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Mozart's Adagio and Rondo (K. 617) was written for the armonica, or musical glasses (a set of tuned glass bowls) and a quartet consisting of flute, oboe, viola, and cello. The music is effective played as an organ solo. The Adagio may be registered "forte," in the style of Mozart's Fantasia (K. 608). The Rondo should be played on the flute stops. Arranged for organ by E. Power Briggs.
Wolfgang Amadeus Mozart's popular serenade for strings arranged for one piano, four hands.
Flute duets & trios [suitable for flute choir]
A Classical-Style Christmas combines memorable Christmas carols with excerpts from some of Mozart's most wonderful works. The arrangements are not all written in Classical-period styling; you will hear some Romantic and Contemporary sounds as well. However, all of the selections are inspired directly by individual Mozart pieces. Titles: *Angels from the Realms of Glory (Inspired by Allegro in B-flat Major, K. 3) *Angels We Have Heard on High (Inspired by Sonata in C Major, K. 545: Rondo) *Away in a Manger with O Come, Little Children (Inspired by Sonata in G Major, K. 283: Presto) *Come, Thou Long-Expected Jesus (Inspired by Menuet in F Major, K. 5) *The First Noel (Inspired by Polonaise in D Major from Twelve Little Pieces) *Good King Wenceslas (Inspired by Eine Kleine Nachtmusik, K. 525: Rondo, Allegro) *He Is Born (Inspired by Sonata in D Major, K. 284: Allegro) *See, Amid the Winter's Snow (Inspired by Adagio for Violin and Orchestra, K. 261) *Silent Night (Inspired by Sonata in A Major, K. 331: Andante grazioso) *We Three Kings of Orient Are (Inspired by Sonata in A Minor, K. 310: Allegro maestoso)
Boyhood of Mozart, as child prodigy at the various royal courts of Europe. Before he died at the age of thirty-six he had left the world a great heritage of music.
It feels great to get into a rhythm! Establishing a feeling for the beat is central to all rhythmic development, and with The Book of Songs and Rhymes with Beat Motions children of all ages can enjoy fun games while developing a feel for rhythm patterns. Whether felt in the hands, the feet, or with the whole body, the games in this book will have all participants keeping the beat. Because they are easy to learn and fun to play, songs and rhymes with beat motions are a wonderful way to engage children, while at the same time planting seeds of musical sensitivity and imagination. This special book, for the first time, collects the most cherished of these songs and rhymes (some in danger of being lost or forgotten), enabling your family to carry on the tradition of laughter and learning for generations!
(Piano Collection). 30 selections, including pieces from the volume Notebook for Wolfgang alongside popular pieces by Mozart such as 'Ah vous dirai-je Maman' (variations) and themes from Sonata in A major KV 331 and Sonata in C major KV 545.
Eine Kleine Nachtmusik (K 525 - I mov.) by Wolfgang Amadeus Mozart. Arrangement for Flute Quartet (intermediate level). SET OF PARTS (4).
Wolfgang Amadeus Mozart's Eine Kleine Nachtmusik (A Little Night Music) is likely the most recognized (and most widely played) piece of classical music in the string quartet repertoire. This is a Performer's Edition pocket score designed for study and reference in a compact book. Material is from the Performer's Edition release of Eine Kleine Nachtmusik.
Metric Manipulations in Haydn and Mozart makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Metric Manipulations in Haydn and Mozart will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart.