Sheet music

"Rondo Alla Turca" (K. 331 No. 11 Mvt. 3) for String Quintet

5 parts6 pages04:013 years ago3,230 views
Violin(3), Viola, Cello
The Piano Sonata No. 11 in A major, K. 331 (300i), by Wolfgang Amadeus Mozart is a piano sonata in three movements. It is uncertain where and when Mozart composed the sonata; however, Vienna or Salzburg around 1783 is currently thought to be most likely (Paris and dates as far back as 1778 have also been suggested).

The last movement, "Alla Turca", popularly known as the "Turkish March", is often heard on its own and is one of Mozart's best-known piano pieces; it was Mozart himself who titled the rondo "Alla Turca". It imitates the sound of Turkish Janissary bands, the music of which was much in vogue at that time. Various other works of the time imitate this Turkish style, including Mozart's own opera Die Entführung aus dem Serail. In Mozart's time, the last movement was sometimes performed on pianos built with a "Turkish stop", allowing it to be embellished with extra percussion effects.

Although originally written for Piano, I created this Arrangement at the request of a school group's String Quintet (3 Violins, Viola & Cello).
Allegro from Concerto Grosso (Opus 6 No. 1 HWV 319) for Clarinet Quartet
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Allegro from Concerto Grosso (Opus 6 No. 1 HWV 319) for Clarinet Quartet

4 parts5 pages04:135 years ago3,226 views
The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319–330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concertos were largely composed of new material: they are amongst the finest examples in the genre of baroque concerto grosso.

The earliest of the twelve to be composed, Op. 6, No. 1 in G major, is built in five movements, the jubilant 6/8 meter Allegro finale coming across as something like frosting on top of the fugal fourth movement. The work (HWV 319) was mostly newly composed. The first movement was a complete reworking of a first draft of the overture for Imeneo, Handel's penultimate Italian opera, composed over a prolonged period from 1738 to 1740.

The fugal fourth movement (Allegro) has a catchy subject, first heard completely from the soloist. Despite being fugal in nature, it does not adhere to the strict rules of counterpoint, surprising the listener instead with ingenious episodes, alternating between the ripieno and concertino; at the close, where a bold restatement of the theme would be expected, Handel playfully curtails the movement with two pianissimo bars. The last concerto-like movement is an energetic gigue in two parts, with the soloists echoing responses to the full orchestra.

Although originally written for a small String Chamber orchestra, I created this arrangement for Clarinet Quartet (3 Bb Clarinets & Bass Clarinet). Thank you to Dr. Leonard Anderson for Clarinet-specific technical assistance. This piece is best played using the Clarinet soundfont from SoundFont Downloads at (http://www.soundfontdownloads.com).
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This concerns one specific score by @Mike Magatagan namely the score https://musescore.com/mike_magatagan/scores/3004231If you click "Download" and choose "PDF including Parts"  the returned document is not a PDF but a "Not Found" error in XML format such as:  <Error><Code>NoSuchKey</Code><Message>The specified key does not exist.</Message><Key>3004231/8628087/18f138fc27/general-parts/score-parts.pdf</Key><RequestId>7C02B5365F83A247</RequestId><HostId>++UrE4WzPLQL6n4nqY64Q5aoi88wzvJjJqfSUqDiw2DSzJYIpfHzp0IE6RMQiDFkoGyv5AujhOA=</HostId></Error> All other export formats work fine.As a test I've downloaded that score in mscz format, opened it up with musescore 2.3.2 and used "Save online" to save it privately into my account (private url https://musescore.com/jeetee/scores/5304581 ). From there I can download the PDF with parts without issues.Mike already tried to "update" his score by resaving the score to his account; we were hoping this would force the musescore server to regenerate this PDF. Alas this seems to not work.Can someone on your end ( @Ximich or @abruhanov probably) debug this and/or force the server to generate that file?Thanks!

"Promenade" from "Pictures at an Exhibition" for Pipe Organ

1 part2 pages01:284 years ago3,215 views
Organ
Pictures at an Exhibition is a suite in ten movements (plus a recurring, varied Promenade) composed for piano by Russian composer Modest Mussorgsky in 1874.

The suite is Mussorgsky's most famous piano composition, and has become a showpiece for virtuoso pianists. It has become further known through various orchestrations and arrangements produced by other musicians and composers, with Maurice Ravel's arrangement being the most recorded and performed.

