| The Rite of Spring Clarinette et Piano Carl Fischer
(Movements I and II Arranged for Clarinet in Bb and Piano). Composed by Igor Fyo...(+)
(Movements I and II
Arranged for Clarinet in
Bb and Piano). Composed
by Igor Fyodorovich
Stravinsky. Arranged by
David Dutkanicz. For Bb
clarinet, piano. 8 2
pages. Duration 7
minutes. Published by
Carl Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Rite of Spring Violoncelle, Piano Carl Fischer
(Movements I and II Arranged for Cello and Piano). Composed by Igor Fyodorovich ...(+)
(Movements I and II
Arranged for Cello and
Piano). Composed by Igor
Fyodorovich Stravinsky.
Arranged by David
Dutkanicz. For cello,
piano. 8 2 pages.
Published by Carl Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Rite of Spring Violon et Piano Carl Fischer
(Movements I and II Arranged for Violin and Piano). By Igor Fyodorovich Stravins...(+)
(Movements I and II
Arranged for Violin and
Piano). By Igor
Fyodorovich Stravinsky.
Arranged by David
Dutkanicz. For violin
piano. 8 2 pages.
Duration 7 minutes.
Published by Carl Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Santa's Spring Break Orchestre d'harmonie [Conducteur] - Débutant Excelcia Music Publishing
Concert Band Concert Band - Grade 1 SKU: XC.DCB2202FS Jolly Old St. Ni...(+)
Concert Band Concert Band
- Grade 1 SKU:
XC.DCB2202FS Jolly
Old St. Nicholas, Up on
the Housetop, Spring from
The Four Seasons, Joy to
the World, God Rest Ye
Merry Gentlemen,
Hallelujah Chorus from
The Messiah. Composed
by Various. Arranged by
Larry Clark. Concert
Concert Band. Da Capo
Grade 1.0. (Jolly Old St.
Nicholas, Up on the
Housetop, Spring from The
Four Seasons, Joy to the
World, God Rest Ye Merry
Gentlemen, Hallelujah
Chorus from The Messiah).
Christmas/Holiday. Score.
Excelcia Music Publishing
#DCB2202FS. Published by
Excelcia Music Publishing
(XC.DCB2202FS). 12 x 9
inches. Ever wonder
what Santa does the rest
of the year? Give your
students something fun to
play with this clever
combination of popular
carols with Vivaldi's
famous Spring movement
from his piece The Four
Seasons. Of course, the
piece is intended to be
fun, and make the
audience smile, but also
a great way to introduce
younger students to the
famous Vivaldi
work.
(Jolly Old
St. Nicholas, Up on the
Housetop, Spring from The
Four Seasons, Joy to the
World, God Rest Ye Merry
Gentlemen, Hallelujah
Chorus from The
Messiah). $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Santa's Spring Break Orchestre d'harmonie - Débutant Excelcia Music Publishing
Concert Band Concert Band - Grade 1 SKU: XC.DCB2202 Jolly Old St. Nich...(+)
Concert Band Concert Band
- Grade 1 SKU:
XC.DCB2202 Jolly
Old St. Nicholas, Up on
the Housetop, Spring from
The Four Seasons, Joy to
the World, God Rest Ye
Merry Gentlemen,
Hallelujah Chorus from
The Messiah. Composed
by Various. Arranged by
Larry Clark. Concert
Concert Band. Da Capo
Grade 1.0. (Jolly Old St.
Nicholas, Up on the
Housetop, Spring from The
Four Seasons, Joy to the
World, God Rest Ye Merry
Gentlemen, Hallelujah
Chorus from The Messiah).
Christmas/Holiday. Set of
parts. Excelcia Music
Publishing #DCB2202.
Published by Excelcia
Music Publishing
(XC.DCB2202). 12 x 9
inches. Ever wonder
what Santa does the rest
of the year? Give your
students something fun to
play with this clever
combination of popular
carols with Vivaldi's
famous Spring movement
from his piece The Four
Seasons. Of course, the
piece is intended to be
fun, and make the
audience smile, but also
a great way to introduce
younger students to the
famous Vivaldi
work.
