SKU: BT.ALHE32122
English.
André Jolivet (1905-1974) composed this Concerto for Flute and Strings in 1949. Initially written for Flute and String Orchestra, this version contains the scores for the Flute and the Piano and lasts 12 minutes. Thisstrong>Concerto for Flute and Strings is quite unusual as it was only created in two movements, each divided into a slow introduction and a fast main part. Used as one of the main pieces of the Geneva music contest _x001A_Concours deGenève_x001A_ in 2014, this concerto requires advanced skills. André Jolivet is a French composer who was really inspired by the Antiquity and had a strong interest for atonality. He also wrote many chamber music pieces, elevenconcertos, some orchestral and some vocal music.
SKU: RM.BOUV01936-CO
SKU: RM.BOUV01936-BA
ISBN 9790231019360.
Conducteur BT Partie separee R.
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.50489934
ISBN 9790080146279. UPC: 884088416041. 8.0x11.25x0.19 inches. Hungarian, English. Ivan Madarasz.
For Flute and String Orchestra.
SKU: KJ.SO325F
UPC: 8402703215.
Arranged for string orchestra, Dr. Bergonzi has come up with a true masterpiece with Mendelssohn's Andante. Knowing how difficult it is to find a solid slow piece for young strings, he sensitively arranged and successfully field-tested this gem. It's a superb choice for your next concert.
SKU: RM.JOUB02123-BA
ISBN 9790231021233.
SKU: RM.JOUB02123-CO
SKU: BT.DOW-05532-400
ISBN 9789043157056. English-German-French.
This edition presents a piece that belongs in the standard repertoire of every flutist: the Concerto for flute, strings and basso continuo Op. 10 No. 1, RV 439 “La tempesta di mare” in F Major by Antonio Vivaldi. The edition allows you to work through the piece systematically and at different tempi with the accompaniment. The enclosed CD begins with the concert version of each movement, following which you will hear the piano accompaniment at slow and medium tempo to help you practise. Having mastered these slower versions, you’ll now be ready to play with orchestral accompaniment at the original tempo. All of the versions were recorded live. The CD tracks are alsoavailable in downloadable MP3 format. Mit dieser Ausgabe präsentieren wir Ihnen ein Stück, das zum Standardrepertoire eines jeden Flötisten zählt: das Konzert für Flöte, Streicher und Basso continuo op. 10 Nr. 1, RV 439 La tempesta di mare“ in F-Dur von Antonio Vivaldi. Diese Ausgabe ermöglicht es Ihnen, das Werk systematisch und in verschiedenen Tempi mit Begleitung zu erarbeiten. Auf der beiliegenden CD hören Sie zuerst die Konzertversion eines jeden Satzes. Zum Üben folgt nun im langsamen und mittleren Tempo die Klavierbegleitung: anschließend können Sie sich im Originaltempo vom Orchester begleiten lassen. Alle eingespielten Versionen wurden live aufgenommen. Sämtliche CD-Tracks stehen auch online imMP3-Format zur Verfügung. Dans cette édition, nous vous présentons un morceau qui fait partie du répertoire standard de tous les fl tistes : le concerto pour fl te, cordes et basse continue op. 10 n° 1, RV 433 “La tempesta di mare” en Fa majeur d’Antonio Vivaldi. Vous pourrez travailler l’œuvre avec accompagnement, de manière systématique et différents tempos. En effet, le CD joint vous permettra tout d’abord d’entendre la version de concert de chacune des pièces. Mais vous y trouverez également un accompagnement de piano pour travailler un tempo lent puis un autre un tempo intermédiaire. Enfin, l’accompagnement au tempo original est exécuté par un orchestre. Ces différentes versions ont toutesété enregistrées en direct et sont aussi disponibles en ligne au format MP3.
SKU: HL.50089440
8.0x10.75x0.107 inches.
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.14020989
ISBN 9780711952027. 9.0x12.0x0.433 inches.
The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers, now brought to the fore, are piccolo, alto flute, cor anglais, clarinet in Eb, bass clarinet in Bb and contrabassoon. They make a motley group, diverse in colour as in register, and one of the tasks of the piece sets itself is to have them blend and cohere, both together as an ensemble and in partnership with the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo, recitatives for the alto flute, a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement, which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions, including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement, or sequence of short slow movements, followed by a dancing finale with its own slow episodes. Altogether this is music of songs and dances, heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe, having six chanters and a drone of variegated string texture.
SKU: SU.97020710
Flute & String Orchestra Duration: ca. 30' Composed: 1986 Published by: Notevole Music Publishing Performance materials available on rental:.
SKU: HL.14020993
ISBN 9780711952010. 5.5x8.5x0.222 inches.
The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers, now brought to the fore, are piccolo and alto flute, cor anglais, Eb and bass clarinets and contrabassoon. They make a motley group, diverse in colour as in register, and one of the tasks of the piece sets itself is to have them blend and cohere, both together as an ensemble and in partnership with the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo, recitatives for the alto flute, a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement, which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions, including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement, or sequence of short slow movements, followed by a dancing finale with its own slow episodes. Altogether this is music of songs and dances, heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe, having six chanters and a drone of variegated string texture. This work for woodwind instruments and string orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the ninth of ten concerti to be written for principal players of the Scottish Chamber Orchestra. The first performance was given in February 1995 by the Scottish Chamber Orchestra, conducted by the composer.
SKU: SU.92102040
Flute, Strings (or String Quartet) Duration: 24' Full Score &, Parts: available on rental Flute Part: available for sale (#92102046) String Quartet Parts: available for sale (#92102041) Piano Reduction: available for sale (#92102045) Composed: 1983 Published by: Sorom Editions.