Although arranged for Piano by Nikolay Rimsky-Korsakov, I created this arrangement for Pipe Organ to support a memorial service at my Church.

"Ave Maria" (de Somma) for Piano

1 part2 pages03:125 years ago3,211 views
Bonaventura Somma (1893 - 1960) was an Itallian composer born in the town of Chianciano Terme, a small town located in the province of Siena , July 30, 1893. As a teenager, he attended the Conservatory of Rome , where he was a student of various modern composers such as Ottorino Respighi. After completing his studies, he was for many years a professor at the Conservatory of Santa Cecilia in Rome and directed, in Rome, the Choir of the ' Accademia di Santa Cecilia , collaborating with the most important conductors and composers of his era ( Karajan , Toscanini , Perosi , etc..).

The Hail Mary, also commonly called the Ave Maria (Latin) or Angelic Salutation, is a traditional Christian prayer asking for the intercession of the Virgin Mary, the mother of Jesus. In Roman Catholicism, the prayer forms the basis of the Rosary and the Angelus prayers. In the Eastern Orthodox and Eastern Catholic Churches, a similar prayer is used in formal liturgies, both in Greek and in translations. It is also used by many other groups within the Catholic tradition of Christianity including Anglicans, Independent Catholics, and Old Catholics. Some Protestant denominations, such as Lutherans, also make use of a form of the prayer.

Based on the greeting of the angel Gabriel to the Virgin Mary in the Gospel of Luke, the prayer takes different forms in various traditions. It has often been set to music, although the most famous musical expression of the words Ave Maria by Schubert does not actually contain the Hail Mary prayer.

Although originally created for chorus and Organ, I created this arrangement for Solo Acoustic Piano and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Pie Jesu" (Opus 48 No. 4) for Flute & Harp

2 parts2 pages02:326 years ago3,207 views
Flute, Harp
Composed around 1887 in response to the death of his father, Gabriel Faure's Pie Jesu is actually an orchestral piece written for Soprano. He actually composed his Requiem in D minor, (Opus 48) between 1887 and 1890. This choral–orchestral setting of the Roman Catholic Mass for the Dead is the best known of his large works.

Pie Jesu (Merciful Jesus) is a motet derived from the final couplet of the Dies irae and often included in musical settings of the Requiem Mass. The settings of the Requiem Mass by Luigi Cherubini, Gabriel Fauré, Maurice Duruflé, John Rutter, Karl Jenkins and Fredrik Sixten include a Pie Jesu as an independent movement. Of all these, by far the best known is the Pie Jesu from Fauré's Requiem; Camille Saint-Saëns said of it, "just as Mozart's is the only Ave verum corpus, this is the only Pie Jesu".

Although this work was originally created for Soprano and Orchestra, I created this arrangement for Flute and Concert (Pedal) Harp.

"Gymnopédie #3" for Piano

1 part4 pages046 years ago3,206 views
Erik Satie's Gymnopédie #3. Satie's Gymnopedies are what many consider to be the groundwork for today's ambient music; it's as ignorable as it is interesting (although, I find it hard to ignore such great music). These three beautiful pieces for solo piano are calming, reflective, ethereal, relaxing, soothing, and elegant.

Similar in melodic structure, Gymnopedie No. 3 is a minor key version of Gymnopedie No. 1. Its hypnotic-like accompaniment leads the listener in an almost out of body experience. If played as it is intended, the texture of this piece is as smooth as silk.

See also: #1 (http://musescore.com/user/13216/scores/23966) & #2 (http://musescore.com/user/13216/scores/23965)

"The Skye Boat Song" for Harp & Flutes

3 parts4 pages01:516 years ago3,200 views
Flute(2), Harp
"The Skye Boat Song" is a Scottish folk song, which can also be played as a waltz, recalling the escape of Prince Charles Edward Stuart (Bonnie Prince Charlie) from Uist to the Isle of Skye after his defeat at the Battle of Culloden in 1746. The song tells how Charles escaped in a small boat, with the aid of Flora MacDonald, disguised as a serving maid. The song is a traditional expression of Jacobitism and its story has also entered Scotland as a national legend.

The song was not in any older books of Scottish songs, though it is in most miscellanies like The Fireside Book of Folk Songs. It is often sung as a lullaby, in a slow rocking 6/8 time. In addition to being extremely popular in its day, and becoming a standard among Scottish folk and dance musicians, it has become more widely known in the modern mainstream popular music genre.

