| The Trumpet Shall Sound (from Messiah) Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba Eighth Note Publications
Trumpet, Tuba Feature. By George Frideric Handel. Arranged by David Marlatt. For...(+)
Trumpet, Tuba Feature. By
George Frideric Handel.
Arranged by David
Marlatt. For Brass
Quintet. Brass Ensemble -
Quintet. Trumpet and Tuba
feature. Baroque,
Christmas. Level:
Difficult. Duration
00:04:15. Published by
Eighth Note Publications.
$15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 101 Classical Themes for Horn Cor Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Thomas Gansch Presents Stay Tuned Pop and Jazz 2 Cors (duo) [Partition + Accès audio] - Intermédiaire Hal Leonard
Duets for Horn. Composed by Otto M. Schwarz. Duet. Duration 135 seconds. Hal ...(+)
Duets for Horn. Composed
by
Otto M. Schwarz. Duet.
Duration 135 seconds. Hal
Leonard #SDP029.20.
Published
by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 20 Dashing Fingers 1 Piano, 4 mains Simrock
Piano, 4 Hands SKU: BT.SCHEE4030 Six entertaining pieces for piano due...(+)
Piano, 4 Hands SKU:
BT.SCHEE4030 Six
entertaining pieces for
piano duet. Composed
by Peter Gellhorn. Book
Only. 63 pages. Simrock
#SCHEE4030. Published by
Simrock (BT.SCHEE4030).
Piano, 4 Hands.
Div. $43.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 20 Dreaming Fingers 1 Piano, 4 mains Simrock
Piano, 4 Hands SKU: BT.SCHEE4028 Ten lyrical pieces for piano duet...(+)
Piano, 4 Hands SKU:
BT.SCHEE4028 Ten
lyrical pieces for piano
duet. Composed by
Peter Gellhorn. Book
Only. 63 pages. Simrock
#SCHEE4028. Published by
Simrock (BT.SCHEE4028).
Piano, 4 Hands.
Div. $22.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Aria (from Cantata No. 51, BWV 51) - Intermédiaire Eighth Note Publications
By Johann Sebastian Bach. Arranged by David Marlatt. For Brass Quintet and Sopra...(+)
By Johann Sebastian Bach.
Arranged by David
Marlatt. For Brass
Quintet and Soprano.
Brass Ensemble - Quintet.
Baroque. Level:
Medium-Difficult.
Duration 00:03:05.
Published by Eighth Note
Publications.
$15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Little Duets By Old Masters - Facile Schott
2 soprano recorders (Ss) - easy SKU: HL.49004837 Edited by Heinz Kaestner...(+)
2 soprano recorders (Ss)
- easy SKU:
HL.49004837 Edited by
Heinz Kaestner. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Playing score.
23 pages. Schott Music
#ED4373. Published by
Schott Music
(HL.49004837). ISBN
9790001051514. UPC:
841886032507.
7.5x10.75x0.09
inches. $13.99 - Voir plus => Acheter | | |
| Ruddigore - Vocal Score Complete Piano, Voix [Vocal Score] Schirmer
Lyrics by W.S. Gilbert, music by Sir Arthur Seymour Sullivan (1842-1900). Vocal ...(+)
Lyrics by W.S. Gilbert,
music by Sir Arthur
Seymour Sullivan
(1842-1900). Vocal score
for voices and piano.
With lyrics, vocal
melody, piano reduction,
introductory text and
complete dialog. 220
pages. Published by G.
Schirmer, Inc.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| 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 | | |
| Studio Ghibli Songs for Horn Ensemble 3 Cors (trio) [Conducteur et Parties séparées] Yamaha
Horn Trio SKU: YM.GTW01100336 Composed by Joe Hisaishi. Studio Ghibli Son...(+)
Horn Trio SKU:
YM.GTW01100336
Composed by Joe Hisaishi.
Studio Ghibli Songs.
Anime, Studio Ghibli.
Score and Parts. Yamaha
Music Media #GTW01100336.
Published by Yamaha Music
Media (YM.GTW01100336).
ISBN 9784636102338.
8.5 x 12
inches. This is a
collection of 23 popular
songs from Studio
Ghibli's works, arranged
for a duet, trio, and
quartet. The arrangements
are designed to be played
by the same type of
instruments in the same
key and are considerably
flexible, allowing the
trio to play as a duet
and the quartet as a
trio. Please refer to the
guide in the score if
full members are not
available. Many of the
pieces are arranged for
beginners, so they can be
enjoyed by anyone who has
just picked up an
instrument. $14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Anime Themes for Horn Ensemble 3 Cors (trio) - Facile Yamaha
Brass. Animation Songs. Sheet music. Yamaha Music Media #GTW01094993. Publishe...(+)
Brass. Animation Songs.
