| Symphony No. 25, First Movement Orchestre à Cordes [Conducteur] - Intermédiaire Alfred Publishing
By Wolfgang Amadeus Mozart. Arranged by Don Brubaker. For String Orchestra. Stri...(+)
By Wolfgang Amadeus
Mozart. Arranged by Don
Brubaker. For String
Orchestra. String
Orchestra. Highland
String Orchestra. Level:
3.5 (grade 3.5).
Conductor Score. 32
pages. Published by
Alfred Publishing.
$8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonatina Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 1 Orchestre [Conducteur] - Intermédiaire Highland/Etling
Orchestra - Grade 4 SKU: AP.38495S First Movement. Composed by Lud...(+)
Orchestra - Grade 4
SKU: AP.38495S
First Movement.
Composed by Ludwig van
Beethoven. Arranged by
Robert Sieving.
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement;
Romantic. Score. 24
pages. Highland/Etling
#00-38495S. Published by
Highland/Etling
(AP.38495S). UPC:
038081436807.
English. A bold
string adaptation of this
revolutionary work, this
piece includes the
original string parts
with the essential
material from the wind
parts added in. Eminently
playable, the second
violin and viola parts
remain in first position
throughout. The first
violin part includes some
fifth position notes,
usually doubled at the
octave. Cellos go to
fourth position and
basses to sixth. Perfect
for contest or festival
performance! $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Farewell to Philosophy - A Cello Concerto Schott
Study Score Cello (Score) SKU: HL.49003264 Cello and Orchestra Study S...(+)
Study Score Cello (Score)
SKU: HL.49003264
Cello and Orchestra
Study Score. Composed
by Gavin Bryars. Sheet
music. Edition Schott.
Classical. Study Score.
Composed 1995. 114 pages.
Duration 35'. Schott
Music #ED12586. Published
by Schott Music
(HL.49003264). ISBN
9790220118159. UPC:
884088061487.
8.25x11.75x0.39
inches. I have a
great fondness for the
lower string instruments:
I am a bass player, my
mother is a cellist, as
are both my daughters; my
own ensemble includes two
violas, a cello and a
bass, and for the
instrumentation of my
opera Medea I omit the
entire violin section
from the orchestra. As I
have written a number of
works for solo instrument
or voice with orchestra I
welcomed the opportunity
to write a concerto for
cello and orchestra and
especially one which
focuses particularly on
the instrument's lyrical
qualities. Although the
piece is in one
continuous movement, and
the soloist is playing
almost without a break,
it nevertheless falls
into distinct sections
which are recognisable by
a shift of tempo as well
as by a change in the
music's character.One of
the early ideas Julian
Lloyd Webber and I
discussed was that it
might form a companion
piece to one of the Haydn
concertos. Given my
friendship with some
members of the English
Chamber Orchestra and my
awareness of their
repertoire, this
suggested a number of
particular musical
references. The subtitle
to the work, for example,
combines the subtitles of
two idiosyncratic Haydn
symphonies and I allude
to them in different ways
but chiefly through
orchestration: for The
Philosopher by including
a section in the concerto
where the orchestration
resembles that of the
symphony's first movement
(pairs of English and
French horns, muted
violins and unmuted lower
strings); for The
Farewell, by the
progressive reduction in
the orchestration towards
the end. Indeed, apart
from the orchestral tutti
in the last few bars, the
last pages of the score
are virtually for string
quartet. The subtitle
also refers to my own
background as a
philosophy graduate...The
piece was commissioned by
Philips Classics for
Julian Lloyd Webber and
is dedicated to him.The
first performance was
given by Julian Lloyd
Webber and the English
Chamber Orchestra
conducted by James Judd,
21 November 1995,
Barbican Hall,
London.Gavin Bryars. $41.95 - Voir plus => Acheter | | |
| Orientale - Intermédiaire Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 4 SKU: CF....(+)
Orchestra violin 1,
violin 2, violin 3,
viola, cello, bass -
Grade 4 SKU:
CF.CAS63 From
Novelettes, Op. 15.
Composed by Alexander
Glazunov. Arranged by
Deborah Baker Monday. SWS
FS. Concert String
Orchestra. Set of Score
and Parts. With Standard
notation.
24+24+6+15+15+10+16
pages. Carl Fischer Music
#CAS63. Published by Carl
Fischer Music (CF.CAS63).
ISBN 9780825889387.
UPC: 798408089382. 8.5 x
11 inches. Key: D
major. Originally
written for string
quartet, this fantastic
characteristic piece from
Glazunov is a welcome
addition to the string
orchestra repertoire, as
arranged by Deborah Baker
Monday. Well-suited for
the more advanced
ensemble, it contains
excellent musical
opportunities and the
chance to play the music
of a prominent Russian
composer. Deborah's
setting stays very true
to the original, but
enhances it for use by
the full ensemble. Alert
your contest/festival
music committee to this
worthy new piece for high
school string
orchestras. Alexander
Glazunov
(1865–1936) lived
during a very
transitional period of
Russian music history,
active as a composer,
conductor, and teacher.
He was a part of the
Romantic school of
Russian music following
in the tradition of
Tchaikovsky, like his
fellow composers Borodin
and
Rimsky-Korsakov.During
his years at the
conservatory he
instructed many students
who chose to pursue the
modern trends set forth
by Debussy. Stravinsky,
Shostakovich, and even
Prokofiev took
instruction from
Glazunov. Although they
considered him
old-fashioned, he was
remembered as a
stabilizing influence
during transitional
times.Glazunov’s
music stayed within the
category of Russian
Romanticsm: nationalistic
with classical formality.
His list of works
includes numerous
symphonies, concertos,
piano and vocal works,
and chamber works
including seven string
quartets.Op. 15 was first
given the title
“Suite†(a
collection of dances),
and after a
friend’s
recommendation he changed
the name to
“Novelettesâ€.
