Symphony No. 2 for Orchestra and Solo Voice

SKU: CA.4007650

ISBN 9790007293581. German/English.

Mendelssohn described his 1840 work “Lobgesang” as “a symphony for chorus and orchestra”. It is now firmly established in the standard repertoire of the major oratorio choirs. For many choirs, Lobgesang remains on their wishlist of works they want to sing. But what can be done if the choir is to small, the budget is limited, and the performance space is tight?Here, the experienced arranger and orchestral musician Joachim Linckelmann offers an excellent tried-and-tested solution. In his arrangement for soloists, chorus, and chamber orchestra, he has reduced the wind instruments from the original 17 to just 7 single instruments. The string parts remain largely identical to the original, but can also be played by smaller numbers. And the vocal parts (soloists and choir) remain unaltered in this arrangement, so that they can be sung from the piano reductions and choral scores of the Carus Urtext edition.•,Major work which can now be performed by smaller choirs•,Wind and brass parts of the original version reduced to seven single instruments•,Vocal scores and choral scores from the original version can be used•,carus plus: the work (original version) is available in carus music, the Choir Coach, and in the Carus Choir Coach series (audio only). Score available separately - see item CA.4007600.

SKU: BR.OB-5634-60

ISBN 9790004345085. 10.5 x 14 inches.

Of all his symphonies, Mahler gave the Fourth, his favorite and problem child, his most particular attention. The Heavenly Life, a humoresque composed in 1892 for soprano and piano, which he already wanted to use in the final movement of the Third Symphony under the title What the Child Tells Me, ultimately became the nucleus and final movement of the Fourth. Even after publication in 1901, Mahler kept repeatedly refining the orchestration. His maxim not without my retouching led to a whole series of revised reprints. It is probably no coincidence that Mahler performed especially the Fourth Symphony in his last two New York concerts in February 1911, using this opportunity to review once again the score and parts. This performance material with his retouching served as the main source for the new edition. Furthermore, included for the first time were corrections and annotations in conjunction with performances of the Fourth, which Mahler entered into the scores of conductors such as Mengelberg and Wickenhauser. PB 5664 has been awarded the Presto Sheet Music Award 2020.

SKU: KN.10089S

UPC: 822795100891.

Beethoven composed his Symphony No. 9 between 1822-24. The fourth movement is a theme and variations on Schiller's poem Ode To Joy and included solo voices and choir. This arrangement includes the opening presentation of the theme and several variations, capturing the spirit of the original work in an accessible grade 3 level for string orchestra. The parts are largely playable in first position, with some shifting to intermediate positions for 1st Violin, Cello and Bass. Duration 5:45.

SKU: BR.PB-5634

ISBN 9790004215319. 10.5 x 14 inches.

Of all his symphonies, Mahler gave the Fourth, his favorite and problem child, his most particular attention. The Heavenly Life, a humoresque composed in 1892 for soprano and piano, which he already wanted to use in the final movement of the Third Symphony under the title What the Child Tells Me, ultimately became the nucleus and final movement of the Fourth. Even after publication in 1901, Mahler kept repeatedly refining the orchestration. His maxim not without my retouching led to a whole series of revised reprints. It is probably no coincidence that Mahler performed especially the Fourth Symphony in his last two New York concerts in February 1911, using this opportunity to review once again the score and parts. This performance material with his retouching served as the main source for the new edition. Furthermore, included for the first time were corrections and annotations in conjunction with performances of the Fourth, which Mahler entered into the scores of conductors such as Mengelberg and Wickenhauser. PB 5664 has been awarded the Presto Sheet Music Award 2020.

SKU: HL.14011617

ISBN 9788759872031. Danish.

Per Norgard FOR A CHANGEThe title 'For a Change' refers to the Chinese 'Book of Changes' ('I Ching'), which has been consulted in situations of choice for millenia. In the I Ching, 64 states of being determine the full cycle of the phases of life. From these I selected four, the sequence of which progresses from a situation from which there is apparently no solution, to a (temporary) relief.In the first movement 'Thunder repeated, the Image of Shock', a vicious circle of claustrophobic, closed circuits is represented by the tom-tom part. This is followed by tam-tams and wood sounds, but returns full-circle to the tom-toms.The second movement 'The taming Power of the small' has its origins in the violence of the first movement, but this time lets it resolve in a long glide upwards which stars with voice sounds 'borrowed' from the Beatles' 'Revolution no 9' which are then transmitted to the other instruments.The third movement is 'The Gentle, The Penetrating' in which lyrical poetry dominates with gentle bell-like sounds and delicate tunes. Finally the sovereign, many-layered world of rhythm triumphs in the fourth movement: 'Towards Completion. Fire over Water', the main movement of the work.'For a Change' was premiered on 27.2. 1983 with the Sealand Symphony Orchestra conducted by Tamas Veto. Soloist was Gert Mortensen whom the work is dedicated.

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