First Sonatinas

SKU: PO.PEL12

ISBN 9781776605521.

This volume contains Lilburn's two piano sonatinas. Sonatina No.1 (1946) combines geometric patterning of classical forms with the distinctive simplicity of colour and line that the composer so admired in the work of the regionalist painters. The first movement hymns a fundamental vitality ‚Äì a fresh start in the morning land that is New Zealand; an almost geological majesty pervades the second movement and a three-note motive sets the finale in motion. Composed in the Autumn of 1962, Sonatina No.2, together with Symphony No.3, provides the fullest expression of Lilburn's last notated music before he turned to the electroacoustic medium. Spare, elegant and eloquent, both the sonatina and the symphony are rich and distinctive works that maintain a tension that keeps them taut as cords in our collective memory. Although the pianists who know the sonatina so well from the inside talk of its subtleties, beauty, delicacy and meaning, it will always be a work of immediate appeal, a work that is as much a delight to listen to as to play, a work that can be enjoyed as pure music.

SKU: HL.49047239

ISBN 9783795709129. UPC: 196288185277. 9.0x12.0x0.227 inches.

Ludwig van Beethoven wrote numerous piano pieces to teach to his pupils. Still, today, his works are an integral part of piano lessons. My first Beethoven is perfect for pianists of every age to become acquainted with these works. This volume contains Beethoven's mostpopular and easiest piano pieces – from the frequently played Sonatinas in G and F major to Für Elise and the famous Moonlight Sonata. Ideal for music lessons and music-making at home! Great works for little masters!

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

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: FH.VA5

ISBN 978-1-55440-567-1.

This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.
Concertos and Concertinos:
Concerto in C Minor, op. 12, no. 3 - Seitz, Friedrich
- First Movement
Concerto in G Major, TWV 51:G9 - Telemann, Georg Philipp
- Third Movement
- Fourth Movement
Concerto in D Minor, op. 3, no. 6, RV 356 - Vivaldi, Antonio arr. Christine Donkin
- Third Movement
Sonatas and Sonatinas:
Sonata in E flat Major - Dittersdorf, Carl Ditters von
Sonata - Cerha, Friedrich
- First Movement
- Second Movement
Sonata in G Major, op. 2, no. 6 - Flackton, William arr. Harold Birston
- Second Movement
- Third Movement
Concert Repertoire:
Langsam, op. 102, no. 2 - Schumann, Robert
La Provencale - Marais, Marin arr. May Mukle
Arioso - Bach, Johann Sebastian arr. Mark Mrozinski
Tambourin - d'Hervelois, Louis de Caix arr. Paul Doktor
Gypsy Pavan - Mozetich, Marjan
Space Dance - Mozetich, Marjan
Nocturne, op. 186, no. 2 - Kalliwoda, Johann Wenzel
Cradle Song - Bridge, Frank.

SKU: HL.49019215

ISBN 9790001180290.

Overcoming the boundaries between 'serious' and entertaining music was what mattered to the musician Eduard Putz (1911-2000). His compositions therefore include stylistic features of jazz and pop music. Many of his works were written for children and young instrumentalists to offer them a break from the monotony of classical sonatinas and studies. 'Blue Waltz' is such a treat - very easy to play, it carefully helps the player to open a listening ear for jazz sounds. The arrangement for accompanied melodic instrument is also suitable for beginner's lessons and the first ensemble playing.