The five movements are of
contrasting style, but
beautifully reminiscent
of their particular
themes:I. Alla
SpagnuolaII.
OrientaleIII. Interludium
in modo anticoIV. ValseV.
All’ UnghereseThis
movement is very well
adaptable for string
orchestra. The original
string quartet moodis
light, using harmonics
and pizzicato, but there
are forceful sections
which allow for strong
sectional playing
(especially with the
cello and bass orchestral
sound). There is very
much interesting melodic
material offered for all
instruments which lends
itself to a fantastic
string orchestra
arrangement. Conductors
will find material in all
sections which provide
greatopportunities for
rehearsal.The form is a
large ABA with a D.C. al
fine, but the sections
are not square by any
means.There is lots of
energy and momentum in
the material of both
sections, as well as a
modalcharacter which
gives the music an exotic
sound. Bowing patterns
abound in all sections
formore great teaching
opportunities.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Festival March Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Triangle,
Trombone 1 and more. -
Grade 5 SKU:
CF.SPS78 Composed by
Victor Herbert. Symphonic
Band (SPS). Set of Score
and Parts. With Standard
notation.
3+12+12+6+6+3+12+24+24+6+
6+8+8+6+6+9+18+18+27+8+8+
8+8+9+9+9+9+12+3+6+6+40+6
pages. Duration 7:37.
Carl Fischer Music
#SPS78. Published by Carl
Fischer Music (CF.SPS78).
ISBN 9781491152553.
UPC: 680160910052. Key:
Bb major. Festival
March is presented in a
new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. Festival
March by Victor Herbert
was written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 . $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Calm Sea and Prosperous Voyage [Conducteur et Parties séparées] Carus Verlag
Orchestra Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, Timp, 2 Vl, Va, Vc, C...(+)
Orchestra Coro SATB, 2
Fl, 2 Ob, 2 Clt, 2 Fg, 4
Cor, 2 Tr, Timp, 2 Vl,
Va, Vc, Cb SKU:
CA.1039509 Composed
by Ludwig van Beethoven.
Edited by Sven Hiemke. 1x
10.395/21 flute 1, 1x
10.395/22 flute 2, 1x
10.395/23 oboe 1, 1x
10.395/24 oboe 2, 1x
10.395/25 clarinet 1, 1x
10.395/26 clarinet 2, 1x
10.395/27 bassoon 1, 1x
10.395/28 bassoon 2, 1x
10.395/31 horn 1, 1x
10.395/32 horn 2, 1x
10.395/33 horn 3, 1x
10.39. Harmony parts.
Secular choral music. Set
of Orchestra Parts. Op.
112. Duration 8 minutes.
Carus Verlag #CV
10.395/09. Published by
Carus Verlag
(CA.1039509). ISBN
9790007245320. Language:
German. Beethoven's
Meeres Stille und
Gluckliche Fahrt (Calm
Sea and Prosperous
Voyage) op. 112 for
four-part mixed chorus
and symphony orchestra -
his setting of a pair of
poems by Johann Wolfgang
von Goethe - defies
straightforward
categorization, but can
best be described as a
choral ode. Beethoven in
fact never voyaged by
sea, but his composition,
premiered in 1815,
continues to surprise
even today. He depicted
in music the smooth
surface of the motionless
water and the oppressive
calm, which meant nothing
other than being
becalmed, a delayed
voyage, and short rations
in the era of sailing,
with the same intensity
as a freshening
increasing wind, with
which Aeolus, the God of
the winds, ultimately
enabled the longed-for
prosperous voyage to take
place. The composed
calmness of the
motionless sea is
conveyed in the low
register used throughout,
in which the chorus sings
the first poem
accompanied by washes of
pianissimo sounds on the
strings. There is a
surprising moment with
the musical portrayal of
the ungeheuere Weite
(immense breadth), at
which the
vocal-instrumental
writing suddenly
crescendos to forte and
unfolds into a texture of
over five octaves. By
contrast Gluckliche Fahrt
is written in
restlessly-compiled
meters, whose musical
setting in flowing
movement with diatonic
scale passages evokes
happy excitement and
confidence. The work was
dedicated to Johann
Wolfgang von Goethe, whom
Beethoven greatly admired
throughout his life. The
work has now been
published in a new
critical edition based on
the first printed edition
and the performance score
which Beethoven himself
checked and corrected.
Score and parts available
separately - see item
CA.1039500. $57.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Woodland Suite. Score [Conducteur] Stainer and Bell
Strings & Optional Woodwind SKU: ST.Y347 Composed by George Dyson. String...(+)
Strings & Optional
Woodwind SKU:
ST.Y347 Composed by
George Dyson. String
music. With optional
Flute, Oboe, Clarinet and
Bassoon. Score. Stainer &
Bell Ltd. #Y347.
Published by Stainer &
Bell Ltd. (ST.Y347).
ISBN
9790220225475. This
four-movement suite was
first published in 1918
by Joseph Williams (now
part of Stainer &
Bell) as In
Pixieland for Solo
Violin or Flute and
Piano. In 1921 string
parts were added and then
in 1930 optional parts
for flute, oboe, clarinet
in A or B flat and
bassoon became available,
making the work ideally
suited for school or
amateur orchestra. In
1999 the Sir George Dyson
Trust decided that the
original title was
slightly out of tune with
the times and it was
changed to Woodland
Suite. In
2007, the piece was
recorded by the BBC
Symphony Orchestra
conducted by Richard
Hickox and issued on the
Chandos label (CHAN
10439) alongside a number
of Dyson's choral
works. The
recording has created new
interest in this early
suite, which is again
available for sale in all
versions. $14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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