Amadeus in the Percussion Box

Par HARTMANN KARL AMADEUS. / Répertoire / Piano, Instruments à Vent et Percussion

Par TISCHHAUSER FRANZ. / Répertoire / Piano, Trio à vent, Percussions et Orchestre à Cor

The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart the Rondo Alla Turca is one of the most famous piano pieces of all time. Once only familiar to musical experts later a universal piece for all piano pupils its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazıl Say's arrangement originally created as an effective encore follows on from this popularity. After the first eight bars have been presented in original form typical elements of jazz superimposed on the still recognisable classical foundations can be discovered such as syncopation of the top notes andornamentation through chromatic blue notes embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character Say likes to perfom his Alla Turca Jazz in different combinations for example accompanied by jazz singers of with orchestra. It may appear strange that Fazıl Say who was born in Turkey and - when not on tour - is still resident in that country does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition Turkish folk music and elements of jazz. In a further Mozart arrangement the ballet music Patara premiered in Vienna in 2006 composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme) Say utilised the connection which was absent in Alla Turca albeit in the opposite direction. In the ballet music the piano symbolises Western culture and the Ney flute Oriental culture communcated atmosperically by austere percussion instrumentation and soprano vocalisation.

Die Entführung aus dem Serail. Par MOZART WOLFGANG AMADEUS. “Wonderful! But, aren’t there too many notes?” asked the emperor Joseph II. “No, all notes are necessary. This is new music, ” replied Mozart. This is a famous anecdote about the premiere of the opera Die Entführung aus dem Serail (The Abduction from the Seraglio), which took place on July 16, 1782 at the Burgtheater Wien (Vienna). It illustrates Mozart’s ambition and self-confidence. Throughout Mozart’s lifetime, Die Entführung aus dem Serail was his most successful work outside of Vienna. It is still a much-performed opera. Tohru Takahashi has made a lively arrangement of the overture in its original key, C major. It will sound even better if your band has Turkish percussioninstruments at its disposal. / Niveau : 5 / Répertoire / Concert Band

First movement from the famous serenade K.525 arranged by Albrecht Rosenstengel for recorder groups with percussion instruments.

10 morceaux d'ensemble spécialement arrangés pour tous les instruments et idéal pour des joueurs de 9 à 13 ans. <br> <br>De la flûte à la guitare, du glockenspiel au pipeau tout le monde pourra prendre part à ce moment magique. / [Classroom Jam - Classical Pieces] / Classique / Barrie Carson Turner / Partition /

Classic Mozart with a new twist for young musicians! This clever arrangement introduces one of Mozart's most popular works. Written within a rock beat framework the piece will transport your audience everywhere from classical to tango while exposing your students to some of the world's greatest classical music. Highly entertaining. Includes CD with performance example. This is arranged for Flute Oboe Bassoon Bb Clt 1&2 Eb Alto Sax 1&2 Bb Tenor Sax Eb Bari Sax Bb Trumpet 1&2 F Horn Trombone 1&2 Baritone/Euphonium Tuba 3 percussion.

Bassoonists are eagerly awaiting the new Urtext edition of this work which is widely beloved for its virtuoso passages and inventive richness. Not only does this edition offer a carefully prepared text; it also featurescadenza suggestions by Robert Levin as creative stimuli for the performer.