SKU: FH.WS6
ISBN 978-1-55440-555-8.
Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.Eb Saxophone:Mainly Transcriptions:Sonata op. 3, no. 5 - Giovanni Benedetto Platti, arr. Christine Donkin- First Movement: Pastorale- Third Movement: Alla breveVariations on a Gavotte by Corelli - Werner Wolf Glaser and Sigurd RascherSonata op. 3, no. 7 - Jean-Baptiste Loeillet, arr. Kathleen Wood- [Complete]Mainly Original Repertoire for Saxophone:Neo-Funk - Michael GarsonThe Good Girl - Phil WoodsBallad - Paul Ben-HaimBb Saxophone:Mainly Transcriptions:Sonata in C minor, TWV 41:c3 - Georg Philipp Telemann, arr. Jason Noble- First Movement- Second Movement- Third MovementSonata A minor, op. 1, no. 3 - Benedetto Marcello- [Complete]Mainly Original Repertoire for Saxophone:Poem - Walter S. HartleyAllegro Appassionata, op. 43 - Camille Saint-SaensEb Saxophone or Bb Saxophone:Unaccompanied RepertoireDynamic Control - Edward DiementeLyricism and Agility - Edward DiementeMultiple Action - Edward DiementePrelude, op. 122, no. 2 - Gottlieb Heinrich Koehler, arr. Robert J. FordBallad in Color - Ronald L. Caravan.
SKU: FH.WS7
ISBN 978-1-55440-556-5.
Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.Eb Saxophone:Mainly Transcriptions:Sonata, op. 2, no. 6 (La bouget) - Michel Blavet- [Complete]Minuet and Dance of the Blessed Spirits (from Orphee et Euridice) - Christoph Willibald Gluck, arr. Stephen ChatmanMainly Original Repertoire for Saxophone:Dance with Sticks - Bela BartokHornpipe Dance - Bela BartokRagtime Waltz - Richard Rodney BennettSonata - Phil Woods- First MovementBb Saxophone:Mainly Transcriptions:Sonata in G minor, H 542.5 - attr. Carl Philipp Emanuel Bach- Third MovementSonata in G minor, HWV 364a - George Frideric Handel, arr. Harold Birston- [Complete]Mainly Original Repertoire for Saxophone:Souvenir - Robert WalkerSonata - Walter S. Hartley- First MovementI Got Unhappy - Neil CurrieEb Saxophone or Bb Saxophone:Unaccompanied Repertoire:Fantasia no. 6 in D minor, TWV 40:7 - Georg Philipp Telemann- [Complete]In the Company of My Soul - Kelly-Marie Murphy- First MovementSketch - Ronald L. Caravan.
SKU: FH.WS4
ISBN 978-1-55440-553-4.
Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.Eb Saxophone:Mainly Transcriptions:Siciliana - attr. Johann Sebastian Bach, arr. Stephen ChatmanSonata, op. 1, no. 1 - Jean-Baptiste Loeillet (de Gant), arr. Kathleen Wood- First Movement- Second MovementHabanera (from Carmen, act 1) - Georges Bizet, arr. Stephen ChatmanTwo Airs - Henry Purcell Mainly Original Repertoire for Saxophone:Romance - Elizabeth RaumA Knight in Shining Armor - Phil WoodsIdyl - Nova PonBb Saxophone:Mainly Transcriptions:Sonata, op. 1, no. 1 - Jean-Baptiste Loeillet (de Gant), arr. Kathleen Wood- First Movement- Second MovementHabanera (from Carmen, act 1) - Georges Bizet, arr. Stephen ChatmanAllegro in G Minor, op. 6, no. 8 - Arcangelo CorelliMainly Original Repertoire for Saxophone:Romance - Elizabeth RaumDancing Silhouettes - Floyd Olin HarrisWillow, Willow - Percy Aldridge Grainger, arr. Carl Simpson.
SKU: FH.WS5
ISBN 978-1-55440-554-1.
Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.Eb Saxophone:Mainly Transcriptions:Sonata, HWV 373 - attr. George Frideric Handel, arr. Su Jeon- First Movement- Second MovementSonata in G minor - Henri Eccles, arr. Sigurd Rascher- First Movement- Second MovementSonata, TWV 41:G9 - Georg Philipp Telemann- First Movement- Second MovementMainly Original Repertoire for Saxophone:Nine Arias - Timothy Broege- 3. Aria senza accompagamento- 9. Aria fugataNigun - Srul Irving Glick Take Five - Paul Desmond, arr. Gary KellerBb Saxophone:Mainly Transcriptions:Sonata in D Major, op. 2, no. 5 (La chauvet) - Michel Blavet, arr. Jason Noble - First Movement- Second MovementSinfonia - Nicolo Porpora, arr. Paul Maynard- First Movement- Second MovementMainly Original Repertoire for Saxophone:Sicilienne, op. 78 - Gabriel FaureMarch - William SchmidtEb Saxophone or Bb Saxophone:Unaccompanied Repertoire:Petite Suite - Walter S. Hartley- Second Movement: Tango- Third Movement: ScherzoSix Exchanges - Lothar Klein- Third Movement- Fifth MovementFantasia no. 8 in E Minor, TWV 40:9 - Georg Philipp Telemann- Second Movement- Third MovementFantasia no. 4 in B flat Major, TWV 40:5 - Georg Philipp Telemann- Third Movement.
