Reach. 2-Part Accompanied

SKU: TM.01751SET

Sandra Dackow Little Known Gem - Grade IV+. Ed. by Hoffmann. This delightful set of works in the keys of G, A, and B-flat major takes full advantage of multiple stops, chords, and fiddle writing that lays easily under the hand and is fun to play. The fast movements are vigorous and the contrasting slow movements are not particularly fussy or florid, though they include some ornamentation. In the Allegro sections, musicians should approach the playing as they would a work by Haydn or Mozart: eighth and quarter notes off the string and at the frog, and sixteenth notes on the string. Stamitz's players would have followed the general rule of the down bow, where the strong beat would begin with a down bow. In Concerto No. 1 in G, the Violin I parts reach to sixth position, requiring high G's. Unusual writing for its time, these passages are both logical and easy for players to find and hear. Cello and bass parts reach high F's on occasion and require third, fourth and fifth positions. The second violin and viola parts do not require extended ranges, making this work practical for an upper intermediate orchestra. The slow movements transition between different keys and requires the low strings to use extension notes such as G-sharp and A-sharp.

SKU: CA.5165203

ISBN 9790007294243. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.

Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Sü�mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

SKU: TM.12307SET

Sandra Dackow Little Known Gem - Grade V. Prelude, In Minuet Style, Sarabande, Caprice, Pastoral, Air, Frolic. Containing seven fun to play sections, each movement in An English Suite has approachable technical demands while not being too lengthy. The Prelude is neo-Baroque, where Baroque rhythms are combined with Victorian harmonies. Sounding more difficult than it actually is to play, this movement is busy with violin passages that reach high G's. In Minuet Style has lovely lines for viola and charmingly couples an older form with more advanced harmonic language. The Saraband offers drama and resembles the style and writing of Elgar. There are high G's for both cello and bass, but the passages are logical and fall under the hand easily. Most technically difficult, the Caprice is a diversion requiring precision, speed, and technique to maneuver through changing harmonies and tonalities. The retro Pastoral was written in a manner similar to the Gavotte from Grieg's Holberg Suite, while the Air contains effective alternation of solo notes with tutti textures. The final Frolic movement is a fun fiddle tune that is great for featuring the first and second violin sections. It has also served as a theme song for one of New York's classical music stations. Keep arco accompaniments at the frog and off the string during repetitive rhythmic passages and in pizzicato sections, as they can easily be rushed.