Wolfgang Amadeus Mozart: Turkish March: Piano: Instrumental Work

The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart the Rondo Alla Turca is one of the most famous piano pieces of all time. Once only familiar to musical experts later a universal piece for all piano pupils its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazıl Say's arrangement originally created as an effective encore follows on from this popularity. After the first eight bars have been presented in original form typical elements of jazz superimposed on the still recognisable classical foundations can be discovered such as syncopation of the top notes andornamentation through chromatic blue notes embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character Say likes to perfom his Alla Turca Jazz in different combinations for example accompanied by jazz singers of with orchestra. It may appear strange that Fazıl Say who was born in Turkey and - when not on tour - is still resident in that country does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition Turkish folk music and elements of jazz. In a further Mozart arrangement the ballet music Patara premiered in Vienna in 2006 composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme) Say utilised the connection which was absent in Alla Turca albeit in the opposite direction. In the ballet music the piano symbolises Western culture and the Ney flute Oriental culture communcated atmosperically by austere percussion instrumentation and soprano vocalisation.

This edition features new electric guitar transcriptions compiled from the music of Wolfgang Amadeus Mozart. The collection includes 11 pieces including 'Eine Kleine Nachtmusik K525 I ' 'Rondo alla Turka K331 III ' 'Sonata K545I ' and 'Symphony #40 K550 I.' As with other editions in this series these transcriptions are intended to be performed with a pick — employing string-skipping alternate hybrid and sweep-skipping techniques. The selections havebeen performed in a variety of settings from accompanied solos to a sextet. Companion audio downloads are available that features all eleven pieces as well as bonus tracks to the multi guitar selections with the first guitarabsent to allow practice/performance with the audio. The book is divided into two sections the first of which includes music for solos duets and parts for larger ensemble transcriptions. The second section features full scores canon solutions and the piano accompaniment score to the Turkish Rondo. Written in notation and tablature. Free audio downloads are available for use with this title.

Fantasie über das Rondo aus der Klaviersonate in A-Dur KV 331 von Wolfgang Amadeus Mozart. Par SAY FAZIL / CETINER YUDUM (Arr.). The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous piano pieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazil Say's arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars have been presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra. It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation. / Date parution : 2021-12-09/ Répertoire / 2 Pianos

Series: Simply Series Category: Piano Collection Format: Book Instrument: Piano Level: Easy Piano Simply Classical is a collection of arias, rondos, sonatina movements, string quartet movements, symphonic themes, and other famous works from the Classical period of music history. These selections have been carefully arranged by Mary K. Sallee for Easy Piano, making them accessible to pianists of all ages. Phrase markings, articulations, fingering, pedaling and dynamics have been included to aid with interpretation, and a large print size makes the notation easy to read. Titles: Ludwig van Beethoven: Ecossaise, from The Ruins of Athens * Für Elise * German Dance, from Twelve German Dances, WoO 13 * Minuet in G Major * Moonlight Sonata * Ode to Joy, from Symphony No. 9 * Rondo a capriccio (“Rage over a Lost Penny”) * Theme from the “Pastoral” Symphony * Turkish March, from The Ruins of Athens * Variations on a Theme from the “Eroica” Symphony Muzio Clementi: Sonatina No. 1 (Allegro), from Six Sonatinas, Op. 36 * Sonatina No. 1 (Andante), from Six Sonatinas, Op. 36 Franz Joseph Haydn: Gypsy Rondo * Theme from the Cello Concerto in D Major * Theme from the “Kaiser” String Quartet * Theme from the “London” Symphony * Theme from the “Surprise” Symphony Wolfgang Amadeus Mozart: Ein Mädchen oder Weibchen, from The Magic Flute * Eine kleine Nachtmusik (Allegro) * Là ci darem la mano, from Don Giovanni * Laudate Dominum, from Vesperae solennes de confessore * Menuetto, from Don Giovanni * Rondo alla Turca, from Sonata No. 11, K. 331

This is an interesting and fun arrangement that Mozart never would have imagined but most certainly would have appreciated! His famous instrumental work has been transformed into a gleeful arrangement for voices. A refreshing acappella number for your concert or show choir that will wow your audiences to the final “Ta-da!”

It is unknown precisely when and where Mozart wrote this delightful Piano sonata but Vienna or Salzburg around 1783 is likely which is around the time of the production of Idomeneo. Mozart composed the sonata in three-movementstructure. The first andante grazioso is a theme with six variations; the second includes a minuet and trio; the third is the famous rondo alla turca and allegretto which is frequently performed as a separate piece. TheTurkish style was fashionable in Vienna at that time in imitation of Turkish janissary bands. Mozart used it again in his opera Die Entfuhrung aus dem Serail.

From the comic opera filled with pirates Turkish princes kidnapping and daring rescues Mozart's The Abduction from the Seraglio is the piece of music that generated the (possibly fictional) ?too many notes?story. It is written in the Turkish ?janissary? style a style of music that fascinated Europe at the time. In this arrangement the right hand of the piano is frequently written 8va to help recreate the piccolothat figured prominently in the original.

This Rondo is the 3rd movement of a piano sonata indicated to be played 'in the Turkish style' and shows Mozart in playful mood.

From the 11th Sonato of K.331 Rondo Alla Turca is one of Mozart's most popular works. This is the third movement and it took its inspiration from the quasi-Turkish music that was the fashion in Vienna during the late 18th and early 19th century. Sections of the piece imitate the bass drums and cymbals which typify the military march genre providing a greater sense of grandeur and a rousing dynamic.