Sheet
music. Yamaha Music Media
#GTW01094993. Published
by
Yamaha Music Media
$13.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| On a Démonté Le Pont D'Avignon 2 Cors (duo) Lafitan, Pierre
Horn Duet SKU: BT.PL2802 Score Only. Composed 2013. Pierre Lafitan Editio...(+)
Horn Duet SKU:
BT.PL2802 Score Only.
Composed 2013. Pierre
Lafitan Editions #PL2802.
Published by Pierre
Lafitan Editions
(BT.PL2802).
$12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Echoes No. 2 2 Cors (duo) EMB (Editio Musica Budapest)
Horn Duet SKU: HL.50499697 For Two Horns. Composed by Mikló,...(+)
Horn Duet SKU:
HL.50499697 For
Two Horns. Composed
by Mikló, r, and s
Kocsá. Contemporary
Music. EMB. Classical,
Contemporary. Softcover.
Composed 2013. 12 pages.
Editio Musica Budapest
#Z14902. Published by
Editio Musica Budapest
(HL.50499697). ISBN
9790080149027.
8.25x11.25x0.059 inches.
Miklos
Kocsar. Performance
score. $19.95 - Voir plus => Acheter | | |
| Look, Listen and Learn - Play Disney Duets 2 Trompettes (duo) - Débutant De Haske Publications
Trumpet/Cornet/Baritone/E upho nium/Flugel Horn/Eb Tenor Horn. Arranged by Mark...(+)
Trumpet/Cornet/Baritone/E
upho
nium/Flugel Horn/Eb Tenor
Horn. Arranged by Mark
Phillips. Look, Listen
and
Learn.
TV-Film-Musical-Show.
Book Only. Composed 2020.
36
pages. De Haske
Publications
#DHP 1206231-401.
Published
by De Haske Publications
$18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ariodante, HWV 33 Chorale SATB SATB [Vocal Score] Barenreiter
Opera in tre atti. By George Frideric Handel. Edited by Burrows, Donald. For 2 S...(+)
Opera in tre atti. By
George Frideric Handel.
Edited by Burrows,
Donald. For 2 Soprano
solo, 1 Mezzo-Soprano
solo, 1 Alto solo, 2
Tenor solo, 1 Bass solo,
SATB Chorus, Flute I, II,
Recorder I, II, Oboe I,
II, Bassoon I, II, Horn
I, II, Trumpet I, II,
Violin I-III, Viola,
Bassi (Cello, Contrabass,
Lute, Harpsichord).
(SATB). This edition:
Complete Edition; Urtext
Edition. Hallische
Handel-Ausgabe, Serie II
Band 32. Piano
Reduction/Vocal Score.
235 pages. Published by
Baerenreiter Verlag
(German import).
(1)$72.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas is coming Chorale SATB SATB, Piano [Octavo] Oxford University Press
Composed by Mack Wilberg (1955-). For SATB choir and piano, 4-hands (3 flutes (3...(+)
Composed by Mack Wilberg
(1955-). For SATB choir
and piano, 4-hands (3
flutes (3rd doubles
piccolo), 2 oboes, 2
clarinets, 2 bassoons, 4
horns, 3 trumpets, 3
trombones, tuba, timpani,
percussion (suspended
cymbal, sleigh bells,
xylophone, glockenspiel)
harp, piano, organ
(opt.), strings). Mixed
Voices. Christmas Carols.
Level B (easy). Octavo.
20 pages. Duration 3'.
Published by Oxford
University Press
$4.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Monochromy [Conducteur] University Of York Music Press
Oboe Duet, Clarinet Duet, Bassoon Duet, French Horn Duet SKU: BT.MUSM57020343...(+)
Oboe Duet, Clarinet Duet,
Bassoon Duet, French Horn
Duet SKU:
BT.MUSM570203437
Composed by Jo Kondo.
Score Only. 26 pages.
University of York Music
Press #MUSM570203437.
Published by University
of York Music Press
(BT.MUSM570203437).
English. 2
Oboes, 2 Clarinets, 2
Bassoons, 2 Horns. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Ein halbes Dutzend Jazz Duette - Vol. 2 - Tenorhorn Vol. 2 Tuba ou Euphonium ou Saxhorn Music Distribution Services
2 tenor horns SKU: M7.ART-42056 6 Jazz-Playalongs. Composed by Han...(+)
2 tenor horns SKU:
M7.ART-42056 6
Jazz-Playalongs.
Composed by
Hans-Jörg Fischer
and Heiko Raubach. Score
with online audio files.
Performance score. 68
pages. MDS (Music
Distribution Services)
#ART 42056. Published by
MDS (Music Distribution
Services) (M7.ART-42056).
