SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: HL.14023383
ISBN 9788759808221. English.
Norgard's Symphony No.1 Op.13 - revised 1956 edition in full score.
SKU: BR.PB-5568
World premiere: Helsinki, May 29, 1970EB 6659 is printed in score form; two copies are needed for performance.
ISBN 9790004213780. 10 x 12.5 inches.
CDs: Laura Mikkola (piano), Royal Scottish National Orchestra, cond. Hannu Lintu CD Naxos 8.554147 Ralf Gothoni (piano), Leizig Radio Symphony Orchestra, cond. Max Pommer ODE 757-2World premiere: Helsinki, May 29, 1970.
SKU: HL.14032208
8.5x11.75x0.435 inches.
SKU: BR.OB-3210-16
ISBN 9790004300701. 10 x 12.5 inches.
Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.
SKU: TM.11330SC
Transposed: tpt I-II. All other parts already in modern keys/clefs. Vocal score II arranged by Howden. Violin I and II together on one part.
SKU: BT.DHP-1074291-010
MARS (135X180) inches. English-German-French-Dutch.
In 1950, Pope Pius XII selected Marche Pontificale from the OrganSymphony No. 1, by French composer Charles Gounod, as the officialhymn of the Vatican. The first rendition of the official hymn took placein the same year, in Saint Peter?s Square in Rome, played by sevenmilitary bands. To celebrate the 80th birthday of Pope Benedict XVI in2007, Wil van der Beek has produced a first-class arrangement of thisfamous work for concert band. Ter gelegenheid van het heilig jaar 1950 bepaalde de toenmalige paus Pius XII dat de Marche Pontificale van de Franse componist Charles Gounod (1818-1893) de officiële hymne van Vaticaanstad zou worden, als opvolger van eenhymne uit 1857 van Vittorino Hallmayr.De nieuwe naam van de mars werd â??Paushymneâ??. De godvruchtige Gounod had het werk in 1869 geschreven voor een jubileum van paus Pius IX. In dat jaar vond de première plaats op het Sint-Pieterpleinin Rome, gespeeld door zeven militaire orkesten. Het was een enorm succes - en ook nu nog is deze muziek zeer geliefd.Wil van der Beek stond garant voor het uitstekende arrangement van dit bekende werk.Marche Pontificale stammt aus der Orgelsymphonie Nr. 1, die Charles François Gounod 1835 zur Ernennung von Papst Pius IX schrieb und die seit 1950 als offizielle Vatikanhymne gilt. Nun liegt sie, pünktlich zum Jubiläumsjahr 2007, in dem unserâ?? Papst Benedikt XVI seinen 80. Geburtstag feierte, in einer neuen Bearbeitung für Blasorchester aus der Feder des erfahrenen Arrangeurs Wil van der Beek vor. En 1950, l'occasion de l'Année Sainte, le Pape Pie XII décida que la Marche pontificale du compositeur français Charles Gounod (1818-1893) deviendrait l'hymne officiel de l'Ã?tat de la Cité du Vatican. La Marche pontificale, comme l'avait appelée son auteur prit alors le nom dâ??Hymne pontifical remplaçant ainsi lâ??ancien hymne (Musica Festiva) composé par Vittorino Hallmayr en 1857.Animé dâ??une foi profonde, Charles Gounod avait composé cette marche en 1869 pour le jubilé sacerdotal du Pape Pie IX. La création eut lieu la même année, sur le parvis de la Basilique Saint-Pierre, par sept fanfares militaires. Lâ???uvre connut un succès immédiat.Elle est toujours appréciée de nos jours.Wil van der Beek en a réalisé un excellent arrangement.
SKU: FG.706334-27-1
ISBN 979-0-706334-27-1.
A commission from the Finnish Radio Symphony Orchestra completed in 2003 and premiered in December 2004. This is music constructed in broad arches culminating in shamanistic rhythms in the closing movement. Lasting 40 minutes, it is Vuori's biggest work and rests on two simple kernels. In his striving to develop his material he confesses to be a Sibelian symphonist.
SKU: TM.13973SET
Score is manuscript and difficult to read. Parts are typeset.
SKU: TM.13973SC
SKU: TM.09796SC
SKU: HL.50575178
SKU: BR.OB-14614-30
The study score (Studien-Edition) is available at G. Henle Verlag.
ISBN 9790004343609. 10 x 12.5 inches.
