SKU: HL.14022926
ISBN 9788759852675. 8.25x11.75x0.285 inches. English.
Carl Nielsen (1865-1931) was a Danish musician, often seen as his country's greatest composer, who now occupies a distinguished platform in the national and cultural heritage of his native land. The Carl Nielsen Edition is an independent project which aims to publish all of his finished works, in the version last approved by the composer. The Quartet for Strings in G minor (Op. 13) is the earliest of Nielsen's four published quartets, having been composed in 1887-1888, but it was not published for over a decade. It comprises four movements: Allegro Energico - Andante Amoroso - Scherzo. Allegro Molto - Finale. Allegro (Inquieto) .
SKU: HL.49009976
ISBN 9783795763725. UPC: 841886004221. 5.25x7.5x0.316 inches.
Preface -.- Sinfonie: * I. Adagio molto-Allegro vivace * II. Andante * III. Menuetto. Allegro vivace * IV. Allegro.
SKU: KN.KEN10355
UPC: 822795103557.
This exciting new collection contains 8 grade 3-4 pieces for instrumental solo with piano accompaniment. Free MP3 downloads of the piano accompaniment are available at kendormusic.com. Many of the titles have been published as single pieces and are listed on several state contest lists.Contents:Serenade; Trumpet Territory; Andante (Capuzzi); Let The Bright Seraphim; Sonata In A Minor (Andante & Vivace); Wind Dance; Habanera; Proclamation.
SKU: HH.HH446-FSP
ISBN 9790708146537.
The Andante opening Sonata 3, in D minor, demonstrates Balicourt’s mastery of a an entirely natural lyricism that is elegant without ever becoming bland. The vivacious Allegro that follows has an endearing playfulness reminiscent of Vivaldi. The third movement, Andante, moves to F major and is noteworthy for some delightful imitative play between flute and bass. A sprightly Minuetto brings up the rear. Sonata 4, in A minor, opens with a Largo of an almost Handelian gravitas. It is followed by a fleet-footed Allegro that at several points contains figurations derived from violinistic style as exemplified by Vivaldi. For the concluding movement, a graceful Affettuoso, Balicourt switches to A major, a way of lightening the mood that in 1750 was not yet common but very soon was to become a favoured practice in minor-key works.
SKU: M7.IFO-72652
Louis Vierne (1870-1937) Première Symphonie pour grand orgue en Ré mineur op. 14 'À Alexandre Guilmant' (comp. 1895-98; ed. pric. 1999: Paris, Éd. Pérégally & Parvy fils; 1874 Uraufführung durch Alexandre Guilmant in der Église Royale Notre-Dame de Laeken in Brüssel): I. Prélude (ré mineur) II. Fugue (ré mineur) III. Pastorale (Si-bemoll majeur) IV. Allegro vivace (la mineur) V. Andante (Fa majeur) VI. Fina (Ré majeur) Alexandre Guilmant (1864-1911) Sonata No. 1 in D Minor op. 42 'Hommage Réspectueux à Sa Majesté Leopold II de Belgique]' (comp. 1874 ; ed. princ. 1875: Paris, Éd. Schott) I. Introduction (Largo e maestoso) et Allegro II. Pastorale: Andante quasi Allegretto III. Final: Allegro assai.
SKU: 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—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”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 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.†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 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 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 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.
SKU: HL.50601560
ISBN 9781540039699. UPC: 888680894047. 9.0x12.0x0.163 inches.
44 bagatelles, German dances, ländler, minuets, sonatinas, and more. Contents: Allegretto in B minor, WoO 61 • Bagatelle in G minor, Op. 119, No. 1 • Bagatelle in A Major, Op. 119, No. 4 • Bagatelle in C Major, Op. 119, No. 8 • Bagatelle in A minor, Op. 119, No. 9 • Bagatelle in B-flat Major, Op. 119, No. 11 • Bagatelle in G Major “Lustig und Traurig,†WoO 54 • Bagatelle in A minor “Fur Elise,†WoO 59 • Bagatelle in B-flat Major, WoO 60 • Ecossaise in G Major, WoO 23 • German Dance in E-flat Major, WoO 86 • German Dance in E-flat Major, WoO 8, No. 5 • German Dance in G Major, WoO 8, No. 6 • German Dance in C major, WoO 8, No. 7 • German Dance in D Major, WoO 13, No. 1 • German Dance in B-flat Major, WoO 13, No. 2 • German Dance in B-flat Major, WoO 13, No. 6 • German Dance in E-flat Major, WoO 13, No. 9 • German Dance in C Major, WoO 13, No. 10 • Klavierstuck in G minor, WoO 61a • Seven Landler, WoO 11 • Six Landler, WoO 15 • Minuet in B-flat Major, WoO 7, No. 8 • Minuet in F Major, WoO 7, No. 8 • Minuet in F Major, WoO 7, No. 12 • Minuet in G Major, WoO 10, No. 2 • Minuet in E-flat Major, WoO 10, No. 3 • Minuet in C Major, WoO 10, No. 6 • Miinuet in E-flat Major, WoO 82 • Sonata in G minor, Op. 49, No. 1, Andante and Rondo. Allegro • Sonata in G Major, Op. 49, No. 2, Allegro ma non troppo and Tempo di Minuetto • Sonatina in G Major, Anh. 5, No. 1 • Sonatina in F major, Anh. 5, No. 2 • Waltz in E-flat Major, WoO 84 • Waltz in D Major, WoO 85.
SKU: KN.17429
UPC: 822795174298.
These grade 2-3 additions to the Fun For Two series contain simplified themes, rhythms and textures that are fun to play and provide educationally interesting tunes for sight reading and small ensemble programs.Contents:Allegro Con Spirito (From Serenade In C); Vivace (Mazurka); Allegro (From 1812 Overture); Lento (From Symphony In E Minor); Andante (From March Slave).