(Jolly Old
St. Nicholas, Up on the
Housetop, Spring from The
Four Seasons, Joy to the
World, God Rest Ye Merry
Gentlemen, Hallelujah
Chorus from The
Messiah). $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Santa's Spring Break Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Wingert-Jones Publications
Arranged by Larry Clark. Christmas/Holiday. Early Achievement String Orchestra...(+)
Arranged by Larry Clark.
Christmas/Holiday. Early
Achievement String
Orchestra
Series. Score and parts.
Wingert-Jones
Publications
#EOW2201. Published by
Wingert-Jones
Publications
$45.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring Concerto 2 Pianos, 4 mains - Intermédiaire Alfred Publishing
(In Four Movements for Solo Piano with Piano Accompaniment). Composed by Alexand...(+)
(In Four Movements for
Solo Piano with Piano
Accompaniment). Composed
by Alexander Peskanov.
For Piano. This edition:
2 copies required for
performance. Book; Duet
or Duo; Graded Standard
Repertoire; Piano Duo (2
Pianos, 4 Hands). Form:
Concerto. Recital.
Intermediate. 36 pages.
Published by Alfred Music
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Our Kingsland Spring Orchestre [Conducteur et Parties séparées] - Facile Hal Leonard
(Movement I of Georgian Suite). By Samuel R. Hazo. (Score & Parts). MusicWorks ...(+)
(Movement I of Georgian
Suite). By Samuel R.
Hazo. (Score & Parts).
MusicWorks Grade 2.
Concert Band. Score and
full set of parts. Size
9x12 inches. Published by
Hal Leonard.
$65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spring Promises Piano seul - Intermédiaire Alfred Publishing
Piano - Late Intermediate SKU: AP.48033 Composed by Dennis Alexander. Due...(+)
Piano - Late Intermediate
SKU: AP.48033
Composed by Dennis
Alexander. Duet or Duo;
Graded Standard
Repertoire; Piano Suite;
Solo Small Ensembles.
Recital Suite Series.
Form: Suite. Recital.
Book. 12 pages. Alfred
Music #00-48033.
Published by Alfred Music
(AP.48033). ISBN
9781470642716. UPC:
038081554600.
English. The three
movements of Spring
Promises highlight the
energy of spring that
follows a long winter.
The first movement, A
Garden's Promise,
features a lyrical melody
line over a chord
progression that includes
a descending bass line.
It portrays the beauty of
the flowers that begin to
appear with the warmer
weather. Staccato fifths
and grace notes suggest
the image of Soft Rains
in the A section of the
second movement. Triplets
in the B section give a
stronger sense of
movement. The final
movement---Spring
Fever!---is a rondo that
uses root position and
second inversion chords
in a lively setting. The
staccato chords alternate
with more lyrical lines
to provide contrast. $5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ozarks Sonatina Piano seul - Intermédiaire Alfred Publishing
Composed by Mike Springer. For Piano. Piano Suite; Piano Supplemental; Sheet; So...(+)
Composed by Mike
Springer. For Piano.
Piano Suite; Piano
Supplemental; Sheet;
Solo. Recital Suite
Series. Form: Sonatina;
Suite. Recital.
Intermediate. 12 pages.
Published by Alfred Music
$4.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring Symphony Orchestre d'harmonie [Conducteur et Parties séparées] - Avancé EMB (Editio Musica Budapest)
Composed by Laszlo Dubrovay. EMB. Contemporary, Classical. Editio Musica B...(+)
Composed by Laszlo
Dubrovay.
EMB. Contemporary,
Classical. Editio Musica
Budapest #Z14686SET.
Published by Editio
Musica
Budapest
$295.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spring symphony Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé EMB (Editio Musica Budapest)
Concert Band - Grade 6 SKU: BT.EMBZ14686SET Composed by László Dubr...(+)
Concert Band - Grade 6
SKU:
BT.EMBZ14686SET
Composed by László
Dubrovay. EMB Concert
Band Series. Concert
Piece. Set (Score &
Parts). Composed 2010.
