The Op. 50 string quartets contain some of the purest writing Haydn ever accomplished. In this first full account of the six quartets, Dean Sutcliffe evaluates the Op. 50 in relation to Haydn's more frequently performed quartets and considers their relevance to Haydn's wider output. Each quartet is discussed in detail. The background to these works includes a brief history of the string quartet and an assessment of Haydn's earlier works in this genre and of his role at Esterhaza. The description of the composition and publication of the Op. 50 quartets is based on the evidence of Haydn's surviving letters and the recently discovered autograph copies of nos. 3 to 6--a discovery that is vividly documented here for the first time.

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"This practical, comprehesive, and well-organized book by an experienced conductor and educator is the very first to concentrate on this type of performing group and its special needs. . . . Valuable appendixes give IRS rulings, suggested auditioning material, addresses of publishers and rental libraries, and more." Library Journal

This book deals with all the well-know piano, violin, and cello concertos and is illustrated with a wealth of musical examples.

With this revised and enlarged edition of "The String Player's Guide to Chamber Music, " music lovers learn to play well-known works by Mozart, and Beethoven, among others. The book evaluates each piece, identifying problems performers may face and letting them know the amount of work involved in learning it. Meant chiefly for string quartets, piano trios, and similar ensembles, the assortment also includes a few pieces for more unusual combinations.

When it was first performed in October 1960, Shostakovich's Eighth String Quartet was greeted with a standing ovation and given a full encore. Its popularity has continued to the present day with over a hundred commercial recordings appearing during the last 40 years. The appeal of the work is not hard to identify; immediately communicative, the quartet also contains rich seams of deeper meaning. This book is the first to examine its musical design in detail and seeks to overthrow the charges of superficiality that have arisen as a result of the work's popular success. The core of this study is the close analysis of the work, but this is placed in context with a discussion of Shostakovich's reputation and historical position, the circumstances of the quartet's composition and the subsequent controversies that have surrounded it. The work was composed during the so-called 'Thaw' years of the Soviet Union, and the cultural and political backgrounds of this period are considered, together with Shostakovich's life and work during this time. David Fanning argues persuasively that the Eighth String Quartet is a landmark in twentieth-century music in its transcendence of the extra-musical meanings that it invokes; that it is 'music that liberates itself from the shackles of its context'. The book features an accompanying CD of the work.

Regarded by many as Brahms' first real chamber work, the Clarinet Quintet is here placed in the context of chamber music in general, Brahms' own earlier music, and the history and repertory of the clarinet generally. In addition to providing a detailed analysis, Colin Lawson pays special attention to performance traditions and also to the influence of Brahms' music on later composers. This handbook is the first comprehensive study of this work and it reflects the author's wide experience both as performer and scholar.

Witty and practical, this book is for amateur string instrument players who want to play quartets and other forms of chamber music. It covers everything. The long chapter discussing the ?literature? is exceptionally valuable.

You'll hit the ground running with this exciting piece. The energy starts right from the "get-go" with a catchy rhythmic theme which is developed and resequenced later on in a koooool modal section. Following a slow section which features many independent entries, the energy is right back to fever pitch with a return to the opening theme. This tune is totally infectious Parts for auxiliary percussion and Marimba are included.

Antonio Vivaldi wrote this work for two natural trumpets and strings and it has become the most popular double concerto for trumpets. The music is simple and elegant, utilizing the non-chromatic capabilities of the natural trumpet. Falling arpeggios, half a scale and fanfare figures throughout the work show Vivaldi's skill at taking short simple melodic material and using it throughout a three-movement concerto.
The original string accompaniment has been given to a brass quartet with the remaining trumpet part being performed on flugel horn. Another suggestion is the trombone part be played on euphonium for an even more consistent accompaniment texture.

Arban's variations on Carnival of Venice requires no introduction to cornet or trumpet players. This arrangement for quintet keeps the solo cornet part in its original form, but inserts an introduction and interludes taken from operas by Giuseppe Verdi that allow each of the quintet members to act as soloist during the interludes between variations. A great twist on this classic solo.

Trash, Scrap N' Drivel was written with the intent of creating a fun piece for students to play that a non-musician could easily teach to an eighth grade class with little musical experience---and that allowed many dramatic possibilities in the blocking and staging of the piece. It is scored for an ensemble of at least 8 players.

To teach brass instruments effectively, you begin by developing the skills and learning the teaching methods presented in this book. Here is the process: You receive specific instruction for playing trumpet, horn, trombone, baritone horn, and tuba. You discuss the techniques and performance concepts common to all brass instruments. You participate in playing the variety of scores that make up approximately one-third of the book. Throughout the text you learn by doing. A continuing focus on brass ensemble playing provides opportunities to explore musical balance, phrasing, timbre, intonation, styles, and other performance concepts. Progressing from the simple to the complex, the scores include compositions by Bach, Palestrina, Beethoven, Purcell, Glazounov, and others. In the future, these scores can form the basis of recital material for your students. In addition, the book offers suggestions for solving typical brass performance problems as well as valuable advice and practical procedures for recruiting, scheduling, and motivating beginning students.

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Air (Bach) * Allegro (Corelli) * Allegro (Mozart) * Andante (Mozart) * Blues (Snell) * Caprice (Snell) * Capriccio (Handel) * Duet (Mozart) * Farewell (Haydn) * Flying Fingers Polka (Snell) * The Next Market Day (Irish Folk Song) * Rondo (Beethoven) * Simple Gifts (Shaker Hymn Tune).

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Air (Purcell) * Canon in A (Telemann) * Duet (Mozart) * Hornpipe (Purcell) * Le Petit Rien (Couperin) * Presto (Mozart) * Rondo (Mozart) * Sonatina (Pepusch) * Sonatine (Beethoven) * Sonatine (Haslinger) * Three Whimsies (Snell).

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Andante (Fesch) * Evening Song (Snell) * The Filial Crow (Traditional) * Fughetta (Pachelbel) * Intrada (Haussman) * Little Minuet (Mozart) * Little Song (Beethoven) * Little Song (Mozart) * Lullaby (Snell) * March (Gurlitt) * March (Snell) * Minuet (Snell) * Rigaudon (Handel) * Sonatina in D (Andre) * Sonatina (Schmitt) * Ten Easy Duets For Flute (Snell) * Toccata (Snell).

This collection of 40 piano duets (for one piano, four hands) is appropriate for pianists at the late elementary through intermediate levels. Duet repertoire from the 18th, 19th and early-20th centuries are included by such composers as Brahms, Bruckner, Cui, Diabelli, Foote, Godowsky, Haydn, Moscheles, Mozart, Ravel, Schubert, Spindler, Stravinsky, TA1/4rk and more. To facilitate reading, the primo and secondo parts are on separate pages. Essential ornamentation is realized in footnotes, both parts contain measure numbers for convenient reference and brief composer biographies are included.