| Song and Dance [Conducteur] Edition HH
Soprano saxophone, vibraphone, violin, viola, violoncello SKU: HH.HH437-FSP(+)
Soprano saxophone,
vibraphone, violin,
viola, violoncello
SKU: HH.HH437-FSP
Composed by Stephen
Pratt. Soprano Saxophone,
Vibraphone, Violin,
Viola, Violoncello. Full
score and parts. Duration
7 minutes. Edition HH
Music Publishers
#HH437-FSP. Published by
Edition HH Music
Publishers
(HH.HH437-FSP). ISBN
9790708146438. Song
and Dance was written for
the 60th birthday of the
composer's friend and
colleague James Wishart,
and was first performed
by Ensemble 10/10 in a
celebratory concert in
October 2016. At the
outset a relaxed, slow
song is intoned by a
soprano saxophone (a
favourite instrument of
James) accompanied by
vibraphone and strings.
After a couple of stanzas
this is interrupted by
dance-like material,
whose 'Caledonian feel'
is intended to reflect
James's ancestry and his
keen interest in folk
music. In due course the
dance slips away and the
song makes a brief
return. Both of the
piece's sections draw, in
different ways, on the
numbers in the date of
James's birth -
07/24/56. $28.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Interrupted Dance Orchestre à Cordes RBC Publications
String Orchestra string orchestra - Grade 2 SKU: RU.7304 Composed by Robe...(+)
String Orchestra string
orchestra - Grade 2
SKU: RU.7304
Composed by Robert
Bauernschmidt. Score and
Parts. RBC Publications
#7304. Published by RBC
Publications (RU.7304).
$32.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Interrupted Dance (Score) Orchestre à Cordes RBC Publications
String Orchestra SKU: RU.7304S Composed by Robert Bauernschmidt. Score. R...(+)
String Orchestra SKU:
RU.7304S Composed by
Robert Bauernschmidt.
Score. RBC Publications
#7304S. Published by RBC
Publications (RU.7304S).
$10.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mikrokosmos for piano Volume 3-4, BB 105 Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ20084 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano SKU:
BT.EMBZ20084
Urtext
(1932-1939). Composed
by Bela Bartok. Arranged
by Yusuke Nakahara. EMB
Music of Bela Bartok.
Educational Tool. Book
Only. Composed 2021. 112
pages. Editio Musica
Budapest #EMBZ20084.
Published by Editio
Musica Budapest
(BT.EMBZ20084).
English-Hungarian.
Bartók's
Mikrokosmos has been one
of the milestones in
pedagogical piano
repertoire for 80 years -
and yet it is also far
more than a classical
piano primer. These 153
piano pieces, organized
in ascending order of
difficulty, engage not
only with technical
aspects of piano playing
but also with the
fundamentals of
composition - from
Imitation and Inversion,
Ostinato, and Free
Variations, concerning
compositional technique,
to mood pieces and pieces
with programmatic ideas
such as Notturno,
Boating, From the Diary
of a Fly, or the famous
Six Dances in Bulgarian
Rhythm. Mikrokosmos first
appeared in 1940 in six
volumes. Based on volume
40 of the Bartók
CompleteEdition published
in 2020(Z. 15040), the
present Urtext edition
offers the series
gathered in three
volumes. This edition
includes Bartók's
preface, exercises, and
notes written for the
first edition.
Furthermore, it also
features a preface and
comments by the editor,
which not only discuss
the genesis and the
compositional sources but
also provide performers,
teachers and pupils
alike, with authentic and
detailed information
about Bartók's
notation and the specific
performing problems of
Mikrokosmos. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nuptial Scene Carl Fischer
Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, P...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Flute, Mezzo-soprano
voice, Oboe, Percussion,
Viola, Violin SKU:
CF.FE189S Composed by
Samuel Adler. Large
Score. With Standard
notation. 41 pages.