Although originally written for folk instruments, I created this arrangement at the request of Belgian flautist, Jenne Van Antwerpen for Concert (Pedal) Harp and Flutes (2).

"2 Christmas Songs" for Piano

1 part2 pages02:245 years ago3,182 views
Franz Xaver Engelhart (1861 - 1924) was a German Catholic priest, church musician, choir director and, composer. He first attended elementary school in Geiselhoering, and later from 1872 to 1882, the old high school in Regensburg. From 1882 to 1887, he studied at the Lyceum (the later philosophical and theological college) in Regensburg theology.

From 1891 until his death in 1924, he served as Director of Music at the Regensburg Cathedral The Regensburg Cathedral Choir , with whom he formed the first major concert tour to Prague took. From 1903 on, he was also the diocesan Church President General Cecilia Association of the Diocese of Regensburg.

Although he composed 102 sacred works, few are ever heard. In his time, they were believed to be too sentimental. However, many of his songs in the 1930s to the 1950s became folk songs. "Die Marienlieder Hell leuchtet ein Sternlein", "Wenn ich ein Glöcklein wär", and "Maria Rosenkranzkönigin" were sung in that time. His secular compositions were characterized by a fine sense of humor. Especially his steam-rolling song was very popular back then. Among the best known Engelhart compositions are "Wenn ich ein Glöcklein wär" or "Das Ave-Maria-Glöcklein".

Although "2 Weihnachtslieder" (2 Christmas Songs") was originally an accompanied choral work (SATB), I created this arrangement of both the No. 1 "Die Hirten bei der Krippe" (“The shepherds at the manger”) and No. 2 "Sei willkommen" ("You're Welcome”) songs for Solo Acoustic Piano and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Violin Concerto in E Major (RV 263 Op. 9 No. 4) for String Quartet

4 parts22 pages10:103 years ago3,181 views
Violin, Strings(3)
Although Antonio Vivaldi (1678-1741) had already accomplished himself as a composer of violin sonatas and of sacred music, nothing propelled his career more than his first set of concertos -- L'estro armonico (Op.3) -- which first appeared in 1711. Besides being widely popular with both musicians and audiences of the day, L'estro armonico had a significant impact on the development of the relatively new solo-concerto. The set's influence was felt all across Europe -- no less a figure than J.S. Bach transcribed six of the Op.3 concertos for keyboard.


La cetra, Op. 9, is a set of twelve violin concertos by Antonio Vivaldi, published in 1727. All of them are for violin solo, strings, and basso continuo, except No. 9 in B flat, which features two solo violins. The set was named after the cetra, a lyre-like instrument, and was dedicated to Emperor Charles VI. La Cetra may not be as well known or as frequently recorded as either Vivaldi's Op. 8 (including the Four Seasons) or Op. 3, L'Estro Armonico, but it is well worth having in your collection. These twelve concertos offer a great deal of rewarding music: beautiful serenades, haunting largos, and even an occasional melody borrowed from the Seasons, fitted out with a striking new accompaniment. In La Cetra, Vivaldi frequently achieves a new level of expressiveness combined with virtuosity which helped pave the way for devilish exploits of Paganini. With a performance as frankly romantic as I Musici's, it's easy to make the connection between these two Italian giants.

I created this transcription of the Violin Concerto in E Major (RV 263 Op. 9 No. 4) for String Quartet (2 Violins, Viola & Cello).

"Pavane for a Dead Princess" for String Quintet

5 parts4 pages04:073 years ago3,161 views
Violin(2), Viola(2), Cello
Pavane pour une infante défunte (Pavane for a Dead Princess) is a well-known piece written for solo piano by the French composer Maurice Ravel in 1899 when he was studying composition at the Conservatoire de Paris under Gabriel Fauré. Ravel also published an orchestrated version of the Pavane in 1910.

Ravel described the piece as "an evocation of a pavane that a little princess might, in former times, have danced at the Spanish court". The pavane was a slow processional dance that enjoyed great popularity in the courts of Europe during the sixteenth and seventeenth centuries.

This antique miniature is not meant to pay tribute to any particular princess from history, but rather expresses a nostalgic enthusiasm for Spanish customs and sensibilities, which Ravel shared with many of his contemporaries (most notably Debussy and Albéniz) and which is evident in some of his other works such as the Rapsodie espagnole and the Boléro.

