SKU: BR.DV-1767
ISBN 9790200411249. 9 x 12 inches.
Mendelssohn's 12 juvenile symphonies are more than the scholastic exercises of a compositionally precocious twelve-year-old. Mendelssohn assimilates some vastly different influences (Bach, Mozart, Dittersdorf, etc. ) and attains an amazing originality in certain movements. The source-critical scores of the string symphonies were issued a fairly long time ago as part of the Leipzig Mendelssohn Edition (LMA). Kantate Lobgesang im Auftrag der Stadt Leipzig fur das 400jahrige Jubilaum der Erfindung der Buchdruckerkunst durch Johannes Gutenberg.
SKU: HL.51485011
ISBN 9790201850115. UPC: 884088947569.
Compl ete Edition with Critical Report. Includes: Sinfonia in D Major Hob. I:15,Sinfonia in G Major Hob. I:3, Sinfonia in E-flat Major Hob. I:36, Sinfonia in C Major Hob. I:33, Sinfonia in B-flat Major Hob. I:108, Sinfonia in A Major Hob. I:14, Sinfonia in B-flat major Hob. I:16, Sinfonia in D Major Hob. I:34, Sinfonia in D Major Hob. I:72,Sinfonia in G minor Hob. I:39.
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.
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SKU: BT.DHP-1125334-070
ISBN 9789043138383. 9x12 inches. English-German-French-Dut ch.
Sinfonia and Caprice is comprised of two contrasting sections. Both sections are characterised by the arrangement of the eight voices into two four-part groups that play in dialogue with each other.The first, slow movement is a Sinfonia in the baroque sense?a majestic opening work. With its dotted rhythms and semiquaver runs, the movement is reminiscent of a French overture. The fast second movement, the Caprice, features an almost unbroken galloping rhythm. In this section an energetic main theme in a minor key plays in alternation with a lyrical subsidiary major theme. The work closes with a triumphant fanfare.Het werk Sinfonia and Caprice bestaat uit twee contrasterende gedeelten. Het arrangement van beide delen wordt gekenmerkt door de verdeling van de acht partijen in twee groepen van vier, die in dialoog met elkaar spelen.Het eerste, langzame deel is een majestueuze sinfonia in barokke sfeer. Met zijn gepunteerde ritmes en loopjes van zestiende noten doet dit deel denken aan een Franse ouverture. Het snelle twee deel, de caprice, omvat een bijna onafgebroken galopritme. In dit deel wordt een energiek hoofdthema in mineur afgewisseld door een lyrisch ondergeschikt thema in majeur. De compositie wordt afgesloten met een glorierijke fanfare.Sinfon ia and Caprice besteht aus zwei kontrastierenden Teilen. Typisch für beide Teile ist die Aufteilung der acht Stimmen in zwei vierstimmige Gruppen, die miteinander im Dialog stehen.Der erste, langsame Satz ist eine Sinfonia im barocken Sinne, also ein majestätisches Eröffnungsstück. Mit seinen punktierten Rhythmen und Sechzehntelfolgen erinnert der Satz im Charakter an eine französische Ouvertüre. Der schnelle zweite Teil, die Caprice, weist einen fast unablässig durchlaufenden Galopp-Rhythmus auf. In diesem Satz wechselt sich ein markiertes Hauptthema in Moll mit einem lyrischen Seitenthema in Dur ab. Das Werk endet mit einem fanfarenartigen,triumphal en Schluss. Sinfonia and Caprice se compose de deux parties contrastées. Celles-ci se caractérisent, lâ??une comme lâ??autre, par lâ??arrangement des huit voix en deux groupes de quatre qui jouent en dialogue.Le premier mouvement est une sinfonia au sens baroque du terme - une introduction lente et majestueuse. Avec ses rythmes pointés et ses lignes en doubles croches, ce mouvement fait penser une ouverture française. Le second mouvement, un caprice rapide, se distingue par un rythme galopant presque ininterrompu. Le thème principal en mineur est plutôt déterminé, alors quâ??un second thème lyrique en majeur se fait entendre en alternance. Lâ???uvre sâ??achèvesur une fanfare triomphante.
SKU: CA.1610100
ISBN 9790007099664.
SKU: MH.1-59913-072-6
ISBN 9781599130729.
Prog ram Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.
SKU: HH.HH447-FSP
ISBN 9790708146544.
Sona ta 5, in A major, is the only work in the set to feature the ‘classic’ three-movement design in its symmetrical Fast–Slow–F ast configuration. Its opening Vivace makes considerable demands on the flautist’s technique, and the accompanist, too, has some lively interventions. A short Andante, in A minor, recaptures the style of the slow movement of an operatic sinfonia. High spirits return in the concluding Allegro comodo, which manages to be frothy and substantial at the same time. Sonata 6 is in G minor, traditionally a key for serious utterances. Its muscular opening Largo packs in a wealth of interesting rhythmic designs and articulations for the flautist. The influence of violinistic style is clearly seen in the Allegro that follows. The finale is composite: its ‘frame’ is an Affettuoso in minuet rhythm, but its ‘core’ is a Poco Allegro in G major with the character of a second minuet. Despite its outward charm, this movement retains much of the heft of the first two movements.
SKU: TM.08995SET
Ed. by Wolff. Also called Sinfonia No. IX in C Major. Music begins in c minor, then modulates to C major.
SKU: TM.08995SC
SKU: HL.44013274
Sinfonia and Caprice is comprised of two contrasting sections. Both sections are characterised by the arrangement of the eight voices into two four-part groups that play in dialogue with each other.The first, slow movement is a Sinfonia in the baroque senseamajestic opening work. With its dotted rhythms and semiquaver runs, the movement is reminiscent of a French overture. The fast second movement, the Caprice, features an almost unbroken galloping rhythm. In this section an energetic main theme in a minor key plays in alternation with a lyrical subsidiary major theme. The work closes with a triumphant fanfare.
SKU: HL.49001989
ISBN 9790001021593. 9.0x12.0x0.112 inches.
SKU: HL.49013799
ISBN 9790001021609.
SKU: HH.HH445-FSP
ISBN 9790708146520.
Sona ta 1 in D major opens with a Larghetto full of the rhetorical kind of expression one associates with Handel. It is followed by a busy Allegro and a concise Tempo di Minuetto movement that celebrates the extreme popularity of this dance, which, in contrast to its role in the Classical symphony, most often serves as a finale in works written around the middle of the century. | Sonata 2 in G major is in a traditional pastoral key. This association is confirmed immediately in a charming siciliana marked Andante. The Allegro assai that follows is dominated by its three-hammer-blow opening motive, which Balicourt treats with great insistence and some ingenuity. The concluding pair of movements illustrates Balicourt’s Janus-like cultivation of both galant and baroque musical languages. The Andante in E minor takes us into the world of a slow movement in a mid-eighteenth-century operatic sinfonia, while the Allegro has all the characteristics of a Corellian giga written fifty years earlier.
SKU: UT.CSS-69
ISBN 9790215318793. 9 x 12 inches.
As for mostly of Alessandro Stradella’s instrumental compositions also for the Sinfonie a 2 Violini e Basso, subject of the present edition, the only sources are the manuscripts kept in the Biblioteca Nazionale Universitaria of Turin (Foà n. 11) and in the Biblioteca Estense Universitaria of Modena (Mus. F. 1129). Of both neither the author, nor the genesis, nor the destination, nor the exact date are known (the Turinese manuscript should date back to the years 1660-1690, the Modenese one to the period 1676-1700). The Turin manuscript, which generally turns out to be more clear, complete and correct than the Modenese one, is the source of reference for this edition.