94ème Symphonie, La Surprise, Andante, Menuetto

for Intermediate Piano. BACH: Air on the G String - Badinerie, BWV 1067 - Allegro, BWV 1048 - Jesu, Joy of Man's Desiring - Sheep May Safely Graze - Toccata and Fugue, BWV 565 · BEETHOVEN: Theme from Piano Concerto No. 5 (Emperor) - Theme from Symphony No. 3 (Eroica) - Theme from Symphony No. 5 - Theme from Symphony No. 7 - Theme from Symphony No. 9 · BIZET: Habanera from Carmen · BOCCHERINI: Minuet from String Quintet, Op. 11, No. 5 · BORODIN: Nocturne from String Quartet No. 2 · BRAHMS: Hungarian Dance, WoO 1, No. 5 - Lullaby, Op. 49, No. 4 · CLARKE: Trumpet Voluntary · DVORÁK: Theme from Symphony No. 9 (From the New World) · ELGAR: Nimrod from Enigma Variations - Pomp and Circumstance · FAURÉ: Après un rêve, Op. 7, No. 1 - Pavane, Op. 50 · FRANCK: Panis angelicus · GLUCK: Dance of the Blessed Spirits from Orfeo ed Euridice · GOUNOD: Ave Maria adapted from Prelude in C Major, BWV 846 by JS Bach · GREIG: Anitra's Dance from Peer Gynt Suite No. 1 - Morning from Peer Gynt Suite No. 1 - Norwegian Dance, Op. 35, No. 2 · HANDEL: Air from Water Music, HWV 348 - Allegro from Water Music, HWV 349 - Allegro from Water Music, HWV 348 - The Arrival of the Queen of Sheba from Solomon - Bourrée from Flute Sonata, HWV 363b - Hallelujah Chorus from Messiah - Largo from Serses · HAYDN: Theme from String Quartet, Op. 3, No. 5 - Theme from Symphony No. 94, Hob I:94 (Surprise) · LEHAR: Waltz from The Merry Widow · MASSENET: Meditation from Thaïs · MENDELSSOHN: Nocturne from A Midsummer Night's Dream - Wedding March from A Midsummer Night's Dream · MOZART: Ave Verum Corpus - Theme from Clarinet Concerto - Theme from Eine kleine Nachtmusik - Lacrimosa from Requiem - Theme from Piano Concerto No. 21 - Theme from Symphony No. 40 - Theme from Symphony No. 41 · Offenbach: Barcarolle from The Tales of Hoffmann - Can-Can from Orpheus in the Underworld · PACHELBEL: Canon in D · PARRY: Jerusalem · PUCCINI: Musetta's Waltz from La bohème - Un bel dì vedremo from Madame Butterfly - Vissi d'arte from Tosca · RACHMANINOFF: Theme from Piano Concerto No. 2 · RIMSKY-KORSAKOV: Flight of the Bumblebee - Song of India - The Young Prince and the Young Prince from Scheherazade · SAINT-SAËNS: Danse macabre - The Swan from The Carnival of the Animals · SCHUBERT: Ave Maria - Serenade · SOUSA: The Stars and Stripes

Joseph Haydn
Symphonie en Sol majeur Hob. I:94 (La Surprise)
Robert v. Zahn (Editeur)
Friederike Mühle (Préface)
Les douze «Symphonies londoniennes» forment le sublime accord final de l’œuvre symphonique de Haydn. Elles ont été conçues pour l’imprésario londonien Johann Peter Salomon, et Haydn lui-même en dirigea les créations, lorsqu’il se rendit, en 1791/1792 et 1794/1795, pour quelque temps dans la métropole anglaise. La Symphonie en Sol majeur exécutée pour la première fois en mars 1792 fait aujourd’hui toujours partie des œuvres les plus populaires de Haydn. Son surnom anglais de «Surprise» lui vient de l’étonnant accord de tutti de l’Andante, auquel le public ne s’attendait certes pas. Haydn avait introduit cet effet consciemment après coup - et se tenait d’ailleurs volontiers prêt à autoriser le surnom donné, après l’effet de surprise, par un musicien londonien. Cette œuvre populaire se répandit rapidement également dans les pays germanophones, où elle occupe une place solide dans le répertoire - sous le nom de «Symphonie au coup de timbale» (Paukenschlag).
L’Édition d’étude reprend le texte musical de l’Édition intégrale des œuvres de Haydn et garantit ainsi la plus haute qualité scientifique de publication. Une préface informative et un bref commentaire critique font de cette partition maniable l’accompagnateur idéal de tous les fans de Haydn, comme de ceux qui souhaitent le devenir. / Partitions classique / Ensemble et orchestre / Conducteur / HENLE VERLAG

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

on the Clarinet. Par . If you've been playing clarinet for a little while, you are probably eager to learn some familiar songs. This book includes 50 must-know works by Bach, Brahms, Handel, Tchaikovsky and more arranged for clarinet. / Date parution : 2021-12-09/ Recueil / Clarinette

?He alone has the secret of making me smile and touching me to the bottom of my soul ? said Mozart about ?Papa? Haydn and his music. The ?Surprise? Symphony (No.94) incidentally written during the final year of Mozart?s short life has become one of Haydn?s most memorable works.Since this symphony was written during the zenith of the Classical period Timothy Johnson?s skillful arrangement gives you a perfect opportunity to teach your young band ?lightness? and control as essentials of Classical style playing. You can introduce the concept of making the staccato notes ?separated? instead of just ?short? in order to best approximate the sound of the times. It?s a naturalselection for your next festival or concert! Why not give your young band a chance to meet ?Papa? Haydn through this charming arrangement?

London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his second trip to England in 1794. This work is one of the still popular from the series of the so-called '12 London Symphonies' (Hob. 1/93 - Hob. 104).The work characterized by musical finesse and various sonic stimuli has the following four movements: I. Adagio - Allegro - II. Allegretto (C major) - III. Menuet: Moderato - IV. Presto. The somewhat unusual epithet 'military symphony' refers essentially to the second and the fourth movement ('Allegretto' and 'Presto') in which the instrumentation is enriched by timpani triangle cymbals and bass drum and thereby the evokes the impression of amilitary band. A 'trumpet signal' especially set in the second movement led to such a characterization. On the value and importance of this G major Symphony the following article from the Allgemeine Musikalische Zeitung of April 1799 reveals: 'It is a little less learned and easier to grasp than some of the other's newest works but new ones Ideas just as rich as they. Perhaps the surprise in music can not be furthered than it is here by the sudden collapse of full Janissary music in the minor of the second movement-since until then one has no suspicion that these Turkish instruments are attached to the symphony. But here too not only the inventive but also the prudent artist shows. Nevertheless the Andante is nevertheless a whole: for in all the pleasing and easy things that the composer in order to infer from the idea of his coup deceitfully brought it into the first part of it it is nevertheless arranged and worked in a march.' The 'Military Symphony' was premiered on March 31 1799 in London.

Facile à jouer mélodie arrangements de ligne pour clarinette, complet avec les symboles de la corde de concert pitch. Comprend la musique de Mozart, Beethoven, Elgar, Bach et Haendel. / Clarinette / 64 pages / Partition

12 Favourite Works From The Classical Era, With Authentic Orchestral Backing Tracks. Faire vivre de la musique de l'époque classique ! Ce livre et CD pack caractéristiques 12 oeuvres classiques, arrangés par Artem Vassiliev. Amusant et attrayant pour tous les âges, ces pièces ont mélodies de la ligne supérieure accessible convenables pour les joueurs de grades norme 3-5. T/ Recueil / Saxophone Ténor