Although originally written for solo piano, I created this arrangement for String Quintet (2 Violins, 2 Violas & Cello).
"Ave Maria" for Viola and Piano
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"Ave Maria" for Viola and Piano

2 parts3 pages044 years ago3,154 views
Viola, Piano
"Ave Maria" is a much recorded aria composed by Vladimir Vavilov around 1970. It is a musical hoax generally misattributed to Baroque composer Giulio Caccini. Vavilov himself published and recorded it on the Melodiya label with the ascription to "Anonymous" in 1970. It is believed that the work received its ascription to Giulio Caccini after Vavilov's death, by organist Mark Shakhin (one of its performers on the mentioned "Melodiya" longplay), who gave the "newly discovered scores" to other musicians; then in an arrangement made by the organist Oleg Yanchenko for the recording by Irina Arkhipova in 1987, then the piece came to be famous worldwide

Vladimir Fyodorovich Vavilov (1925 – 1973) was a Russian guitarist, lutenist and composer. He was a student of P. Isakov (guitar) and Iogann Admoni (composition) at the Rimski-Korsakov Music College in St Petersburg. He played an important part in the early music revival in the Soviet Union.

Vavilov was active as a performer on both lute and guitar, as a music editor for a state music publishing house, and more important, as a composer. He routinely ascribed his own works to other composers, usually Renaissance or Baroque (occasionally from later eras), usually with total disregard of a style that should have been appropriate, in the spirit of other mystificators of the previous eras. His works achieved enormous circulation, and some of them achieved true folk music status, with several poems set to his melodies.

Vavilov died in poverty, of pancreatic cancer, a few months before the appearance of "The City of Gold", which became a hit overnight.

Although originally written for accompanied voice, I created this arrangement for Viola and Acoustic Piano.

"Trumpet Voluntary" for Woodwind Quartet

4 parts4 pages03:125 years ago3,144 views
Flute, Oboe, Clarinet, Bassoon
Jeremiah Clarke (c. 1674–1707) was an English baroque composer, organist and, pupil of John Blow at St Paul's Cathedral. He later became organist at the Chapel Royal. After his death, he was succeeded in that post by William Croft.

Clarke is best remembered for a popular keyboard piece: the Prince of Denmark's March, which is commonly called the Trumpet Voluntary, written about 1700. From c. 1878 until the 1940s the work was attributed to Henry Purcell, and was published as Trumpet Voluntary by Henry Purcell in William Sparkes's Short Pieces for the Organ, Book VII, No. 1 (London, Ashdown and Parry). This version came to the attention of Sir Henry J. Wood, who made two orchestral transcriptions of it, both of which were recorded. The recordings further cemented the erroneous notion that the original piece was by Purcell. Clarke's piece is a popular choice for wedding music, and has featured in royal weddings.

The famous Trumpet Tune in D (also incorrectly attributed to Purcell), was taken from the semi-opera The Island Princess which was a joint musical production of Clarke and Daniel Purcell (Henry Purcell's younger brother)—probably leading to the confusion.

For many years, the piece was incorrectly attributed to his elder, and more widely-known, contemporary, Henry Purcell, who was organist of Westminster Abbey. The misattribution emanated from an arrangement for organ, that was published in the 1870s by a Dr. William Spark, then town organist of Leeds. It was later adopted by Sir Henry Wood in his well-known arrangement for trumpet, string orchestra and organ.

The oldest source is a collection of keyboard pieces published in 1700. A contemporary version for wind instruments also survives. According to some sources, the march was originally written in honour of George, Prince of Denmark, the consort of the then Princess, later Queen Anne of Great Britain.

The march is very popular as wedding music (it was played during the wedding of Lady Diana Spencer and Prince Charles in St Paul's Cathedral) and was often broadcast by the BBC during World War II, especially when broadcasting to occupied Denmark.

Although originally written for Trumpet & Organ, I created this arrangement for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon).

"Albinoni's Adagio" for Viola & Harp

2 parts7 pages05:394 years ago3,142 views
Viola, Harp
The Adagio in G minor for strings and organ continuo is believed to be a neo-baroque composition by Remo Giazotto. It is usually referred to as "Albinoni's Adagio", or "Adagio in G minor by Albinoni, arranged by Giazotto", but many scholars believe it is an entirely original work by Giazotto.