656 pages. Editio Musica
Budapest #EMBZ14686SET.
Published by Editio
Musica Budapest
(BT.EMBZ14686SET).
9x12
inches. Symphony
no. 6 dates from the
spring of 2009. It is
dedicated to the
conductor Károly
Neumayer and his
orchestra, the Pécs
Railway Workers' Concert
Wind Ensemble. About the
work, the composer
writes: 'This
three-movement
composition follows the
classical traditions, but
the first movement
further develops the
Scriabin-type sonata
form, combining two fast
movements. In contrast to
the lyricism of the
second movement a
subterranean, negative
force also makes its
presence felt but in a
dramatic conflict is
overcome by the massive,
inspired communal singing
of the lyrical material,
which becomes
chorale-like as it
emanates from the modal
scales. The third
movement is acheerful,
dance-like scherzo, with
comical, humorous
sound-effects '
Die 6. Symphonie
entstand im Frühling
2009. Sie ist dem
Dirigenten Károly
Neumayer und seinem
Orchester, dem
Bläserorchester der
Ungarischen Staatsbahnen
Pécs, gewidmet. Der
Komponist schreibt
über sein Werk: 'Die
dreisätzige
Komposition folgt den
klassischen Traditionen,
der erste Satz aber
entwickelt durch die
Verbindung von zwei
schnellen Sätzen die
Form von Skrjabin weiter.
Im zweiten Satz erscheint
als Gegenspieler zur
lyrischen Grundstimmung
auch eine negative, in
die Tiefe ziehende Kraft.
Letztere wird aber im
dramatischen Gefecht vom
lyrischen Stoff und vom
choralähnlichen, aus
der modalen Tonleitern
stammenden,
blockförmigen,
gemeinschaftlichen Lied
besiegt. Der dritteSatz
ist ein fröhliches,
tänzerisches Scherzo
mit komischen,
humorvollen
Klangeffekten.'. $211.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Spring Symphony Orchestre d'harmonie - Intermédiaire/avancé EMB (Editio Musica Budapest)
Concert Band (Score) - Grade 6 SKU: HL.50490252 Composed by Dubrovay, L&a...(+)
Concert Band (Score) -
Grade 6 SKU:
HL.50490252 Composed
by Dubrovay, Lá,
and szló.
Contemporary Music. EMB.
Classical, Contemporary.
Softcover. 104 pages.
Duration 23:00. Editio
Musica Budapest #Z14686.
Published by Editio
Musica Budapest
(HL.50490252). ISBN
9790080146866. UPC:
884088524364.
9.0x12.0x0.306 inches.
Laszlo
Dubrovay. Symphony
no. 6 dates from the
spring of 2009. It is
dedicated to the
conductor Karoly Neumayer
and his orchestra, the
Pecs Railway Workers'
Concert Wind Ensemble.
About the work, the
composer writes: This
three-movement
composition follows the
classical traditions, but
the first movement
further develops the
Scriabin-type sonata
form, combining two fast
movements. In contrast to
the lyricism of the
second movement a
subterranean, negative
force also makes its
presence felt but in a
dramatic conflict is
overcome by the massive,
inspired communal singing
of the lyrical material,
which becomes
chorale-like as it
emanates from the modal
scales. The third
movement is a cheerful,
dance-like scherzo, with
comical, humorous
sound-effects.. $34.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Colorado Springs Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band - Grade 5 SKU: HL.44007324 Grade 5 - Score and Parts....(+)
Concert Band - Grade 5
SKU: HL.44007324
Grade 5 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2007.
Duration 720 seconds.
Anglo Music Press
#AMP214. Published by
Anglo Music Press
(HL.44007324). UPC:
884088245214.
9.0x12.0x1.232 inches.
English(UK)/Deutsch/Franc
ais/Nederlands. Col
orado Springs was
commissioned by the
United States Air Force
Academy Band, Lieutenant
Steve Grimo,
Commmander/Conductor.
