SKU: SS.50007250
SKU: HL.48183370
UPC: 888680946364. 9.0x12.0x0.091 inches.
To this day, Eugene Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His Contrasts III for Clarinet and Bassoon is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for Violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opera-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Composed in 1955, Bozza's Brief Piece is to be played on the Alto Saxophone and is a virtuosic work, addressing advanced features including, complex rhythms, chromaticism, a wide range and articulation. As music educationalist, Paul Griffiths has written of Bozza's compositions, his works reveal melodic fluency, elegance of structure and a consistently sensitive concern of instrumental capabilities..
SKU: HL.48183797
UPC: 888680858353. 9x12 inches.
Jean Michel Defaye: Contrastes (Flute & Piano).
SKU: LM.27789
ISBN 9790230977890.
Contrastes - Balancoire - Le Petit Train - Funk a Gogo - Age tendre - Simple histoire - Patte de velours - Desequilibre - Cache-Cache - Embrouilles.
SKU: BT.DHP-1185708-130
English-German-French-Dutch.
Contrasts was written for, and dedicated to, trombone soloist Dr. Brett Baker. As the titles indicates, contrasting elements characterize this challenging piece. The slow movement Sounds has a somewhat dark and sombre atmosphere, with complex harmonies and special sound effects. However, the second movement, Caprice, is energetic, entertaining, virtuosic and somewhat whimsical - quite a contrast indeed with the first! Contrasts werd geschreven voor en opgedragen aan trombonesolist dr. Brett Baker. Zoals de titel suggereert, wordt dit uitdagende stuk gekenmerkt door contrasterende elementen. Het langzame deel, ‘Sounds’, heeft een enigszins donkere, sombere sfeer en bevat complexe harmonieën en speciale geluidseffecten. Het tweede deel, ‘Caprice’, is energiek en dynamisch, virtuoos en een tikje grillig. Inderdaad een groot contrast met het eerste deel! Contrasts wurde für den Posaunisten Dr. Brett Baker geschrieben und ihm gewidmet. Wie der Titel schon signalisiert, kennzeichnen gegensätzliche Elemente dieses anspruchsvolle Stück. Der langsame Satz Sounds hat eine etwas dunkle und düstere Stimmung und zeichnet sich durch komplexe Harmonien und spezielle Klangeffekte aus. Der zweite, technisch anspruchsvolle Satz Caprice ist energisch, unterhaltsam, virtuos und etwas launisch. In der Tat ein ziemlicher Kontrast zum ersten Satz.Contrasts est écrit pour et dédié au trombone solo Dr Brett Baker. Comme l’indique le titre, des éléments contrastants caractérisent cette œuvre exigeante. Le mouvement lent, Sounds, a une atmosphère plutôt sombre et contient des harmonies complexes et des effets sonores particuliers. Caprice, le deuxième mouvement aux demandes techniques exigeantes, est énergique, divertissant, virtuose et quelque peu capricieux. Un vrai contraste avec le premier mouvement.
SKU: BT.DHP-1185708-030
SKU: BT.DHP-1185708-140
SKU: BT.DHP-1185708-010
SKU: SU.80101452
Two Contrasts (2018) is dedicated to Timothy Miller. The two movements (which may be performed together or separately) form contrasts to each other in a number of musical ways. However, in addition to the differences, there are also connections of motivic material that link the two movements together. Sharagan refers to a style of monodic hymn in the Armenian Orthodox Church. Madrigal alternates between declamatory, expressive music and buoyant, dance-like music. Instrumentation: Organ Duration: 8' Composed: 2018 Published by: Zimbel Press.
SKU: AP.1-ADV17053
UPC: 805095170535. English.
This festive piece in blues form features melodic ideas that are contrasted over changing rhythmic feels. It begins with a familiar Cape Town groove known as Cape Goema, which reflects the happy atmosphere found in Cape Town when the New Year rolls around. This is the time of year when major dance and carnival-like competitions take place, and energetic dance troupes in colorful dress dance and march through the streets. An improvised solo section is included.
SKU: HL.48185327
UPC: 888680858278. 9x12 inches.
Ivan Jevtic: Contrastes (Clarinet & Piano).
SKU: HL.48184736
UPC: 888680842192. 9.5x12.5x0.064 inches.
Jean-Jacques Grunenwald: Piece en Mosaique (Contrastes) (Organ).
SKU: HL.48185847
UPC: 888680855567. 9x12 inches.
Denise Roger: Contrastes (Flute & Piano).