SKU: HL.14035763
Nineteenth century composer Samuel Sebastian Wesley's 'Andante In E Minor' arranged for the organ.
SKU: HL.121448
ISBN 9781480352551. UPC: 884088923143. 9x12 inches.
Available for the first time: easy to advanced solo works from the Rubank archives with online performance and accompaniment recordings, printable piano accompaniments, and PLAYBACK audio tools. This new collection of 14 Rubank solos includes many that have long been unavailable. All are suitable for contest and festival performance (grades 2-4). Purchase includes exceptional performance tracks (recorded by pro players), accompaniment tracks for practice, and PDF piano accompaniments for use at contest. Includes: Air and Variation on a Civil War Song (?Tramp, Tramp, Tramp?) (Root) ? Air Gai (Berlioz) ? American Patrol (Meacham) ? Andante and Allegro (Clérisse) ? Aria and Allegro (Haydn) ? Ave Maria (Schubert) ? Concerto in F Minor (Lauga) ? Jabberwocky (Walters) ? Lyric Interlude (Johnson) ? Orientale (Barat) ? Prayer (Mascagni) ? Prelude et Divertissement (Clérisse) ? Summer Serenade (Hurrell) ? Toreador's Song (Bizet).
SKU: HL.254191
9.0x12.0 inches.
Andante for oboe and piano was found only after the composers death in 2014. According to his private notes discovered by his family, it was written in 1951, which means that it is one of its earliest compositions. This one-part work, set in neoromantic aesthetics, is based on two themes. The first one - in D Minor - initially appears in the piano part, and then it is captured by the oboe. It puts a listener in a tranquil, sentimental mood. The second one - in D Major - is livelier and jollier (piu mosso), though in terms of melodic motifs some of its fragments come closer to the first theme in a form of its variation-style development. This is capped by a solo cadenza of the oboe that leads to the recapitulation of the first theme and the following tranquil, cantilena-style coda. Jozef Swiders Andante for oboe and piano, despite its charming simplicity, is a work full of reverie, nostalgia and subtle melancholy. This proves the young composer's liking for clarity, lyricism and romantic expression, typical of his late artistic work.
SKU: HL.48189213
UPC: 888680875923. 8.75x12 inches.
“Wolfgang Amadeus Mozart's (1756-1791) Serenade in C minor was written by the composer in 1782-83. The work remains widely performed by Wind Octets, making it one of the most significant, substantial works in the wind ensemble repertoire. David Walter's transcription of Serenade in C minor, also known as Serenade No. 12, is for Wind Quintet, making the popular work even more accessible and versatile. Serenade in C minor comprises four movements; 1) Allegro, 2) Andante, 3) Menuet and Trio, and 4) Allegro. This edition of Mozart's Serenade in C minor for Wind Quintet is essential to all ensembles looking for exciting, yet traditional repertoire.&rdquo.
SKU: BR.OB-5542-16
3 Work Stages, 2 Versions, 1 Edition
,,… the musical text is fine. This is a valuable improvement. (Clifford Bartlett, Early Music Review)
ISBN 9790004341728. 10 x 12.5 inches.
With the new edition of the G-minor Symphony, a vital work group in Mozart's oeuvre is now complete: the three late symphonies K. 543, 550 and 551, now available in Urtext editions. As in his new edition of the Hafner Symphony, Henrik Wiese uncovers in the present Breitkopf Urtext score three different stages in the genesis of the G-minor Symphony. Mozart initially wrote the work without clarinets (1st stage), and then he added the clarinets (2nd stage). Not until a final stage did he change the wind instrumentation in the Andante (3rd stage). Mozart thus returned to the 1st version again after completing the 2nd version (with clarinets). This advances the importance of the 1st version without clarinets as Fassung letzter Hand. A compelling insight which sheds new light on the famous G-minor Symphony. Both versions are of equal value and can now be compared with one another, studied and, above all, performed for the first time ever thanks to the new score and parts.Another extremly practical aspect that should be noted: the orchestral parts offer solutions for all the problematic page turns for the first time ever (please see the sample pages of OB 5542 - Violin II.),,... the musical text is fine. This is a valuable improvement. (Clifford Bartlett, Early Music Review)3 Work Stages, 2 Versions, 1 Edition.
SKU: BR.OB-5542-15
ISBN 9790004341711. 10 x 12.5 inches.
SKU: HH.HH448-FSP
ISBN 9790708146551.
In Sonata 7, in D major, Balicourt opens with a suave, intricately rhythmic Adagio. The following Presto, with its delightful interplay between flute and bass, including both octave doubling and stretto imitation, is the most skittish movement to emerge from the composer’s pen. The finale is a ‘sandwich’ movement, in which a Minuetto encloses a duple-metre Cantabile in D minor. Although the minuet could be said to exemplify one of those ‘easy’ movements referred to in Balicourt’s prospectus for subscribers, its complex, prescribed ornamentation requires sensitive handling. Sonata 8, in E minor, is strategically placed as the final work in the set, being one of the longest as well as the most conservative; adopting the traditional four-movement configuration, it continually harks back to the grand Handelian style. An eloquent Andante ushers in a Presto containing many, slightly academic, contrapuntal touches and much chromaticism. The subsequent Largo is only five bars long: its plain melodic line in minims and crotchets is the skeleton around which the flautist is expected to weave an elaborate embroidery. For the finale Balicourt introduces, in effect, a new version, in triple metre, of the second movement. The fact that all four movements are in E minor heightens the sense of unity, which is expressed very concretely through their sharing of some thematic material.