Colorado Springs, home of
the USAF Academy, is set
in spectacular landscape
towards the southern end
of the Rocky Mountains
and is a popular tourist
resort for skiing and
hiking. The Academy plays
an important part in the
life of the area and
serves as a base for the
USAFA Band, one of the
professional bands
forming part of the
musical life of the U.S.
Air Force. The suite is
in three movements: 1.
The Springs (fanfare) -
“The Springsâ€
is the local residents'
name for the town, and
this first movement
starts with a stirring
fanfare for brass and
percussion, opening with
bold unison horns. The
rest of the brass join in
and woodwind add
decorative figures. After
a short change of style,
the opening material
reappears to close the
movement. 2. Seven Falls
- Seven Falls is a
spectacular waterfall
near to the town which
cascades 181 feet in
seven distinct steps down
a solid cliff of pikes
peak granite. In this
movement, high woodwinds
describe the sparkling
water as it descends to a
popular lookout post near
the bottom of the falls.
3. Pikes Peak - To the
north-west of the town
and reaching an altitude
14,110 feet, Pikes Peak
is the farthest east of
the big peaks in the
Rocky Mountain chain,
which contributed to its
early fame among
explorers and pioneers,
and made it the symbol of
the 1859 Gold Rush to
Colorado with the slogan,
“Pikes Peak or
Bust.†It is the
second-most visited
mountain in the world
behind Japan's Mount
Fuji. This atmospheric
movement describes the
majesty of the mountain
and is based around the
fanfare from the first
movement. Opening on a
solitary bassoon, it is
not long before the main
theme appears under
bubbling woodwinds. The
music reaches a
passionate climax at
which point the opening
fanfare reappears to
bring the whole work to a
close. $208.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Colorado Springs Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band - Grade 5 SKU: HL.44007325 Grade 5 - Score Only. Comp...(+)
Concert Band - Grade 5
SKU: HL.44007325
Grade 5 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2007.
Duration 720 seconds.
Anglo Music Press
#AMP214. Published by
Anglo Music Press
(HL.44007325). UPC:
884088245221.
9.0x12.0x0.173 inches.
English-German-French-Dut
ch. Colorado
Springs was commissioned
by the United States Air
Force Academy Band,
Lieutenant Steve Grimo,
Commmander/Conductor.
Colorado Springs, home of
the USAF Academy, is set
in spectacular landscape
towards the southern end
of the Rocky Mountains
and is a popular tourist
resort for skiing and
hiking. The Academy plays
an important part in the
life of the area and
serves as a base for the
USAFA Band, one of the
professional bands
forming part of the
musical life of the U.S.
Air Force. The suite is
in three movements: 1.
The Springs (fanfare) -
The Springs is the local
residents' name for the
town, and this first
movement starts with a
stirring fanfare for
brass and percussion,
opening with bold unison
horns. The rest of the
brass join in and
woodwind add decorative
figures. After a short
change of style, the
opening material
reappears to close the
movement. 2. Seven Falls
- Seven Falls is a
spectacular waterfall
near to the town which
cascades 181 feet in
seven distinct steps down
a solid cliff of pikes
peak granite. In this
movement, high woodwinds
describe the sparkling
water as it descends to a
popular lookout post near
the bottom of the falls.
3. Pikes Peak - To the
north-west of the town
and reaching an altitude
14,110 feet, Pikes Peak
is the farthest east of
the big peaks in the
Rocky Mountain chain,
which contributed to its
early fame among
explorers and pioneers,
and made it the symbol of
the 1859 Gold Rush to
Colorado with the slogan,
Pikes Peak or Bust. It is
the second-most visited
mountain in the world
behind Japan's Mount
Fuji. This atmospheric
movement describes the
majesty of the mountain
and is based around the
fanfare from the first
movement. Opening on a
solitary bassoon, it is
not long before the main
theme appears under
bubbling woodwinds. The
music reaches a
passionate climax at
which point the opening
fanfare reappears to
bring the whole work to a
close. $29.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Rite of Spring Saxophone Alto et Piano Carl Fischer
Chamber Music Piano, alto Saxophone SKU: CF.W2657 100th Anniversary(+)
Chamber Music Piano, alto
Saxophone SKU:
CF.W2657 100th
Anniversary. Composed
by Igor Stravinsky.
