Piano Trio Cello,Piano,Violin - Level 3 - Digital Download

SKU: A0.1488222

Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 77 pages. Artaria Editions #1065108. Published by Artaria Editions (A0.1488222).

The Piano Trio in E flat, Op.2 was published by Simrock in 1807 with a dedication to Monsieur le Comte de Browne, Brigadeur au Service de S.M.J. de toutes les Russies. It is a generously proportioned work in the usual three movements. The lengthy sonata-from first movement is prefaced by a slow introduction which begins on dominant seventh harmony (a nod perhaps to Beethoven's first symphony), slowly finding its way to the tonic by the start of the Allegro section. The brief development section modulates widely, including references to keys as distant as E minor and C major, while the substantially rewritten and varied recapitulation touches on both B and G majors.

The slow movement, Andante un poco Allegretto , is cast in the key of C minor and features many solos and duets for the string instruments as well as further harmonic interest, especially in the central modulating episode from bar 46. The finale is a sonata-rondo design complete with all the usual tricks, including even a remote transposition of the refrain late in the movement to B major, a technique surely learned from Beethoven. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Simrock's edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The piano part is most successfully realised on an instrument extending as far as c4, although since such instruments were by no means standard in the first decade of the 19th century, Ries has notated the part carefully to cater for instruments without an extended treble compass.

Any alternative readings have been incorporated into the current edition exactly as they appear in the Simrock print. In an instance such as bars 298-309 of the finale for example, instruments with the extended compass should follow the small print in bars 298 and 309, and in between read the notes an octave higher according to the composer's 8ve marking. Instruments with a limited compass should play the notes as written, without the octave transposition of bars 299-309.

The cello part contains several passages written in the treble clef. Evidence that these should sound an octave lower than written is provided by bars 74-80 of the first movement and 85-89 of the finale. In the first instance, awkward octave displacements would result if this passage were played literally; in the second instance, some unacceptable part crossing between violin and cello would result from a literal rendition of these two bars. Accordingly then, all passages written in the treble clef should be transposed down an octave.

The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets.

Dianne James.

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download

SKU: A0.1488223

Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 64 pages. Artaria Editions #1065109. Published by Artaria Editions (A0.1488223).

Ferdinand Ries (1784-1838) was one of the greatest pianists of his time and a composer of exceptional abilities. Ries studied pianoforte (but not composition) with Beethoven in Vienna and the two men remained on cordial terms for the rest of their lives. In the last year of his life Ries co-wrote a book of Beethoven reminiscences that remain one of the most valuable sources of information about his life and character.

The place and date of composition of the Sonate Sentimentale is uncertain in spite of the apparently conclusive evidence to the contrary: Ries's autograph score is dated 'Godesberg 1814' but by this time Ries was living in London. The discrepancy is probably due to the fact that Ries added the date to this manuscript, as he did to many others, in the 1820s. One of the most intriguing aspects of this work is the difference between Ries's original conception and the work as it appeared in its first published edition in 1834. The extent of the changes points to a substantial authorial revision of the work made prior to publication rather than a garbled transmission of the original text. Among the most striking of these changes is the inclusion of a brief introduction to the first movement; but other passages are extensively rewritten and in some instances lengthened by the inclusion of additional material.

As with all Ries's works for flute, the Sonate Sentimentale is exceptionally well written for the instrument and yet perhaps even more impressive is the way in which Ries balances the musical texture and exploits the full potential of both the flute and piano.

The beautiful work is arguably the most impressive flute sonata of the early 19th century.

Allan Badley.

Piano Trio - Level 3 - Digital Download

SKU: A0.549883

Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Wedding. 33 pages. Jmsgu3 #3601997. Published by jmsgu3 (A0.549883).

Score: 18 pages, piano part: 6 pages, cello part: 4 pages, violin part: 4 pages. duration: ca. 5'. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra, then arranged for organ and performed by Mendelssohn himself.

Mendelssohn: Wedding March

Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858

Mendelssohn Background

Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. 

Artistic Standing

 Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era.

Early Family Life

Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent.

Early Adulthood

Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint.

Mature Adulthood

Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure.

Musical Features

In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic o.

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download

SKU: A0.1487814

Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1064752. Published by Artaria Editions (A0.1487814).

The Piano Trio in C minor Op.143 was published by Schott in 1826, but could have been composed much earlier for Ries's personal use in the London concert halls. It is an imposing work, whose gruff tone and serious purpose recall Beethoven's use of this key.

The first movement is an impressive sonata-form movement extending to a length of almost 250 bars. It contains two strikingly contrasted themes, one aggressively assertive, the other of a more lyrical, tender character (parallels to Beethoven's thematic tendencies in sonata-form movements are once again clearly apparent).

