay Publications,
Inc.
(1) $29.99 - Voir plus => Acheter Délais: 1 to 2 weeks
The International Book of Christmas Carols Chorale 2 parties 2 parties [Partition] Walton Music
Collection for Unison/2-Part voices and piano accompaniment. With chord names. 3...(+)
Collection for
Unison/2-Part voices and
piano accompaniment. With
chord names. 338 pages.
Published by Walton
Music.
(5) $29.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Diletti pastorale, Hirtenlust Chorale SSATB SSATB, Orgue [Vocal Score] Barenreiter
(15 Weltliche Madrigale). By Johann Hermann Schein (1586-1630). Edited by Adam A...(+)
(15 Weltliche Madrigale).
By Johann Hermann Schein
(1586-1630). Edited by
Adam Adrio. For SSATB
choir/basso continuo.
This edition: Clothbound,
Complete edition, Urtext
edition. Linen. New
Schein Edition. Volume 8.
Choral score, Anthology.
Language: German.
Composed 1624. Published
by Baerenreiter Verlag
$137.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Thirty Days to Music Intervals Chorale Hal Leonard
Lessons and Reproducible Activities for the Music Classroom. By Audrey Snyder. ...(+)
Lessons and Reproducible
Activities for the Music
Classroom. By Audrey
Snyder. (teacher
edition). Expressive Art
(Choral). Size 8.5x11
inches. 64 pages.
Published by Hal Leonard.
$27.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Blues and Greens Alto Saxophone Bk/cd (intermediate) Saxophone Alto [Livre + CD] - Intermédiaire Hal Leonard
Falling in Love with Love (with This Can't Be Love) CD Chorale Hal Leonard
Choral (ShowTrax CD) SKU: HL.289803 Composed by Richard Rodgers. Arranged...(+)
Choral (ShowTrax CD)
SKU: HL.289803
Composed by Richard
Rodgers. Arranged by
Kirby Shaw. Jazz Chorals.
Concert, Jazz, Medley,
Standards, Swing,
Thirties, Vocal Jazz. CD.
Duration 170 seconds.
Published by Hal Leonard
(HL.289803).
UPC:
888680917173.
5.0x5.0x0.169
inches.
Here is an
easy swing style
arrangement of the
classic Rodgers and Hart
song from the musical The
Boys from Syracuse. A
second Rogers and Hart
song--This Can't Be
Love--mashes in and
together we have a hot
swinging love song. Pure
joy.
$26.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Falling in Love with Love (with This Can't Be Love) Chorale SATB Hal Leonard
Composed by Richard Rodgers. Arranged by Kirby Shaw. Jazz Chorals. Concert, Ja...(+)
Composed by Richard
Rodgers.
Arranged by Kirby Shaw.
Jazz
Chorals. Concert, Jazz,
Medley, Standards, Swing,
Thirties, Vocal Jazz.
Octavo.
12 pages. Published by
Hal
Leonard
$2.35 - Voir plus => Acheter Délais: 24 hours - In Stock
The Oxford Book of Flexible Choral Songs Chorale Oxford University Press
Composed by Miscellaneous. Edited by Alan Bullard. This edition: spiralbound, ...(+)
Composed by
Miscellaneous.
Edited by Alan Bullard.
This
edition: spiralbound,
paperback. Oxford
Flexible
Anthologies. Spiral-bound
paperback. Oxford
University
Press #9780193525641.
Published by Oxford
University Press
$32.50 - Voir plus => Acheter Délais: 2 to 3 weeks
Geistliche Chormusik: Psalmen Chorale SATB SATB [Partition] Carus Verlag
By Various. Edited by Wulfing, Hans. This edition: paperbound. Sacred, Hymn sett...(+)
By Various. Edited by
Wulfing, Hans. This
edition: paperbound.
Sacred, Hymn settings,
Mass Sections, Motets,
Psalms, German; Choral
Collections, Mixed Choir;
Occasions: Peace and
Justice, Praise and
thanks, Morning, Midday,
Evening, Psalms,
Mourning, Death; Use
during church year:
Special Days, End of the
church year. Choral
collection. 88 pages
$15.95 - Voir plus => Acheter Délais: 2 to 3 weeks
250 Rock'n'roll All Hits Music Sales
Isthmus Chorale SATB [Conducteur] University Of York Music Press
SATB Choir SKU: BT.MUSM570368679 For choir and fixed media . Compos...(+)
SATB Choir
SKU:
BT.MUSM570368679
For choir and fixed
media . Composed by
Evis Sammoutis. Score
Only. Composed 2019. 14
pages. University of York
Music Press
#MUSM570368679. Published
by University of York
Music Press
(BT.MUSM570368679).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
$5.95 - Voir plus => Acheter Délais: 4 to 6 weeks
What Our Children Sing Voice/pf - Facile Schott
Piano (with Text) - easy to intermediate SKU: HL.49005940 Eine Sammlun...(+)
Piano (with Text) - easy
to intermediate
SKU:
HL.49005940
Eine
Sammlung der 190
schonsten heimatlichen
Kinderlieder mit
vollstandigen Texten fur
Haus, Kindergarten und
Schule . Edited by
Hans Lang, Heinrich
Martens, and Lothar
Windsperger. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. 112 pages.