Arranged by David
Dutkanicz. SWS. Set of
Score and Parts. With
Standard notation. 20+8
pages. Duration 7
minutes. Carl Fischer
Music #W2657. Published
by Carl Fischer Music
(CF.W2657). ISBN
9780825891120. UPC:
798408091125. 9 x 12
inches. On May 29,
1913, an over-capacity
audience in Paris’
Théâtre
desChamps-Élysées
witnessed an historical
spectacle as they became
a brutecatalyst in the
most (in)famous opening
night of the twentieth
century.The Rite of
Spring premiered that
evening in the midst of a
riot inspiredby the
overwhelming primitivism
both onstage and in the
score.One-hundred plus
years later, the music
still incites the senses.
The balletwas first
published in 1914 in a
reduction for two pianos,
and serves asa basis for
this arrangement. This
edition is presented in
honor of thecentennial of
the ballet’s
premiere, and is intended
to give soloists
andaccompanists a chance
to perform this
monumental work. On
May 29, 1913, an
over-capacity audience in
Paris’
Théâtre des
Champs-Élysées
witnessedan historical
spectacle as they became
a brute catalyst in the
most (in)famous opening
nightof the twentieth
century. The Rite of
Spring premiered that
evening in the midst of a
riotinspired by the
overwhelming primitivism
both onstage and in the
score. Subtitled
“Picturesof Pagan
Russia,†the
ancient scenes were
evoked using contemporary
musical
innovations,shattering
expectations of a more
traditional Ballet Russe
production.How was an
ancient ritual of
sacrifice to the earth to
be scored? The unevolved
pesantecharacter of a
village gathering was
portrayed by odd time
signatures and accents.
Melodieswere
geometrically woven as
dissonant pastorales with
grace-notes mimicking
gutturalbreaks in primal
voices. Instruments were
orchestrated against the
grain, straining
soundsinto unrecognizable
timbres. And just like
the dancers on stage,
musicians were
organizedinto alternating
groups often clashing
with one
another.One-hundred plus
years later, the music
still incites the senses.
The ballet was first
publishedin 1914 in a
reduction for two pianos,
and serves as a basis for
this arrangement. This
editionis presented in
honor of the centennial
of the ballet’s
premiere, and is intended
to give soloistsand
accompanists a chance to
perform this monumental
work. Both movements may
beplayed alone, and the
first movement may also
serve as a solo
piece. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cathedral of Spring Chorale SATB Fennica Gehrman
Mixed choir SKU: FG.55011-567-5 Composed by Alex Freeman. Fennica Gehrman...(+)
Mixed choir SKU:
FG.55011-567-5
Composed by Alex Freeman.
Fennica Gehrman
#55011-567-5. Published
by Fennica Gehrman
(FG.55011-567-5). ISBN
9790550115675. Alex
Freeman's (b. 1972)
Cathedral of Spring for
chamber choir (2019) to
poems of e.e. cummings
and Robert Frost was
commissioned and
premiered by Somnium
Ensemble. The composer
tells: For the
celebration of the 10th
anniversary of Somnium
Ensemble (Finland), I was
commissioned to write a
piece with spring as a
central theme. While
contemplating that and
perusing appropriate
poetry, I was inspired by
memories of the
night-time sky in early
spring--the warm air, the
teeming, buzzing energy
of life all around, and
an expansive dome of
stars overhead. I then
imagined that moment in
time as a kind of sacred
space; this is the point
where the cathedral
notion came to mind. The
frenetic and joyous
poetry of e.e. cummings,
from his Epithalamion,
gives an exclamatory
introduction to the set,
followed by his vision of
spring from the point of
view of giddy children in
his iconic poem, [in
Just-]. We then take a
moment to contemplate the
ephemerality of all this
beauty (spring giveth and
spring taketh away, i.e.
