| Moontowers - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flu...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet,
Euphonium, Euphonium
T.C., Flute, Horn, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Timpani, Triangle,
Trombone, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone and more. -
Grade 3 SKU:
CF.CPS257 Composed by
Chris Campbell. Cps. Set
of Score and Parts.
16+4+16+2+4+5+2+2+8+6+12+
6+4+8+2+1+1+2+20 pages.
Duration 3 minutes, 28
seconds. Carl Fischer
Music #CPS257. Published
by Carl Fischer Music
(CF.CPS257). ISBN
9781491161265. UPC:
680160919857. The
original intent for this
piece was to evoke a
fantasy atmosphere of
huge mythical constructs,
such as stone edifices,
rising from a lunar
surface softly
illuminated by reflected
light from another
galactic source. It is
meant to give an
impression of a single
vision, allowing the
listener or player to
imagine a personal
interpretation of their
own. The story behind
this particular title
comes from the late 19th
century. Before the
widespread use of
electric streetlights,
many large American and
European cities erected
large structures - some
as tall as 165 feet -
intended to brighten the
cities at night at times
when there was
insufficient natural
moonlight. Referred to at
that time as Moonlight
Towers, the only ones
still in existence and in
use today are found in
Austin, Texas. These
man-made wonders may not
be as stunning as
naturally-formed stone
edifices, but they are
nevertheless
eye-catching. One of
these structures in a
large park is adorned
with strands of lights
every December to
resemble a gigantic
Christmas tree which can
be seen for miles. In
this composition, measure
81 through measure 97
depicts four of the
remaining thirteen towers
in four different
settings in Austin. This
piece is also intended to
capture the wonder of
these singular relics of
history, with a fantasy
atmosphere of their
own. The original
intent for this piece was
to evoke a fantasy
atmosphere of huge
mythical constructs, such
as stone edifices, rising
from a lunar surface
softly illuminated by
reflected light from
another galactic source.
It is meant to give an
impression of a single
vision, allowing the
listener or player to
imagine a personal
interpretation of their
own. The story behind
this particular title
comes from the late 19th
century. Before the
widespread use of
electric streetlights,
many large American and
European cities erected
large structures - some
as tall as 165 feet -
intended to brighten the
cities at night at times
when there was
insufficient natural
moonlight. Referred to at
that time as Moonlight
Towers, the only ones
still in existence and in
use today are found in
Austin, Texas. These
man-made wonders may not
be as stunning as
naturally-formed stone
edifices, but they are
nevertheless
eye-catching. One of
these structures in a
large park is adorned
with strands of lights
every December to
resemble a gigantic
Christmas tree which can
be seen for miles. In
this composition, measure
81 through measure 97
depicts four of the
remaining thirteen towers
in four different
settings in Austin. This
piece is also intended to
capture the wonder of
these singular relics of
history, with a fantasy
atmosphere of their
own. $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Moontowers - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flu...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet,
Euphonium, Euphonium
T.C., Flute, Horn, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Timpani, Triangle,
Trombone, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone and more. -
Grade 3 SKU:
CF.CPS257F Composed
by Chris Campbell. Cps.
Full score. 20 pages.
Duration 3 minutes, 28
seconds. Carl Fischer
Music #CPS257F. Published
by Carl Fischer Music
(CF.CPS257F). ISBN
9781491161678. UPC:
680160920358. The
original intent for this
piece was to evoke a
fantasy atmosphere of
huge mythical constructs,
such as stone edifices,
rising from a lunar
surface softly
illuminated by reflected
light from another
galactic source. It is
meant to give an
impression of a single
vision, allowing the
listener or player to
imagine a personal
interpretation of their
own. The story behind
this particular title
comes from the late 19th
century. Before the
widespread use of
electric streetlights,
many large American and
European cities erected
large structures - some
as tall as 165 feet -
intended to brighten the
cities at night at times
when there was
insufficient natural
moonlight. Referred to at
that time as Moonlight
Towers, the only ones
still in existence and in
use today are found in
Austin, Texas. These
man-made wonders may not
be as stunning as
naturally-formed stone
edifices, but they are
nevertheless
eye-catching. One of
these structures in a
large park is adorned
with strands of lights
every December to
resemble a gigantic
Christmas tree which can
be seen for miles. In
this composition, measure
81 through measure 97
depicts four of the
remaining thirteen towers
in four different
settings in Austin. This
piece is also intended to
capture the wonder of
these singular relics of
history, with a fantasy
atmosphere of their
own. The original
intent for this piece was
to evoke a fantasy
atmosphere of huge
mythical constructs, such
as stone edifices, rising
from a lunar surface
softly illuminated by
reflected light from
another galactic source.