It was supposedly based on a fragment of a second-movement basso continuo line from a "Sonata in G minor" by Tomaso Albinoni purportedly found among the ruins of the old Saxon State Library, Dresden, after it was firebombed by the Allies during World War II, but since Giazotto's death in 1998 it has emerged that no such fragment has been found or recorded to have been in possession by the Saxon State Library, and it is presumed the piece is entirely his own composition.

The piece is most commonly orchestrated for string ensemble and organ, or string ensemble alone, but has achieved a level of fame such that it is commonly transcribed for other instruments.

The piece has also permeated popular culture, having been used as background music for such films as Gallipoli, television programmes and in advertisements.

Although this Work was originally written for Strings, I created this arrangement for Viola and Concert (Pedal) Harp.

Canon in D Major (Pachelbel's Canon) for Pipe Organ

6 parts5 pages05:162 years ago3,121 views
Organ(6)
Canon in D Major (Pachebel's Canon) is the name commonly given to a canon by the German Baroque composer Johann Pachelbel in his Canon and Gigue for 3 violins and basso continuo (German: Kanon und Gigue für 3 Violinen mit Generalbaß) (PWC 37, T. 337, PC 358), sometimes referred to as Canon and Gigue in D or simply Canon in D. Neither the date nor the circumstances of its composition are known (suggested dates range from 1680 to 1706), and the oldest surviving manuscript copy of the piece dates from the 19th century.

Pachelbel's Canon, like Pachelbel's other works, although popular during his lifetime, soon went out of style, and remained in obscurity for centuries thereafter. A 1968 arrangement and recording of it by the Jean-François Paillard chamber orchestra became unexpectedly popular over the next decade, and in the 1970s the piece began to be recorded by many ensembles; by the early 1980s its presence as background music was deemed inescapable. From the 1970s to the early 2000s, elements of the piece, especially its chord progression, were used in a variety of pop music songs. Since the 1980s, it has also been used frequently in weddings and funeral ceremonies in the Western world.

The canon was originally scored for three violins and basso continuo and paired with a gigue. Both movements are in the key of D major. Although a true canon at the unison in three parts, it also has elements of a chaconne.

In his lifetime, Johann Pachelbel was renowned primarily for his organ and other keyboard music, whereas today he is also recognized as an important composer of church and chamber music. Little of his chamber music survives, however. Only Musikalische Ergötzung—a collection of partitas published during Pachelbel's lifetime—is known, apart from a few isolated pieces in manuscripts. The Canon and Gigue in D major is one such piece. A single 19th-century manuscript copy of them survives, Mus.MS 16481/8 in the Berlin State Library. It contains two more chamber suites. Another copy, previously in Hochschule der Künste in Berlin, is now lost.

The circumstances of the piece's composition are wholly unknown. Hans-Joachim Schulze, writing in 1985, suggested that the piece may have been composed for Johann Christoph Bach's wedding, on 23 October 1694, which Pachelbel attended. Johann Ambrosius Bach, Pachelbel, and other friends and family provided music for the occasion. Johann Christoph Bach, the oldest brother of Johann Sebastian Bach, was a pupil of Pachelbel. Another scholar, Charles E Brewer, investigated a variety of possible connections between Pachelbel's and Heinrich Biber's published chamber music. His research indicated that the Canon may have been composed as a kind of "answer" to a chaconne with canonic elements which Biber published as part of Partia III of Harmonia artificioso-ariosa. That would indicate that Pachelbel's piece can't be dated earlier than 1696 – the year of publication of Biber's collection. Other versions are occasionally put forward, for example, suggesting the date of canon's composition as early as 1680.

Pachelbel's Canon combines the techniques of canon and ground bass. Canon is a polyphonic device in which several voices play the same music, entering in sequence. In Pachelbel's piece, there are three voices engaged in canon, but there is also a fourth voice, the basso continuo, which plays an independent part.

Source: Wikipedia (https://en.wikipedia.org/wiki/Pachelbel%27s_Canon).

Although originally written for 3 violins and basso continuo, I created this arrangement for Pipe Organ.