ISBN
9783866420564. $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 14 Concert Duets Basset Hound Music
2 tubas SKU: P2.PZA90187 Composed by Various. Edited by Zach Collins. Arr...(+)
2 tubas SKU:
P2.PZA90187 Composed
by Various. Edited by
Zach Collins. Arranged by
Jim Self. 2 tubas (or 2
bass trombones) or
tuba/bass trombone with
downloadable backing
track. Score and
downloadable audio.
Published by Basset Hound
Music (P2.PZA90187).
Concert Duets
is a collection of 14
arrangements of works by
prominent 18th-century
composers, mostly taken
from Trio Sonatas. Duet
11 is a Jim Self original
work in the Rococo style;
and Duets 12, 13 and 14
are arrangements of the
three-movements of the
Bach Concerto for Two
Violins. Included with
this edition are
play-along recorded
tracks by tubist Zach
Collins, who also served
as editor of the current
edition.
I created
these duets as Christmas
gifts for my tuba playing
friends, with the first
duet being arranged in
1976. All 14 of the duets
are challenging and fun
to play and are
especially effective as
concert pieces.
As
a young musician I had
the privilege of playing
duets with many of the
world’s finest
tubists including Harvey
Phillips, John Fletcher,
Bob Pallansch, Chester,
Schmitz, Dan Perantoni,
Toby Hanks, Ron Bishop,
Winston Morris and Tommy
Johnson. I learned more
about playing music in
these duo sessions than
from any other musical
activity I have ever
experienced. Duets are
powerful teaching tools
for learning and
mastering rhythm,
phrasing and intonation
and for developing
overall
musicianship.
Jim
Self:
Self (b.
1943) is a Los Angeles
free-lance musician, a
veteran of thousands of
Hollywood motion
pictures, television
shows and records, and
tuba soloist on many
prominent movies. His
tuba was the “Voice
of the Mothershipâ€
in Close Encounters of
the Third Kind. He is
Principal Tuba/Cimbasso
with the Pacific and
Pasadena Symphonies and
the Los Angeles Opera and
Hollywood Bowl
Orchestras. Formerly he
was in The U.S. Army Band
and tuba / euphonium
professor at the
University of Tennessee.
He holds a DMA from the
USC Thornton School of
Music where he is Adjunct
Professor of Tuba and
Chamber Music. His
compositions and
arrangements include
works for solo tuba,
brass quintet, other
brass, string and
woodwind chamber music,
wind band and orchestra.
Jim has produced many
solo jazz and classical
recordings. His music and
recordings are available
from Potenza Music and
www.jimself.com. Jim Self
is a Yamaha Performing
Artist.
Zach
Collins,
editor:
Zach
Collins is professor of
Tuba and Euphonium at
Indiana University of
Pennsylvania. In 2019, he
released his first solo
album, Chronicle. It was
recognized with the 2021
ITEA Roger Bobo Award for
Excellence in Recording
for the best Solo Tuba
Album.
His
interpretation of William
Kraft’s Encounters
II for Solo Tuba was
released on Cambria
Master Recordings. Zach
performs with Eastern
Standard, a horn, tuba,
piano trio he formed with
Heidi Lucas and Jacob
Ertl. The ensemble has
released two commercial
albums, Eastern Standard
and
Wanderlust.
Zach
regularly performs with
the Keystone Chamber
Winds, Altoona Symphony
Orchestra, and West
Virginia Symphony
Orchestras. His
compositions and
arrangements for brass
and for tuba and
euphonium can be
purchased from Cimarron
Music and Eighth Note
Publications. Zach earned
degrees from Texas
Christian University and
the University of
Southern California. His
primary teachers have
been Richard Murrow, Jim
Self, Tommy Johnson, and
Norm Pearson. Zach
Collins is a Miraphone
artist. $40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertpiece No. 1 Potenza Music
Oboe, bassoon, piano SKU: P2.20011 Composed by Felix Bartholdy Mendelssoh...(+)
Oboe, bassoon, piano
SKU: P2.20011
Composed by Felix
Bartholdy Mendelssohn.
Arranged by Albie
Micklich. Double Reed
Duet. Published by
Potenza Music (P2.20011).