SKU: HL.48183371
UPC: 888680946265. 9.0x12.0x0.062 inches.
For trumpet and horn.
SKU: HL.48183368
UPC: 888680868918. 9.0x12.0x0.075 inches.
For flute and bassoon.
SKU: LM.VV142
ISBN 9790560051420.
DECREPT Sylvie : Melodie a deux - Chanson breve - Reverie - La main gauche chante - Resonances - Chanson - Les tierces - Mode Kafi - La main gauche accompagne - Couleurs pour le do - Air connu - Coucou - Mode Kafi - Longue pedale - Escapade - Les intervalles chantent - Sympathies - Le petit train - La main gauche chante - Mode Kalyana - Chemins paralleles - La main gauche - Les mesures s'opposent - Plainte - Petit soupir - Melanges - Hors du ton - La petite echelle - Jazz - Histoire breve - Couleurs du temps - Cloches - Intervalles changeants - Surprises - En dansant - Contrastes - Gaiete - En mineur - Chanson triste.
SKU: LM.27273
ISBN 9790230972734.
Lever de rideau - Premiers Pas de danse - Le Crabe qui danse - Miroir - Contrastes - Toboggan - Reverie - Danse - Pas ajoute - Les Deux sens - Le Chant du planteur de clous - Resonances - Geste - En marchant - Mouvement.
SKU: HL.48189735
UPC: 888680837396. 8.25x12.0x0.17 inches.
Bellenoue Contrastes Flute Solo Book.
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: CF.CM9597
ISBN 9781491154199. UPC: 680160912698. 6.875 x 10.5 inches. Key: F major. English.
This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. Its very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. Itas very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to aun-learna the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. It's very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. It's very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life.As you work on this piece, try to remember the volume level that is indicated in the score. It’s very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to “un-learn†the medium dynamic level.Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!
SKU: CF.YAS9
ISBN 9780825844867. UPC: 798408044862. 8.5 X 11 inches. Key: A minor.
Firewalk is a piece for young string orchestra designed to teach pizzicato playing to the developing string player. All too often, pizzicato is treated simply as an effect or percussive accent to a passage. With this piece, pizzicato becomes the melody, harmony and rhythm. It calls for the player to use dynamics and phrasing while playing pizzicato. This work is adapted from incidental music I composed for a production of The Birth of Merlin, a play by William Shakespeare. The piece is dedicated to Helen Borgers, who directed this production by the Bard in the Yard Shakespeare Company in Long Beach, CA. The material for Firewalk comes from a section in the play where the characters are dancing a devilish tango with ethereal spirits. The music features jaunty rhythms, dynamic contrasts, and a dramatic climax. Firewalk is a diverse addition to any concert program.Firewalk is a piece for young string orchestra designed to teach pizzicato playing to the developing string player. All too often, pizzicato is treated simply as an effect or percussive accent to a passage. With this piece, pizzicato becomes the melody, harmony and rhythm. It calls for the player to use dynamics and phrasing while playing pizzicato. This work is adapted from incidental music I composed for a production ofA The Birth of Merlin, a play by William Shakespeare. The piece is dedicated to Helen Borgers, who directed this production by the Bard in the Yard Shakespeare Company in Long Beach, CA. The material forA Firewalk comes from a section in the play where the characters are dancing a devilish tango with ethereal spirits. The music features jaunty rhythms, dynamic contrasts, and a dramatic climax.A Firewalk is a diverse addition to any concert program.Firewalk is a piece for young string orchestra designed to teach pizzicato playing to the developing string player. All too often, pizzicato is treated simply as an effect or percussive accent to a passage. With this piece, pizzicato becomes the melody, harmony and rhythm. It calls for the player to use dynamics and phrasing while playing pizzicato. This work is adapted from incidental music I composed for a production of The Birth of Merlin, a play by William Shakespeare. The piece is dedicated to Helen Borgers, who directed this production by the Bard in the Yard Shakespeare Company in Long Beach, CA. The material for Firewalk comes from a section in the play where the characters are dancing a devilish tango with ethereal spirits. The music features jaunty rhythms, dynamic contrasts, and a dramatic climax. Firewalk is a diverse addition to any concert program.Firewalk is a piece for young string orchestra designed to teach pizzicato playing to the developing string player. All too often, pizzicato is treated simply as an effect or percussive accent to a passage. With this piece, pizzicato becomes the melody, harmony and rhythm. It calls for the player to use dynamics and phrasing while playing pizzicato.This work is adapted from incidental music I composed for a production of The Birth of Merlin, a play by William Shakespeare. The piece is dedicated to Helen Borgers, who directed this production by the Bard in the Yard Shakespeare Company in Long Beach, CA. The material for Firewalk comes from a section in the play where the characters are dancing a devilish tango with ethereal spirits. The music features jaunty rhythms, dynamic contrasts, and a dramatic climax. Firewalk is a diverse addition to any concert program.