"Fantaisie" (Opus 79) for Flute & Piano

2 parts21 pages04:386 years ago3,120 views
Gabriel Fauré, great French composer and pedagogue was born in Pamiers, Ariege on May 12, 1845 and died in Paris on Nov. 4, 1924. His father was a provincial inspector of primary schools; noticing the musical instinct of his son, he took him to Paris to study with Louis Niedermeyer; after Niedermeyers death in 1861, Fauré studied with Saint-Saens, from whom he received thorough training in composition. In 1866 he went to Rennes as organist at the church of St.-Sauveur; returned to Paris on the eve of the Franco-Prussian War in 1870, and volunteered in the light infantry. He was organist at Notre Dame de Clignancourt (1870), St.-Honoré dElyau (1871), and St.-Sulpice (1871—74). He then was named deputy organist (to Saint-Sadns, 1874), choirmaster (1877), and chief organist (1896) at the Madeleine. In 1896 he was appointed prof. of composition at the Paris Cons. He was an illustrious teacher; among his students were Ravel, Enesco, Koechlin, Roger-Ducasse, Florent Schmitt, and Nadia Boulanger. In 1905 he succeeded Theodore Dubois as director and served until 1920. Then, quite unexpectedly, he developed ear trouble, resulting in gradual loss of hearing. Distressed, he made an effort to conceal it but was eventually forced to abandon his teaching position. From 1903 to 1921 he wrote occasional music reviews in Le Figaro (a selection was publ. as Opinions musicales, Paris, 1930). He was elected a member of the Academie des Beaux Arts in 1909, and in 1910 was made a Commander of the Legion d’honneur. Fauré’s stature as a composer is undiminished by the passage of time. He developed a musical idiom all his own; by subtle application of old modes he evoked the aura of eternally fresh art; by using unresolved mild discords and special coloristic effects, he anticipated procedures of Impressionism; in his piano works he shunned virtuosity in favor of the Classical lucidity of the French masters of the clavecin; the precisely articulated melodic line of his songs is in the finest tradition of French vocal music. His great Requiem and his Elégie for Cello and Piano have entered the general repertoire.

Paul Taffanel (1844-1908), often called the father of the modern French school of the flute, was a busy man, active at the Opéra de Paris, in the Conservatoire concerts, as the leader of the L'Orchestre de la Société des Instruments à Vent (which commissioned, among many other works, d'Indy's Chansons et danses), and, from 1893, as a professor at the Conservatoire. Fauré was appointed professor of composition there in October 1896, and it was almost inevitable that Taffanel should ask him, in the spring of 1898, to write a sight-reading piece and a concours composition for the July examinations. No doubt owing to Wagnerian camaraderie, Fauré passed the orchestration of his incidental music for Maeterlinck's Pelléas et Mélisande, on which he had been feverishly working, to his pupil Charles Koechlin, so he could get to grips with the concours piece. The Fantaisie for flute and piano occupied him from the beginning of June until at least mid-July, though its fluent brilliance belies the effort that went into it. Opening with a brief sicilienne of great charm, the Fantaisie soon gets down to its raison d'être with a winsomely chirping tune riffled by mercurial pyrotechnics. Writing to Koechlin on his way to London on June 10, 1898, for the June 21 premiere of Pelléas, Fauré complained, "I am drowned in the Taffanel and plunged up to my neck in scales, arpeggios, and staccati! I have already perpetrated 104 bars of this irksome torture...." But for the adept musician who can, as intended, take its virtuoso demands in stride, the Fantaisie affords an airily effusive, scintillantly rapturous, and wholly un-Wagnerian spate of liquid silver. Its first performance was given by the concours winner, one Gaston Blanquart, on July 28, 1898. Despite the grumbling Fauré lavished on the piece, he seems to have prepared an orchestral version, which is now lost. In 1957, Louis Aubert made an orchestral arrangement published by the firm of Hamelle the year after.

This piece was written for Piano and Flute and is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).
"Hark! the Herald Angels Sing" for Small Orchestra
Custom audio

"Hark! the Herald Angels Sing" for Small Orchestra

11 parts11 pages03:154 years ago3,120 views
Trumpet(2), French Horn, Trombone, Tuba, Violin(2), Viola, Cello, Contrabass, Piano
Hark! The Herald Angels Sing" is a Christmas carol that first appeared in 1739 in the collection Hymns and Sacred Poems, having been written by Charles Wesley. A somber man, Wesley had requested and received slow and solemn music for his lyrics, not the joyful tune expected today. Moreover, Wesley's original opening couplet is "Hark! how all the welkin rings / Glory to the King of Kings".