Felix
Mendelssohn's
Concertpiece No. 1 in F
Minor, Opus 113 was
originally composed for
clarinet, basset horn,
and piano and carried the
whimsical title: The
Battle of Prague, Grand
Duet for Dumpling with
Pastry and Cream, or
Clarinet and Basset Horn,
composed and most humbly
dedicated to Barmann
senior and Barmann junior
by their very loyal
servant Felix Mendelssohn
Bartholdy. The story
behind this unique title
is equally as charming as
the title itself. The
famous father-son
clarinet duo, Heinrich
and Carl Barmann, agreed
to reward their friend,
Mendelssohn, with his
favorite meal of
dumplings with pastry and
cream if he managed to
compose a work for them
by 5 o'clock that very
day. Mendelssohn
completed the composition
by the designated hour,
and no doubt was rewarded
with a full stomach, as
the clarinet repertoire
was rewarded with a
significant addition to
its canon. It is now a
pleasure to add this
arrangement to the list
of works for the double
reed family. The world
premier of this
arrangement occurred at
the 2015 IDRS conference
in Tokyo, Japan,
performed by Albie
Micklich, Martin
Schuring, and Midori
Nagahara. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Duetto Pastorum Chorale SATB Carus Verlag
Solo tenor and bass voices (soprano and alto), SATB choir, 2 horn, 2 violin, vio...(+)
Solo tenor and bass
voices (soprano and
alto), SATB choir, 2
horn, 2 violin, viola,
basso continuo SKU:
CA.9104811 Composed
by Michael Haydn. Edited
by Otto Biba. Coppenrath
Series. German title:
Duetto Pastorum 1200101.
Sacred vocal music,
Cantatas, Christmas.
Single Part, Violin 1.
MH. 4 pages. Carus Verlag
#CV 91.048/11. Published
by Carus Verlag
(CA.9104811). ISBN
9790007231002. Language:
Latin. Score
available separately -
see item CA.9104800. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Two Songs on American Poems Piano, Voix [Conducteur] Peermusic Classical
Baritone Voice and Piano SKU: BT.PMC3865 Baritone and piano. Compo...(+)
Baritone Voice and Piano
SKU: BT.PMC3865
Baritone and
piano. Composed by
Morten Lauridsen. Score
Only. Composed 2011. 12
pages. Peermusic
Classical #PMC3865.
Published by Peermusic
Classical (BT.PMC3865).
The Two Songs
on American Poems were
composed in late May and
early June of 2011 by
candlelight at my rustic
waterfront cabin on a
remote island off the
northwest coast of
Washington State. It was
in this locale that I
havecompleted a number of
works over the years,
including the Lux
Aeterna, O Magnum
Mysterium, Nocturnes,
Canticle/O Vos Omnes and
others. Prayer was
written in memory of
Michael Jasper Gioia,
Dana and Mary Gioia's
infant son, whosebrief
life was tragically ended
by SIDS.Mr. Gioia served
as Chair of the National
Endowment for the Arts
from 2003-2010 and has
authored several books of
poems, numerous
anthologies, articles,
essays and two opera
libretti. Amonghis many
awards are the American
Book Award and
Presidential Citizens
Medal. He currently holds
the Judge Widney Chair of
Poetry and Public Policy
at the University of
Southern California. Sure
on this Shining Night was
originallycomposed as a
choral piece, the third
movement of my Nocturnes
on poems by Rilke, Neruda
and Agee. Rod Gilfry, an
international star of
opera, recital and
musical theater,
premiered the mixed duet
version with his
daughter, Carin,in 2009.
He is Professor of Vocal
Studies at the USC
Thornton School of Music.
Both he and Mr. Gioia are
national treasures. The
Two Songs are designed as
a pair but may be sung
independently - when
paired, Sure On This
ShiningNight should begin
immediatelyfollowing the
final, sustained chord of
Prayer with no break in
between the songs. Both
of these songs, premiered
by Mr. Gilfry accompanied
by the composer at a USC
Visions & Voices tribute
to DanaGioia on September
27, 2011, have their
roots in the American
musical theater and
should be sung as
such. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Duetto de Mayo [Conducteur] Noten Roehr
Clarinet and basset horn SKU: NR.103843 Para clarinete y corno di bass...(+)
Clarinet and basset horn
SKU: NR.103843
Para clarinete y corno
di bassetto, opus 700,
2020. Composed by
Carlos Peron Cano.
Woodwind music. Score.
Noten Roehr #103843.
Published by Noten Roehr
(NR.103843).
Para clarinete
y corno di bassetto, opus
700, 2020. $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Peter Meechan : Devil's Duel Euphonium, Piano (duo) Potenza Music
By Peter Meechan. For Euphonium and Piano. Chamber music, 20th century. Publishe...(+)
By Peter Meechan. For
Euphonium and Piano.
Chamber music, 20th
century. Published by
Potenza Music
$24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Andantino Hautbois, Piano (duo) [Conducteur et Parties séparées] Seesaw Music Corp
Oboe & Piano SKU: SU.50500245 For Oboe & Piano. Composed by Elaine...(+)
Oboe & Piano SKU:
SU.50500245 For
Oboe & Piano.
Composed by Elaine Fine.
Woodwinds, Oboe/English
Horn. Accompanied by
piano. Score & Parts.
Seesaw Music Corp
#50500245. Published by
Seesaw Music Corp
(SU.50500245).
Oboe & Piano
Composed: 2007 Published
by: Seesaw Music. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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