The genesis of Beethoven's 4th symphony came at an extraordinary time for the composer not only regarding productivity: Thus, in 1806 he composed, among other things, the 4th piano concerto, the three Rasumovsky string quartets op. 59, the 32 piano variations in c minor WoO 80, as well as the violin concerto op. 61. The first performance of the B-flat-major symphony occurred in March 1807 at one of the two noteworthy subscription concerts conducted by Beethoven in the Palais Lobkowitz in Vienna. In the course of time, this intellectually-stimulating work- so described by one of the reviewers of the Allgemeine musikalische Zeitung - found ever-increasing appeal. Throughout the entire 19th century this symphony ranked with the best-loved and most frequently performed works; its popularity spread to England where the London Philharmonic Society played it at least 25 times in the period between 1813 and 1850.Extant are only a few drafts of the 4th symphony. The autograph served as the main source for the present edition edited by Prof. Bathia Churgin, likewise editor of the 3rd symphony in the new Beethoven Complete Edition. Consulted as reference sources were copies of the score and orchestral parts as well as the original edition of the parts.
SKU: 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
This 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
SKU: HL.49018365
ISBN 9790220132407. UPC: 884088601270. 8.25x11.75x0.241 inches. English - French - German.
Recently awarded a British Composer Award, Ryan Wigglesworth's orchestral song cycle 'Augenlieder' is now available as a study score. Setting poems by Robert Browning, Egon Schiele, Arthur Rimbaud and John Berryman, Augenlieder or Eye Songs was described as 'glittering with skill' by Geoff Brown in the Times. Masterfully orchestrated and with beautiful vocal writing, Wigglesworth is a composer to watch out for in the future.Keep your eyes open when you kiss, a sonnet by John Berryman ends this evocative and rich song cycle, premiered by Claire Booth and the BBC Symphony Orchestra conducted by the composer at the Barbican Hall, London in November 2009. Geoff Brown in The Times describes Ryan Wigglesworth as having a 'bright ear for glinting textures, [a] flair for taut motivic interplay [and] his conjuror's ability to cast a spell. This is a strong new work.' The Sonnet depicts a five month love affair and is set alongside a little known poem by Egon Schiele Visionen and poems by Robert Browning and Arthur Rimbaud.
SKU: BR.OB-14618-15
ISBN 9790004347249. 10 x 12.5 inches.
Beethoven drafted his Eighth Symphony in F major between autumn 1811 and the winter months of 1812/13, directly after completing his Seventh Symphony; thus, these two symphonies were composed even more closely together than had been the 3rd/4th and 5th/6th as the two previously paired symphonies. The Seventh and Eighth were rehearsed together in April 1813, though for unknown reasons the Eighth was not premiered until February 1814, two and a half months after the Seventh. Since, unlike many of his other works, Beethoven carefully proofread the text of the Eighth's first edition (1817), the print contains comparatively few errors. The engraver's copy by the copyist Diabelli (at that time still a Steiner publishing-house employee) does, however, also contain additions and refinements, whose authorization by the composer is questionable. Within the context of the new Beethoven Complete Edition, editor Ernst Herttrich nevertheless succeeded in presenting a meticulously and carefully crafted music text based on the autograph and the first edition, which, as a definitive edition, has the greatest plausibility and validity.
SKU: BR.OB-5234-30
ISBN 9790004332689. 10 x 12.5 inches.
The Urtext edition of Ludwig van Beethovens Fourth Symphony presented here is based on the surviving primary sources: the autograph score, a copy of the score examined by Beethoven, two copies of the part material which he personally used, and the first edition of the parts and score. The score contains the complete Critical Report. Observations deemed particularly important, as well as divergences from established editions, are clearly marked within it.Words are not enough to praise this exemplary edition, resulting from many years of systematic editorial work on the sources. Breitkopf's source-critical, practice-oriented edition by Clive Brown and Peter Hauschild will provide valuable new impulses in the interpretation of Beethoven's music.(Kurt Masur)This Urtext edition is based on the surviving primary sources: the autograph score, a copy of the score examined by Beethoven, two copies of the part material which he personally used, and the first edition of the parts and score.
SKU: BR.OB-14614-15
ISBN 9790004343555. 10 x 12.5 inches.
SKU: BR.OB-14614-27
ISBN 9790004343593. 10 x 12.5 inches.
SKU: BR.OB-14614-23
ISBN 9790004343586. 10 x 12.5 inches.
SKU: BR.OB-14614-19
ISBN 9790004343579. 10 x 12.5 inches.
SKU: BR.PB-14614
ISBN 9790004214893. 10 x 12.5 inches.
SKU: BR.OB-14614-16
ISBN 9790004343562. 10 x 12.5 inches.