an offertorium of sorts);
Robert Frost's
Blue-Butterfly Day places
us in a moment where, by
chance, we find ourselves
enveloped by a delicately
fluttering swarm of
butterflies. Peaceful and
still, yet in constant
flux, we spend a some
time taking that
phenomenon in, while also
experiencing a twinge of
the realisation that this
is truly fleeting. The
final movement, returning
to a later stanza from
Epithalamion, cummings's
sparkling paean to May is
set as a kind of final
anthem.. $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| A Brand New Me [Partition + CD] Hal Leonard
Teacher Edition with CD Choral (Teacher Magazine w/CD) SKU: HL.140879 ...(+)
Teacher Edition with CD
Choral (Teacher Magazine
w/CD) SKU:
HL.140879 Seasonal
Movement and Activity
Songs for Grades K-3.
Composed by John Jacobson
and Roger Emerson. Music
Express Books. Classroom
Resources, Collection,
Elementary. Softcover
with CD. Published by Hal
Leonard (HL.140879).
ISBN 9781495008306.
UPC: 888680041472.
8.5x11.0x0.252 inches. By
John Jacobson and Roger
Emerson. This is
the day! Jump in. Pump up
the pumpkin. Do a little
holiday hop. Put a little
spring in your life!
Bring John Jacobson into
your music class every
day with step-by-step
online video
demonstrations of twelve
active seasonal songs for
movin' fun all year!
There are helpful teacher
tips, reproducible lyric
sheets and piano/vocal
accompaniments with
printed choreography
notes; now all available
in one cost-saving
Book/CD pak! Sing along
with John and a group of
children as you learn
each song; then perform
for others with the
accompaniment-only song
tracks! Songs include:
This Is the Day, Jump In,
Fallin' Into Fall, Pump
Up the Pumpkin, The
Holiday Hop, Circle of
Light, A Brand New Me,
February, Put a Little
Spring in Your Life,
Spring Up, All I Wanna Do
Is Dance, Feelin' Good.
Suggested for Grades K-3.
Come along and you will
see - it's a brand new
me! ScorePlay - click to
view score with
recording. $34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| Sonata for Pianoforte and Violin in F major, op. 24 "Spring Sonata" Violon et Piano Barenreiter
Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edit...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Clive Brown. This
edition:
urtext edition. Stapled.
Barenreiter Urtext.
Performance score,
Part(s)
(2). Opus 24.
Baerenreiter
Verlag #BA10937.
Published by
Baerenreiter Verlag
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nian Hua 2 Guitares (duo) Theodore Presser Co.
Chamber Music 2 Guitars SKU: PR.114418800 Chinese New Year's Paintings...(+)
Chamber Music 2 Guitars
SKU: PR.114418800
Chinese New Year's
Paintings. Composed
by Chen Yi. Sws. Set of
performance scores. 24
pages. Duration 13
minutes. Theodore Presser
Company #114-41880.
Published by Theodore
Presser Company
(PR.114418800). UPC:
680160667673. 9 x 12
inches. Nian Hua
(Chinese New Year's
Paintings) for two
guitars is inspired by
the colorful folk
paintings presented in
Yangliuqing Town in
Tianjin, China. The work
is 13 minutes in
duration, and composed in
three
movements:
1.
Spring Ox and
Cowherd 2. Five Boys
Snatch Lotus Seed
Pods 3. Prosperity in
the New Year. Nian Hua
(Chinese New Year's
Paintings) for two
guitars is inspired by
the colorful folk
paintings presented in
Yangliuqing Town in
Tianjin, China. The work
is 13 minutes in
duration, and composed in
three movements: 1.
Spring Ox and Cowherd 2.
Five Boys Snatch Lotus
Seed Pods 3. Prosperity
in the New Year. Nian
Hua (Chinese New
Year’s Paintings)
for two guitars is
inspired by the colorful
folk paintings presented
in Yangliuqing Town in
Tianjin, China. The work
is 13 minutes in
duration, and composed in
three movements:1. Spring
Ox and Cowherd2. Five
Boys Snatch Lotus Seed
Pods3. Prosperity in the
New Year. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Variations on Outburst of Spring Triumphant (A Theme of Ludwig Diehn) Orgue - Intermédiaire Schirmer
Composed by Mary Beth Bennett; Ludwig Diehn. Non Hymn-Based, Organ Recital Mu...(+)
Composed by Mary Beth
Bennett; Ludwig Diehn.