Duration 10 minutes. Carl
Fischer Music #FE189S.
Published by Carl Fischer
Music (CF.FE189S).
ISBN 9780825877520.
UPC: 798408077525. 9.5 x
13 inches. Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler . $58.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nuptial Scene Carl Fischer
Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, P...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Flute, Mezzo-soprano
voice, Oboe, Percussion,
Viola, Violin SKU:
CF.FE189 Composed by
Samuel Adler. Set of
Score and Parts. With
Standard notation.
41+4+4+4+2+3+3+3+3 pages.
Duration 10 minutes. Carl
Fischer Music #FE189.
Published by Carl Fischer
Music (CF.FE189). ISBN
9780825877513. UPC:
798408077518. 9.5 x 13
inches. Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler . $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Aurora Dances Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-480-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-480-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2019. 40 pages.
Anglo Music Press #AMP
480-140. Published by
Anglo Music Press
(BT.AMP-480-140).
English-German-French-
Dutch. Aurora
Dances was
commissioned by the Hong
Kong-based Winter Band
Festival, and consists of
three movements, to be
played without a break.
‘Aurora
Borealis’ opens
with florid woodwind
figures and highlights
different sections of the
band in turn. The second
movement ‘Aurora
Australis’ leads
to a sombre chorale,
which builds to a
full-band climax. The
finale ‘Aurora
Dances’ is
characterised by
rhythmic, dance-like
themes. A central section
features a contrasting
legato melody, but
this doesn’t
dispel the energetic feel
of the opening, which
returns to close the
work.
Aurora
Dances werd
geschreven in opdracht
van het Winter Band
Festival in Hongkong. Het
werk bestaat uit drie
delen die in elkaar
overlopen. ‘Aurora
Borealis’ opent
met sierlijke motieven in
het hout en bevat korte,
herhaalde frasen waarin
de verschillende secties
afwisselend in de
schijnwerpers worden
gezet. Het melancholieke
koraal van deel twee,
‘Aurora
Australis’,
ontvouwt zich tot een
climax in het hele
orkest. Het laatste deel,
‘Aurora
Dances’ wordt
gekenmerkt door
ritmische, dansachtige
thema’s. Een
middengedeelte bevat een
contrasterende
legato melodie,
maar die gaat niet ten
koste van het energieke
gevoel van de opening,
waarmee het werk
wordtafgesloten.
Aurora
Dances wurde vom
Winter Band Festival in
Hongkong in Auftrag
gegeben und wird ohne
Pause gespielt. Aurora
Borealis“ beginnt
mit
überschwänglichen
Holzbläserfiguren und
hebt abwechselnd
verschiedene Sektionen
des Blasorchesters
hervor. Der zweite Satz,
Aurora Australis“,
führt zu einem
düsteren Choral, der
sich zu einem
Höhepunkt des
kompletten Orchesters
aufbaut. Das Finale,
Aurora Dances“,
zeichnet sich durch
rhythmische und
tänzerische Themen
aus. Ein zentraler
Abschnitt ist durch eine
kontrastierende
Legato-Melodie
geprägt, die jedoch
die energiegeladene
Stimmung des Anfangs
nicht aufhebt, welche am
Ende des Werkes
wiederkehrt
Comman
de du Festival hivernal
des harmonies, basé
Hong-Kong, Aurora
Dances se compose de
trois mouvements
interprétés sans
interruption. « Aurora
Borealis »
s’ouvre avec des
figures élaborées
aux bois et met en avant
divers pupitres de
l’orchestre. Le
deuxième mouvement,
« Aurora Australis
», introduit un choral
sombre qui aboutit un
climax en tutti. Le
final, « Aurora Dances
», se caractérise
par des thèmes
rythmiques et dansants.
Le passage central
présente un contraste
avec une mélodie
legato, sans
pourtant dissiper la
sensation
d’énergie du
début qui revient pour
clore la pièce. $38.95 - 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—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
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