SKU: GI.G-9616STR
UPC: 785147961611.
By his words and actions, Pope Francis compels the global Church to a radically renewed personal encounter with Jesus Christ. Encounter: From the Heart of Pope Francis is a performance piece that animates this call in song, story, and prayer, inviting all Christians to risk stepping toward Jesus in both the blessing and the bruising of daily life. Encounter takes us to the front lines of God??s field hospital, calling us to a revolution of tenderness in a world desperate for healing, wholeness and hope. This string edition for Encounter includes parts for two violins and cello. When used in connection with the other available editions listed below, any parish or community will be able to bring this performance piece to life. However, the songs of Encounter are also useful for liturgical celebrations and other occasions throughout the year.
By his words and actions, Pope Francis compels the global Church to a radically renewed personal encounter with Jesus Christ. Encounter: From the Heart of Pope Francis is a performance piece that animates this call in song, story, and prayer, inviting all Christians to risk stepping toward Jesus in both the blessing and the bruising of daily life. Encounter tak es us to the front lines of God’s field hospital, calling us to a revolution of tenderness in a world desperate for healing, wholeness and hope. This string edition for Encounter includes parts for two violins and cello. When used in connection with the other available editions listed below, any parish or community will be able to bring this performance piece to life. However, the songs of Encounter are also useful for liturgical celebrations and other occasions throughout the year.
SKU: SU.00220263
This CD Sheet Musicâ„¢ collection makes available full scores and parts for string quartets by 19th C Slavic masters Dvorák, Glazunov and Tchaikovsky. DVORÃK: String Quartets No. 2 in B-flat major (parts only); No. 5 in F minor, Op. 9 (parts only); No. 7 in A minor, Op. 16 (parts only); No. 8 in E major, Op. 80; No. 9, Op. 34; No. 10 in E-flat major, Op. 51 Slavonic; No. 11 in C major, Op. 61; No. 12 in F major, Op. 96 American; No. 13 in G major, Op. 106; No. 14 in A-flat major, Op. 105 GLAZUNOV: String Quartets No. 1 in D Major, Op. 1; No. 2 in F Major, Op. 10; No. 3 in G major, Op. 26, Quartet Slave; No. 4 in A Minor, Op. 64; No. 5 in D Minor, Op. 70; No. 6 in Bb Major, Op. 106; Suite in C Major for String Quartet, Op. 35; 5 Novelettes for String Quartet, Op. 15 TCHAIKOVSKY: String Quartet, No 1 in D major; Op. 11; No. 2 in F major, Op. 22; No. 3 in E-flat minor, Op. 30 Also includes composer bios and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2000+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: SU.00220259
This CD Sheet Musicâ„¢ collection makes available full scores and parts for string quartets by Mendelssohn and Schubert. MENDELSSOHN: String Quartets Op. 12; Op. 13; Op. 44 Nos. 1, 2, 3; Op. 80; Four Pieces for String Quartet, Op. 81 SCHUBERT: String Quartets No. 1-15, including Quartettsatz, Rosamunde, Death and the Maiden Also includes composer bios and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1180+ pages
SKU: SU.90880091
This CD Sheet Musicâ„¢ collection makes available performing materials for nearly all of Haydn's works for string quartet. Parts for 76 string quartets (Op. 1, 2, 3, 9, 17, 20, 33, 42, 50, 54, 55, 64, 71, 74, 76, 77, 103) plus The Seven Last Words of Christ (Op. 51) Scores for 58 string quartets (Op. 20, 33, 42, 50, 54, 55, 64, 71, 74, 76, 77) Also includes composer bio and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2400+ pages
SKU: SU.00114330
This disk contains performance materials for an enormous collection of string quartets from master composers. Included are works of Bartók, Borodin, Cherubini, Chopin, Debussy, Fuchs, Hindemith, Schoenberg, Schumann, Smetana, Verdi, Wolf and many more, for an offering of 4,000 pages of music. Included also are articles on the lives of the composers and other relevant entries from the 1911 edition of Grove’s Dictionary of Music and Musicians
SKU: SU.00220545
This CD Sheet Music™ collection features the numerous, varied works for solo and duo piano by Claude Deubssy and Gabriel Fauré. DEBUSSY: Children's Corner, Deux Arabesques, Estemps, Etudes (Books I & II), Images (Books I & II), L'isle Joyeuse, Preludes (Books I & II), Pour le Piano, Suite Bergamasque, and more FAURÉ: Ballade, Barcarolles, Impromptus, Nocturnes, Preludes, Valses-Caprices, Dolly, plus more Also includes composer biographies and relevant articles from the 1911 edition of Grove’s Dictionary of Music and Musicians 1200+ pages
