Two Last Movements

SKU: CF.CAS18

ISBN 9780825855016. UPC: 798408055011. 8.5 X 11 inches. Key: F major.

A truly masterful fantasy on an English folk song, this piece shows the exceptional musical development found in many of the greatest classical symphonies. The fantasy is roughly in the style of the classical rondo (ABACA) and features fine counterpoint and engaging melodies. This piece can be played in an orchestral and quartet setting and is both challenging and fun to play.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends!I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins:There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin....The tune is rollicking and words are amusing, and yes, eventually they worked out their problems!The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies.This composition may be performed by a string orchestra or solo string quartet.- Douglas Townsend.

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:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: CA.982005

ISBN 9790007160685. Language: Syllables/Sound. Text: Goebel, Benedict. Text: Benedict Goebel.

Singfonie is more than a hodgepodge of scat syllables, motives, patterns and riffs in a largedesigned form. rather it attempts to unite traditional forms with modern styles. The achievements of past circle song and improvisational techniques are blended with the pure feeling for rhythms and joy in the pursuit of motivic development in the four movements, which are primarily for double choir. Thus, some rhythmic and motivic germ cells are to be rediscovered in various movements, including the pulsing and unfolding tone repetitions of the first and last movements. a new journey of discovery through the world of pop-choral singing. Score available separately - see item CA.982000.

SKU: HL.14036215

ISBN 9788759875384. Danish.

Winternach was written in1976-78 and the title was taken from a poem by the Austrian poet Georg Trakl. The four movements, which are all very precise and dreamingly poetic, are almost classical in terms of clarity and discipline in orchestration and form: hence the dedication of the third movement to Igor Stravinsky. However, the music has a strong impressionistic quality as well: four introverted still lifes of the velvety, dark iceness of a silvery winter night (one can veritably sense the fairy-tale-like sleigh ride in the two outer movements). The second movement is dedicated to the eccentric lithographer M.C. Escher and the first and last movements are both dedicated to Georg Trakl. As in the well-known orchestral work, Stratifications, we can enjoy Amrahamsen's fiscination with having several events occur simultaneously: a thoughtful as well as playful multilayered quality mirrors the poetic and mysterious worlds of painting, literature, nature and most important of all: music.

SKU: HL.48180856

UPC: 888680907662. 9.0x12.0 inches.

Wolfgang Amadeus Mozart's (1756-1791) Flute Concerto in G was written by the composer in 1778. The concerto remains widely studied and performed on the flute, making it one of the most important concerti in the instrument's repertoire. Paul Taffanel and Philippe Gaubert's composed cadenzas for the work are essential to all performers of the concerto. Concerto in G is in three movements; 1. Allegro maestoso, 2. Adagio ma non troppo, and 3. Rondo: Tempo di Menuetto. The first and last movements are in the tonic key, whilst the second movement is in the subdominant key of D major. All three movements contain a cadenza which initially would have been left for the performer to improvise. However, cadenzas have since been written, including those of Taffanel and Gaubert. Both were prominent flautists of their time and their understanding of the flute concerto repertoire is second to none, making their cadenzas well-informed and essential to performers of the concerto.

SKU: GI.G-10445

  Using several versions of the original work as inspiration, Zack Stachowski has arranged The Seven Last Words of Christ for solo instrument and piano, making Haydn’s music accessible to music ministers who may not have access to larger instrumental ensembles.    These prayerful meditations can be used as preludes, as music for reflection, or in ritual when singing is not permitted. Though the pieces are inspired by the Seven Last Words from the Cross and find their most obvious fit in the season of Lent and Holy Week, the diversity of color and character makes them suitable on other occasions throughout the entire year.   (Since these arrangements were envisioned as liturgy preludes or as instrumental pieces during ritual, Haydn’s original prelude and earthquake movements have been excluded due to their overtly dramatic and performative nature.)    .

SKU: CA.5199203

ISBN 9790007186661. German. Text: van Swieten, Gottfried.

Joseph Haydn's oratorio Die sieben letzten Worte unseres Erlosers am Kreuze is probably one of the most frequently performed settings of music for Good Friday. Haydn set these Seven Words in a dramatic, extremely gripping emotional style which is utterly compelling. Originally the work was conceived as a purely instrumental composition - as meditative music in seven slow movements with an introduction and concluding movement (Il Terremoto - the earthquake) for a Passiontide church service. From the outset, Haydn had composed the themes of the movements with a vocal spirit in mind, so when he heard a vocal arrangement of his work in 1794 in Passau with a German singing text - an obvious idea - it inspired him to write his own vocal version. The first performance took place in 1796 in Vienna. With the flourishing of choral societies in the 19th century, this vocal version of the Seven Words became one of the most frequently-performed Passion music settings of all. The critical Urtext edition of the work now published offers a revised musical text reflecting current scholarly standards.

SKU: CA.3550100

ISBN 9790007049188.

During his lifetime Johann Sebastian Bach compiled an extensive music library, which today can only be reconstructed in a fragmentary manner. It reflects Bach's continued curiosity to learn about compositions of various styles and eras, a curiosity which was already present in his younger years and into his advanced age. The two complete masses and six individual movements from the Mass by Palestrina testify to Bach's interest in compositions from the 16th century. During his Weimar years Bach initially used these works to study the stile antico, with its characteristic voice leading and modal harmonies. In the last years of his life, Bach planned performances of at least two of the masses. In this connection he added instrumental parts and a basso continuo to these works. The Palestrina masses arranged by Bach comprise an important document for the performance practice in the 18th century of works in the strict style.

SKU: HL.255173

ISBN 9788759839706. 10.5x14.5x0.45 inches. English.

Siimes for Wind Quintet by Finnish composer Outi Tarkiainen (2017). Program notes: Siimes is my second wind quintet and is based on the saxophone concerto Saivo. The title of the work suggests an allegorical hiding place deep in the forest, from where one can easily observe the surrounding reality. The first movement flows and swirls like divingunder water, at times changing direction and always bubbling merrily. The second movements ethereal shimmering culminates into the last movements mighty chord pillars that pile up on one another like an ash cloud. Siimes is dedicated to Auriga Wind Quintet's flautist Heli Haapala, who commissioned the work with the support of the Sibelius Foundation. Parts are available: WH32984A.

SKU: CA.5199205

ISBN 9790007186654. German. Text: van Swieten, Gottfried.

Joseph Haydn's oratorio Die sieben letzten Worte unseres Erlosers am Kreuze is probably one of the most frequently performed settings of music for Good Friday. Haydn set these Seven Words in a dramatic, extremely gripping emotional style which is utterly compelling. Originally the work was conceived as a purely instrumental composition - as meditative music in seven slow movements with an introduction and concluding movement (Il Terremoto - the earthquake) for a Passiontide church service. From the outset, Haydn had composed the themes of the movements with a vocal spirit in mind, so when he heard a vocal arrangement of his work in 1794 in Passau with a German singing text - an obvious idea - it inspired him to write his own vocal version. The first performance took place in 1796 in Vienna. With the flourishing of choral societies in the 19th century, this vocal version of the Seven Words became one of the most frequently-performed Passion music settings of all. The critical Urtext edition of the work now published offers a revised musical text reflecting current scholarly standards.

SKU: HH.HH589-FSP

ISBN 9790708213048.

Magito's sonatas are at once beautifully melodic and virtuosic. They were unmistakably composed by a composer who knew the technical possibilities of the instrument. They bear a resemblance to the Opus 8 & 13 sonatas by another Dutch composer, Willem de Fesch, insofar as many of the last movements are minuets.