The popular version is the result of alterations by various hands, notably by Wesley's co-worker George Whitefield who changed the opening couplet to the familiar one, and by Felix Mendelssohn. A hundred years after the publication of Hymns and Sacred Poems, in 1840, Mendelssohn composed a cantata to commemorate Johann Gutenberg's invention of the printing press, and it is music from this cantata, adapted by the English musician William H. Cummings to fit the lyrics of “Hark! The Herald Angels Sing”, that propels the carol known today.

In 1855, English musician William H. Cummings adapted Felix Mendelssohn's secular music from Festgesang to fit the lyrics of "Hark! The Herald Angels Sing" written by Charles Wesley. Wesley envisioned the song being sung to the same tune as his song "Christ the Lord Is Risen Today", and in some hymnals that tune is included for "Hark! The Herald Angels Sing" along with the more popular Mendelssohn-Cummings tune.

At the request of a follower, I created this arrangement of my earlier arrangement (http://musescore.com/mike_magatagan/scores/26687) for a Modern Small (school) Orchestra (Bb Trumpets, Flugelhorn, French Horn, Trombones, F Tuba, 2 Violins, Violas, Cellos & Basses).
"Entry of the Gladiators" (Thunder & Blazes) for Sax Quartet
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"Entry of the Gladiators" (Thunder & Blazes) for Sax Quartet

4 parts6 pages03:072 years ago3,107 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
Julius Fučík (pronounced "Foo-chick") was a Czech composer who lived from 1872 -- 1916 and was a conductor of military bands. Today his marches are still played as patriotic music in the Czech Republic. However, his worldwide reputation rests on this one work: the Opus 68 march, the Entrance of the Gladiators (Vjezd gladiátorů), which is universally recognized, often under the title "Thunder and Blazes", as one of the most popular theme tunes for circus clowns.

"Entrance of the Gladiators" or "Entry of the Gladiators" was originally titled it "Grande Marche Chromatique," reflecting the use of chromatic scales throughout the piece, but changed the title based on his personal interest in the Roman Empire. The piece is a little longer than this but the rest is not so familiar to most people.

Although originally created for band, I created this arrangement for Saxophone Quartet (Soprano, Alto, Tenor & Baritone).

Albinoni - Adagio, Concerto in D minor for Oboe

2 parts4 pages04:48a year ago772 views
Flute, Harp
Tomaso Albinoni's Concerto in D minor for Oboe Op. 9-2. Mvt. 2. Adagio. Arranged for Trumpet and Organ by Michael Rondeau. Rearranged for Oboe and Piano by Mike Magatagan. Transcribed for Flute and Piano.

"Joy to the World" for String Quartet

4 parts2 pages01:582 years ago3,085 views
Violin(2), Viola, Cello
"Joy to the World" is a popular Christmas carol based on music by Georg Friedrich Händel. The words are by English hymn writer Isaac Watts, based on the second half of Psalm 98 in the Bible. The song was first published in 1719 in Watts' collection; The Psalms of David: Imitated in the language of the New Testament, and applied to the Christian state and worship. Watts wrote the words of "Joy to the World" as a hymn glorifying Christ's triumphant return at the end of the age, rather than a song celebrating his first coming. The nations are called to celebrate because God's faithfulness to the house of Israel has brought salvation to the world.

The music's origins are unclear. The name "Antioch" is generally used for the tune. It is often attributed to George Frideric Handel (1685-1759) on the grounds of a 'chance resemblance' to choruses in the oratorio Messiah (premiered 1742), not least because a theme of the refrain (And heaven and nature sing...) appears similar to the orchestral opening and accompaniment of the recitative Comfort ye. Likewise, the first four notes seem to match the beginning of the choruses Lift up your heads and Glory to God from the same oratorio. However, there is no autographed score by Handel and no currently known documentary evidence to suggest that Handel wrote it, so 'Antioch' remains, at best, a skillful collection of borrowings from Handel.

Other hymnals credit the tune to Lowell Mason (1792-1872), who introduced it to America (US) in 1836 as 'arranged from Handel'. But, in 1986, John Wilson showed that 'Joy to the World' was first published in two English collections, one firmly dated 1833. Being three years earlier, this is thought to exclude Lowell Mason from being the composer, but his original attribution remains a likely cause of the often-stated link to Handel.

Source: Wikipedia (https://en.wikipedia.org/wiki/Joy_to_the_World).

I created this Interpretation for String Quartet (2 Violins, Viola & Cello).