About Carl Fischer Young String Orchestra Series
This 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: CF.CAS102
ISBN 9781491146620. UPC: 680160904129. 9 x 12 inches. Key: A minor.
Blindsight is the ability of certain blind people to respond to visual stimuli or can be used to describe the ability of people who lose their sight to still form images when they dream. This piece, Blindsighted, contrasts an intensely rhythmic ostinato with freer lyrical material creating rich textures that will both teach and inspire.Blindsight is the ability of some people who are blind to respond to visual stimuli that they cannot consciously see, for instance to accurately track motion . It also is used to describe the ability of people who lose their sight to still form images when they dream .Musically, Blindsighted contrasts an intensely rhythmic ostinato with freer lyrical material . This contrast in textures should be highlighted to create rich contrasts between rhythm and lyricism . The middle section at m . 67 should sing freely and should contrast with the rhythmic drive that surrounds it . Measures 87 to 105 are at a faster tempo, but should start to pick up sonic intensity and more rhythmic drive as they proceed, while still remaining essentially lyrical . The section starting in m . 105 gradually intensifies the rhythmic energy, culminating at m . 113 with a return of the opening material . The work concludes with a dramatic drive to the end starting at m . 129 .I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts .
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: BR.EB-6656
ISBN 9790004168622. 9 x 12 inches.
Written in 1809, E. T. A. Hoffmanns Miserere remained unprinted and unperformed during the composers lifetime. With its rich contrasts, the work is like a bridge thrown between the musical idiom of his time and the style of the Palestrina school, which Hoffmann so admired. There are a few short five-part a cappella passages that resemble the Palestrina style. Overall, however, the small-segmented structure of the work is definitely noteworthy. None of the twelve movements lasts longer than five minutes. Diary entries confirm the composers inner tension. On 16 January 1809, for example, Hoffmann while working on this piece writes: rather unhealthy state, more like a romantic-religious feeling.With its rich contrasts, E. T. A. Hoffmann's Miserere is like a bridge thrown between the musical idiom of his time and the style of the Palestrina school, which Hoffmann so admired.
SKU: CF.CPS263F
ISBN 9781491161739. UPC: 680160920426.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone “teewinet,†meaning “many pinnacles.â€Â Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight “swing†and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
SKU: CF.CPS263
ISBN 9781491161524. UPC: 680160920150.
SKU: CF.CM9581
ISBN 9781491154038. UPC: 680160912537. 6.875 x 10.5 inches. Key: G minor. English. Traditional Appalachian Carol.
This arrangement of the beautiful Appalachian carol is very expressive and meant to be performed with much freedom and thoughtful attention to the words, dynamic contrasts, and tempo alterations. Once you have learned this piece and are familiar with these changes to volume and tempo indications, watch your director very carefully for cues for these subtleties. It is very important that you stay together and make these changes as a unified group. The effect will be amazing! Even though this song begins very gently, be certain to pronounce your words carefully and with good diction. There are many words that sound similar: wonder / wander / under, for example. The beauty of the poetry and alliteration will be lost on your listener if your lyrics cannot be understood. Also, the story is in the words, carried to the listener on the wings of the melody and arrangement. Always, no matter what your volume level and even at the very softest levels, pronounce, pronounce, pronounce! Enjoy the ethereal beauty and reflective musings of this meditative piece! ~ Ruth Elaine Schram.This arrangement of the beautiful Appalachian carol is very expressive and meant to be performed with much freedom and thoughtful attention to the words, dynamic contrasts, and tempo alterations. Once you have learned this piece and are familiar with these changes to volume and tempo indications, watch your director very carefully for cues for these subtleties. It is very important that you stay together and make these changes as a unified group. The effect will be amazing!Even though this song begins very gently, be certain to pronounce your words carefully and with good diction. There are many words that sound similar: wonder / wander / under, for example. The beauty of the poetry and alliteration will be lost on your listener if your lyrics cannot be understood. Also, the story is in the words, carried to the listener on the wings of the melody and arrangement. Always, no matter what your volume level and even at the very softest levels, pronounce, pronounce, pronounce!Enjoy the ethereal beauty and reflective musings of this meditative piece!~ Ruth Elaine Schram.