SKU: SU.00220547
A comprehensive and unparalleled collection that brings together both familiar and lesser-known vocal and rhythmic exercises, vocalizes, and methods from the 18th, 19th and early 20th century by 19 pedagogical masters, including: Abt, Concone, Dannhauser, Lablache, Lamperti, Marchesi, Rossini, Sieber, Vaccai, and Viardot. Configured in alternate keys for all voice types; suitable for all technical levels Also includes: composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 3000+ pages
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
Thi s 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: GI.G-9605
Habits of a Successful Middle Level String Musician is a field-tested musical collection of over 300 sequenced exercises for building fundamentals. Perfect to use with the entire string orchestra or a solo player, this series contains carefully sequenced finger pattern and shifting etudes, tone and articulation warm-ups, sight-reading exercises, rhythm vocabulary studies, chorales, and much more. In one place, this series collects everything an aspiring player needs to build fundamental musicianship skills and then be able to transfer those skills directly into the performance of great literature. Habits of a Successful Middle Level String Musician: Presents a differentiated, sequential, and comprehensive method for developing finger pattern and shifting skills to address the most common problems encountered by intermediate level orchestra students. Organizes tone, rhythm, and articulation patterns into a flexible and sequential series. Creates a method for teaching scales, arpeggios, and thirds that simultaneously accommodates students of different ability levels. Provides chorales for the development of intonation, tone quality, blend, and musicianship. Presents sequenced rhythm vocabulary charts in a format that allows transfer from timing to pitches in a musical context. Includes over ten pages of audition sight-reading exercises in a full- ensemble format that is well planned in scope and sequence. Promotes the idea that students should cross the threshold from the “technical components of playing†to music making. Habits of a Successful Middle Level String Musician is the answer to the very simple question, “What should I be learning during fundamentals time?â€.
SKU: SU.00220372
This Disk contains performance materials for 34 string chamber music masterpieces by Beethoven, Brahms, Chopin, Mendelssohn, Mozart, Schubert, Tchaikovsky and more, with combinations ranging from 5 to 7 string instruments (Vn, Va, Vcl, Cbs). Included also are articles on the lives of the composers and other relevant entries from the 1911 edition of Grove’s Dictionary of Music and Musicians. Published by: CD Sheet Music
SKU: KU.GM-1911
ISBN 9790206202384. 9 x 12 inches.
Monu mentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.The String Sextet Momentum< /em> commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents , Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s W ilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti
SKU: BR.EB-9383
ISBN 9790004188538. 9 x 12 inches.
Two years ago in Rome, I encountered a murmuration of starlings and I was amazed with its overwhelming beauty, changing shape as it moved. Moving of a fish school that you can watch in an aquarium, has the same beauty and the energy. According to the scientists, their fine movement in a flock is based on the following three simple rules: - steer to avoid crowding local flockmates - steer towards the average heading of local flockmates - steer to move towards the average position (center of mass) of local flockmates The word Boids refers to bird-like objects (bird-oids), representing the beauty of their movements in a flock which is a result of balancing out with each other, following the principle of least effort. I wonder if these rules can be applied to the way a string quartet is shaped. Boids again has been written as a sequel to the piece Boids (2017), a 4 minute study for string quartet in the frame of the Kronos Quartet's educational project 50 for the Future. (Misato Mochizuki)World premiere: Osaka, International Chamber Music Competition, February 12, 2021 Commissioned by Osaka International Chamber Music Competition and Festa Commission.
SKU: BR.EB-9384
ISBN 9790004188545. 9 x 12 inches.