SKU: FH.VC6
ISBN 978-1-55440-542-8.
This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.Concertos:Concerto No. 4 in G Major, op. 65 - Goltermann, Georg arr. Leo Schulz- First Movement: AllegroConcertino No. 1 in C Major, op. 7 - Klengel, Julius- First Movement: AllegroConcerto No. 1 in A Minor, RV 422 - Vivaldi, Antonio arr. Eberhard Wenzel- Second Movement: Largo cantabileSonatas and Suites:Sonata in D Minor, op. 8, no. 9 - De Fesch, Willem arr. Jason Noble- First Movement: Siciliano- Second Movement: AllemandeSonata in G Minor, RV 42 - Vivaldi, Antonio- First Movement: Preludio- Second Movement: AllemandaSinfonia in F Major - Pergolesi, Giovanni Battista arr. Joseph Schmid- Third Movement: Adagio- Fourth Movement: PrestoConcert Repertoire:Lied ohne Worte, op. 109 - Mendelssohn, FelixCantillation - Ethridge, JeanSupplication - Bloch, ErnestRomanze - Reger, MaxLa Provencale - Marais, Marin arr. May MukleGavotte, op. 67, no. 2 - Popper, DavidSerenade espagnole, op. 20, no. 2 - Glazunov, Aleksandr arr. M.P. BelaieffAndaluza (Playera) - Granados, Enrique arr. Manuel CalvoApparition - Rathburn, EldonSiciliana - Piazzolla, AstorUnaccompanied Repertoire:Suite No. 5 in C Minor, BWV 1011 - Bach, Johann Sebastian- Seventh Movement: GigueSuite No. 2 in D Minor, BWV 1008 - Bach, Johann Sebastian- Third Movement: CouranteSuite No. 1 in G Major, BWV 1007 - Bach, Johann Sebastian- First Movement: PreludeI Dropped My Ice Cream Cone - Laut, EdwardBallad - Laut, Edward.
SKU: BR.OB-3210-27
ISBN 9790004300732. 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: BR.OB-3210-23
ISBN 9790004300725. 10 x 12.5 inches.
SKU: BR.OB-3210-16
ISBN 9790004300701. 10 x 12.5 inches.
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: BR.OB-3210-15
ISBN 9790004300695. 10 x 12.5 inches.
SKU: FH.FLR08
ISBN 978-1-55440-296-0.
Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.Sonata in E flat Major, BWV 1031(complete) attr. Johann Sebastian Bach, arr. Stephen Chatman Sonata in G Minor, op. 2, no. 4 (La Lumagne) (complete) Michel Blavet Concerto in G Major (complete) attr. Giovanni Battista Pergolesi, arr. Stephen Chatman Reverie et petite valse Andre Caplet Sunstreams Ian Clarke, David Hicks, and Simon Painter arr. Ian Clarke Das Fischermadchen, D 957, no. 10 Franz Schubert, arr. Theobald Boehm Standchen, D 957, no. 4 Franz Schubert, arr. Theobald Boehm Aus dem Pflanzenreich, op. 57b, First Movement: Die Lilie; Fourth Movement: Kaktus Theodor Blumer Icicle Robert AitkenCaprice en gigue Sebastian Bodinus Les folies d'Espagne Marin Marais, transc. Hans-Peter SchmitzFirst Movement: Theme Second Movement Fifth Movement Ninth Movement Eighth Movement Twenty-fifth Movement Three Lyric Pieces Teruyuki Noda 3. Adagietto.
About Overtones
Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.
SKU: HH.HH444-FSP
ISBN 9790708146490.
Sonata 7 in D major opens with a sunny Andante that nevertheless has a poignant moment just before the end. The technically challenging Allegro moderato that follows bounces along airily, throwing out scales, arpeggios and wide leaps with equal abandon. The concluding Allegro is a feast of syncopation: an object lesson in how to compose a coherent movement based on a single idea that never comes close to sounding tedious. Sonata 8, in the same key, is the only work in the set to arrange its three movements in a Fast–Slow–Fast pattern. Its opening Allegro is especially well-developed formally, coming close to mature Classical sonata style. For the Adagio in B minor Balicourt takes a chromatic idea heard earlier in the first movement and develops it intensively and poignantly: this is the ‘jewel’ of the slow movements in the set. The Moderato finale is enlivened with some interesting modulations and harmonic twists as well as some attractive moments of animation in the bass.