Schott Music #ED 600.
Published by Schott Music
(HL.49005940).
ISBN
9790001031684.
7.5x11.0x0.31 inches.
German.
Die
Sammlung Was unsre Kinder
singen entstand 1914. Sie
hat seither viele
Auflagen und
Veranderungen erlebt.
Diese aktuelle Ausgabe
greift auf die
Erstausgabe zuruck und
enthalt die allgemein
bekannten Kinderlieder
zur lebendigen
Unterstutzung in Familie
und Schule. Die
Klaviersatze geben die
Moglichkeit, die Lieder
zugleich als
selbststandige
Klavierstucke in Haus und
Unterricht zu
verwenden.
$20.99 - Voir plus => Acheter
Grand March from Aida for Alto Sax and Piano Saxophone Alto et Piano Santorella Publications
By Giuseppe Verdi (1813-1901). Arranged by Jonathon Robbins. For Alto Sax. Publi...(+)
By Giuseppe Verdi
(1813-1901). Arranged by
Jonathon Robbins. For
Alto Sax. Published by
Santorella Publications
$6.95 - Voir plus => Acheter Délais: 1 to 2 weeks
For All We Know Chorale SATB SATB A Cappella Hal Leonard
Composed by Sam M. Lewis and John Frederick Coots. Arranged by Paris Rutherfor...(+)
Composed by Sam M. Lewis
and
John Frederick Coots.
Arranged by Paris
Rutherford.
Jazz Chorals. A Cappella,
Light Concert, Pop, Show
Choir, Standards,
Thirties,
Vocal Jazz. Octavo. 12
pages.
Published by Hal Leonard
$2.15 - Voir plus => Acheter Délais: 24 hours - In Stock
Psalmen 23, 91, 127, 124 Chorale SATB SATB [Vocal Score] Barenreiter
(4 Psalmkompositioen aus Das Psalmbuch ). By Siegfried Reda (1916-1968). For Mi...(+)
(4 Psalmkompositioen aus
Das Psalmbuch ). By
Siegfried Reda
(1916-1968). For Mixed
Choir. Singing Score
$14.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Thirty-two Feet, Eight Little Tails CD Chorale Hal Leonard
Choral (ShowTrax CD) SKU: HL.142321 Arranged by Alan Billingsley. Secular...(+)
Choral (ShowTrax CD)
SKU: HL.142321
Arranged by Alan
Billingsley. Secular
Christmas Choral.
Christmas Secular. CD.
Published by Hal Leonard
(HL.142321).
UPC:
888680048105.
5.0x5.0x0.18
inches.
This
adorable vintage holiday
song was recorded by Gene
Autry and will make an
incredibly cute addition
to your holiday programs!
Great for props and
choreography!
$26.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Cantata No. 104 -- Du Hirte Israel, hore Chorale [Partition] Kalmus
SATB with TB Soli. Composed by Johann Sebastian Bach (1685-1750). Choral (Sacred...(+)
SATB with TB Soli.
Composed by Johann
Sebastian Bach
(1685-1750). Choral
(Sacred); Choral Worship
Cantata; Larger Works;
Masterworks; Performance
Music Ensemble; Worship
Resources. Kalmus
Edition. Baroque;
Masterwork; Sacred. Book.
24 pages. Kalmus Classic
Edition #00-K06046.
Published by Kalmus
Classic Edition
$6.99 - Voir plus => Acheter Délais: 4 to 6 weeks
Praetorius: Tricinien Chorale SATB SATB [Partition] Carus Verlag
By Michael Praetorius (1571-1621). This edition: paperbound. Psalms, German; Cho...(+)
By Michael Praetorius
(1571-1621). This
edition: paperbound.
Psalms, German; Choral
Collection for SAM Choir;
Occasions: Praise and
thanks, Our Father; Use
during chuch year: Easter
and Eastertide,
Pentecost. Collection.
100 pages
$30.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Thirty-two Feet, Eight Little Tails Chorale 2 parties Hal Leonard
Composed by James Cavanaugh, John Redmond, and Frank Weldon. Arranged by Alan ...(+)
Composed by James
Cavanaugh,
John Redmond, and Frank
Weldon. Arranged by Alan
Billingsley. Secular
Christmas Choral.
Christmas,
Christmas Secular.
Octavo. 12
pages. Published by Hal
Leonard
$1.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Music Manipulatives Workbook Formation musicale - Solfège Alfred Publishing
Playful Props to Reinforce Musical Concepts. Composed by Danielle Bayert. Cla...(+)
Playful Props to
Reinforce
Musical Concepts.
Composed
by Danielle Bayert.
Classroom Resources;
General
Music and Classroom
Publications; Homeschool
Resources; Other
Classroom.
Book. 72 pages. Alfred
Music
#00-47765. Published by
Alfred Music
$24.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Reader's Digest Merry Christmas Songbook Piano, Voix et Guitare [Partition + CD] - Intermédiaire Alfred Publishing
Songbook for voice, piano and guitar chords. 252 pages. Published by Alfred Publ...(+)
Songbook for voice, piano
and guitar chords. 252
pages. Published by
Alfred Publishing.
(68) $30.00 - Voir plus => Acheter Délais: 4 to 6 business days
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.
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