The Adagio movement, cast in the rich colours of A flat major (the tonic minor - flat submediant major key relationship recalls Beethoven once again) contains some moments of real beauty and musical insight. The piano is often centrestage, its florid lines and ornamental flourishes reminiscent of another of Ries's contemporaries, Hummel.

The technique of connected second and third movements seen in this work is not new but was a trend established in the piano trio genre by Joseph Haydn in the 1780s and 90s. The oasis of calm and tranquillity created in the Adagio is shattered dramatically by the jagged arpeggio figure which launches the finale. This extremely fast movement - the metronome marking indicates that the music should be felt in two, not in four - is characterised by the tarantella topos. It is a tremendously exciting movement, whose swirling energy and frantic pace is only reined in at the final cadence. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Schott's 1826 edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin.

The metronome markings at the head of each movement derive from this source. The piano compass extends from E flat 1 to a flat 4, a range of just over six octaves. Pedal markings indicated in the source have not been included in the current edition since these are generally very instrument-dependent. Minor rhythmic inconsistences between different statements of the same theme have been retained (e.g. first movement, second subject, bb.51-52, cello and 188-89, violin), as have some differences in phrasing between successive thematic statements (cf. finale, piano bb.3-6 and violin bb.18-21).

The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets.

Dianne James.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - Digital Download

SKU: A0.534750

Composed by James Mountain and Claude Debussy. Arranged by John A. Dempsey. Christian,Contemporary,Praise & Worship,Sacred,Traditional. Score and parts. 18 pages. John A. Dempsey #144534. Published by John A. Dempsey (A0.534750).

A hymn that celebrates God's perfect peace and love, Like a River Glorious is arranged here as a piano trio (violin, cello and piano).  The incidental music winding its way through the hymn is Claude Debussy's Arabesque, No. 2.  Recommended for traditional church services and other worship events, as a prelude, postlude, an offertory, interlude and special music.  14 pages of music (that includes separate two-page parts for violin and cello).  Key: G major.

Piano Trio - Level 3 - Digital Download

SKU: A0.552118

Composed by George Friderick Handel (1685-1756). Arranged by James M. Guthrie. Baroque,Instructional,Standards,Wedding. 32 pages. Jmsgu3 #6121129. Published by jmsgu3 (A0.552118).

Seven popular pieces from Handel's Water Music - most often requested for weddings. Score: 16 pages, Duration 12:15. Players may read from the score, or from the included instrumental parts.
Contents:
1. Air
2. Minuet
3. Bourrée
4. Hornpipe
5. Rigaudon
6. Minuet
7. Andante

Handel's Water Music is one of his most famous compositions. It was written for King George I's pleasure barge trip along the River Thames in 1717. The Water Music is divided into three suites, each containing a variety of movements. The music features a mix of dance rhythms such as minuets, bourrees, and hornpipes, along with lively fanfares and slower, more stately airs. Its combination of light and playful music with grandeur and pomp has made it one of the most beloved pieces of classical music. Water Music has been performed by many orchestras and is a popular choice for special occasions, such as coronations and weddings. Its enduring popularity has helped to make it one of Handel's most famous and beloved compositions.

Weddings during the time of Handel were usually quite extravagant affairs. The ceremony was typically held in a church and was accompanied by a full orchestra. Handel's own compositions were frequently used to provide the music for the ceremony. This was especially true in London, where Handel was based and where his music was extremely popular. Handel wrote a number of pieces specifically for use at weddings, including the popular Wedding Anthem and the Wedding Anthem in D Major. Handel's music provided a sense of grandeur and elegance to the proceedings and was often used to give the wedding an extra special touch.

The festivities following the ceremony were also often quite lavish, with a large feast and plenty of dancing. Handel's music was often used to provide the background music for the dancing, and he wrote many dance suites that were specifically designed for this purpose. The bride and groom would often have a special dance to the music of Handel's Water Music, a particularly popular piece for the occasion. Guests at the wedding would be treated to a variety of Handel's works, ranging from his operas to his oratorios, which often had a spiritual or religious theme. Handel's music provided a sense of joy and celebration to the wedding and helped make it an occasion to remember.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - Digital Download

SKU: A0.687137

By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by Fernando Britto. 20th Century,Blues,Rock,Wedding. Score and parts. 10 pages. Minhas Partituras #6562267. Published by Minhas Partituras (A0.687137).

Arrangement of the song When I'm Sixty-Four (Beatles) for Piano Trio (Violin Solo, Cello and Piano Accompaniment in Db Major).