SKU: SU.95001029
Contents: Fifth Symphony 1st mvt, Pastoral Symphony 1st mvt, Seventh Symphony 2nd mvt, Pathetique Sonata 1st & 2nd mvt, Moonlight Sonata 1st mvt, Emperor Concerto 2nd mvt, Violin Concerto.
SKU: CL.012-3945-01
The lush and haunting sounds of Beethoven's universally loved Moonlight Sonata are faithfully brought to life in Andrew F. Poor's colorful setting for band. Listeners and performers alike will be able to imagine Beethoven sitting at a piano as the sounds of the band dramatically emerge from the musical score. As an added feature, this beautiful setting includes an optional piano part that, along with the band, are sure to make this work a favorite with both your students and audiences alike. Perfect for any concert or contest program.
SKU: AP.37798S
UPC: 038081436265. English.
Beethoven wrote two Romances for violin and orchestra; his second one, the Op. 40 in G Major, was actually published in 1802, two years before the Op. 50 in F Major, even though the F Major Romance was composed four years earlier. The double stops of the violin solo are faithfully preserved in this arrangement, and careful attention to articulation and emphasis on melodic playing by every section of the band will make this piece an ideal choice to introduce the music of this master composer to young musicians.
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: ST.C204
ISBN 9790570812042.
Pat Goddard was left to ponder what the great composers were doing in their early years. Following meticulous research, the result was a new series for piano: Great Little Composers.The examples of Beethovenâ??s early piano works included in this album were written when Beethoven was between the ages of 11 and 27 â?? he did not have such an early start as Mozart! All but one have been relegated to the end of the catalogue of his works under the heading â??Werke ohne Opuszahlâ? (works without an Opus number WoO). However, they are varied and interesting and although showing strong traits of Haydn and Mozart, the germ of Beethovenâ??s future strikingly individual expressive language is clear.
SKU: UT.MAG-275
ISBN 9790215326873. 9 x 12 inches.
Ludwig van Beethoven composed this small series of variations without opus number (now cataloged as WoO 64) in the years between 1790 and 1792, shortly before his moving from Bonn to Vienna, when he was still working for the von Breuning family and taking lessons from Christian Gottlob Neefe. The manuscript of this composition is unusually clean and without errors and does not show the indication for harp, which instead appears in the first print, published in Bonn in 1798 by Simrock.It is not known exactly if their destination for the harp was in Beethoven’s intentions from the beginning or if it was an initiative of the publisher that he eventually approved.These Variations are based on the theme of the Swiss song Es hätt ‘and’ Buur e ‘Töchterli, attested in the collections of popular songs since 1781, which tells the story of a pastoral love between the young Dursli and Babeli.