It is meant to give an
impression of a single
vision, allowing the
listener or player to
imagine a personal
interpretation of their
own. The story behind
this particular title
comes from the late 19th
century. Before the
widespread use of
electric streetlights,
many large American and
European cities erected
large structures - some
as tall as 165 feet -
intended to brighten the
cities at night at times
when there was
insufficient natural
moonlight. Referred to at
that time as Moonlight
Towers, the only ones
still in existence and in
use today are found in
Austin, Texas. These
man-made wonders may not
be as stunning as
naturally-formed stone
edifices, but they are
nevertheless
eye-catching. One of
these structures in a
large park is adorned
with strands of lights
every December to
resemble a gigantic
Christmas tree which can
be seen for miles. In
this composition, measure
81 through measure 97
depicts four of the
remaining thirteen towers
in four different
settings in Austin. This
piece is also intended to
capture the wonder of
these singular relics of
history, with a fantasy
atmosphere of their
own. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Echoes Of Silence Theodore Presser Co.
Orchestra Bassoon, Clarinet, Contrabass, Flute, Horn, Oboe, Percussion, Piano, V...(+)
Orchestra Bassoon,
Clarinet, Contrabass,
Flute, Horn, Oboe,
Percussion, Piano, Viola,
Violin 1, Violin 2,
Violoncello SKU:
PR.416415420 For
Chamber Orchestra.
Composed by Narong
Prangcharoen. Full score.
64 pages. Duration 10
minutes. Theodore Presser
Company #416-41542.
Published by Theodore
Presser Company
(PR.416415420). UPC:
680160632312. Echoe
s of Silence was
commissioned by the
Albany Symphony Orchestra
for the American Music
Festival of 2012 as part
of the Capitol Region
Heritage Commissions
project. The work takes
as its inspirations the
Troy Savings Bank Music
Hall in Albany, NY, and
the Albany Symphony
Orchestra. The Troy
Savings Bank was founded
in 1823 and was one of
the more important music
halls in
early-twentieth-century
America. It was honored
with performances by many
world-renowned artists,
such as Vladimir
Horowitz, Yehudi Menuhin,
and Arthur Rubinstein.
The title, Echoes of
Silence, refers to the
echoes of these and other
artists' great
performances, which one
might imagine still
resonate in the hall. If
the hall had a voice, it
would also sing of the
all the wonderful
masterpieces that were
performed there in the
past. The main idea of
this piece is to reflect
the sounds that were
absorbed by the walls of
this concert hall during
the past century of live
performance. Some of the
main pitch materials are
derived from Alexander
Borodin's Symphony No. 2,
a masterpiece that was
composed in 1823, the
same year as the founding
of the Troy Savings Bank.
The main thematic
materials of Echoes of
Silence are developed
from many small musical
motifs found in Borodin's
symphony. Another source
of material is Igor
Stravinsky's Symphony of
Psalms, composed in 1930,
the year in which the
Albany Symphony Orchestra
was founded. These
borrowed materials are
used as the main elements
in maintaining the
structural unity of
Echoes of Silence.
Because this concert hall
has absorbed so much
wonderful music from so
many great performances,
we can imagine even the
smallest corner of the
hall filling its silence
with echoes. $45.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Echoes Of Silence Theodore Presser Co.
Orchestra Bassoon, Clarinet, Contrabass, Flute, Horn, Oboe, Percussion, Piano, V...(+)
Orchestra Bassoon,
Clarinet, Contrabass,
Flute, Horn, Oboe,
Percussion, Piano, Viola,
Violin 1, Violin 2,
Violoncello SKU:
PR.41641542L For
Chamber Orchestra.
Composed by Narong
Prangcharoen. Large
Score. 64 pages. Duration
10 minutes. Theodore
Presser Company
#416-41542L. Published by
Theodore Presser Company
(PR.41641542L). UPC:
680160632329. Echoe
s of Silence was
commissioned by the
Albany Symphony Orchestra
for the American Music
Festival of 2012 as part
of the Capitol Region
Heritage Commissions
project. The work takes
as its inspirations the
Troy Savings Bank Music
Hall in Albany, NY, and
the Albany Symphony
Orchestra. The Troy
Savings Bank was founded
in 1823 and was one of
the more important music
halls in
early-twentieth-century
America. It was honored
with performances by many
world-renowned artists,
such as Vladimir
Horowitz, Yehudi Menuhin,
and Arthur Rubinstein.
The title, Echoes of
Silence, refers to the
echoes of these and other
artists' great
performances, which one
might imagine still
resonate in the hall. If
the hall had a voice, it
would also sing of the
all the wonderful
masterpieces that were
performed there in the
past. The main idea of
this piece is to reflect
the sounds that were
absorbed by the walls of
this concert hall during
the past century of live
performance. Some of the
main pitch materials are
derived from Alexander
Borodin's Symphony No. 2,
a masterpiece that was
composed in 1823, the
same year as the founding
of the Troy Savings Bank.
The main thematic
materials of Echoes of
Silence are developed
from many small musical
motifs found in Borodin's
symphony. Another source
of material is Igor
Stravinsky's Symphony of
Psalms, composed in 1930,
the year in which the
Albany Symphony Orchestra
was founded. These
borrowed materials are
used as the main elements
in maintaining the
structural unity of
Echoes of Silence.
Because this concert hall
has absorbed so much
wonderful music from so
many great performances,
we can imagine even the
smallest corner of the
hall filling its silence
with echoes. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 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—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
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.” 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
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
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 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 | | |
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