Non
Hymn-Based, Organ Recital
Music, Preludes,
Partita/Variations,
Postludes. Secular, 21st
century. Published by
E.C.
Schirmer Publishing
$11.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Evocations: Promise of Spring (excerpt) Chorale SATB Edward B. Marks Music Company
Choral (SATB) SKU: HL.50605376 Choral Score. Composed by Norman De...(+)
Choral (SATB) SKU:
HL.50605376 Choral
Score. Composed by
Norman Dello Joio. E.B.
Marks. Classical.
Softcover. 64 pages.
Edward B. Marks Music
#MP984002. Published by
Edward B. Marks Music
(HL.50605376). ISBN
9781705181201. UPC:
196288107415.
7.0x10.5x0.219
inches. The second
movement of Norman Dello
Joio's larger choral
work, Evocations,
“Promise of
Spring†can be
performed with orchestral
or piano accompaniment.
In addition to the main
chorus (SSAATTBB), an
optional Young People's
Chorus, conceived for
high school voices, is
also available, though
the parts are included in
the adult mixed choral
score should
circumstances not permit
the Young People's
Chorus. The Young
People's Choral score is
available separately from
the publisher. The
orchestral accompaniments
parts are available for
rental from the
publisher. $9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spring 2 Euphoniums et 2 Tubas [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
By Antonio Vivaldi (1678-1741). Arranged by Frank Halferty. For 2 Baritone Horns...(+)
By Antonio Vivaldi
(1678-1741). Arranged by
Frank Halferty. For 2
Baritone Horns and 2
Tubas. Baritone-Tuba
Quartet. Grade 4. Score
and Set of Parts.
Duration 3:40
$11.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring Quatuor de cuivres: 4 cors [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
By Antonio Vivaldi (1678-1741). Arranged by Frank Halferty. For 4 French Horns. ...(+)
By Antonio Vivaldi
(1678-1741). Arranged by
Frank Halferty. For 4
French Horns. Horn
Quartet. Grade 4. Score
and Set of Parts.
Duration 3:40
$11.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In a Gentle Rain (Movement II from the Willson Suite) Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Robert W. Smith. By Robert W. Smith. For Full Orchestra. Full Orchestra. Belw...(+)
By Robert W. Smith. By
Robert W. Smith. For Full
Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Level: Easy to
Medium Easy (grade
II-III). Conductor Score
& Parts. 142 pages.
Published by Alfred
Publishing.
$58.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring Diary. Baritone & Pf Voix Baryton, Piano [Conducteur] Stainer and Bell
Baritone voice & Piano SKU: ST.Y272 Composed by Rhian Samuel. Vocal music...(+)
Baritone voice & Piano
SKU: ST.Y272
Composed by Rhian Samuel.
Vocal music. Five songs
to poems by Anne
Stevenson. Score. Stainer
& Bell Ltd. #Y272.
Published by Stainer &
Bell Ltd. (ST.Y272).
ISBN
9790220222849. 1.
Arrival Dream 2.
Snow Squalls 3. It
Happens 4. East Wind
5. A Clearer
Memory The
contrasting aspects of
nature are a major theme
in the work of Rhian
Samuel, and in her song
cycle Spring
Diary for baritone
and piano she responds
passionately to its
vernal magic.
Beginning in dream and
ending in memory, the
five movements of the
collection are a dramatic
response to the turning
season in Wales, conveyed
through the fine detail
of its characteristic
weather and landscape as
observed by the poet Anne
Stevenson.
Premiered at London's
City University,
Spring Diary is
excellent material for
graduate singers and
pianists, who will draw
inspiration from its
vivid and assured
word-setting and
substantial and evocative
keyboard part. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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