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Eine Kleine Nachtmusik

W. A. Mozart

Arr. Merle Isaac

Sara Sulecki

MUS 3440 – Instrumental Music Methods I

Spring, 2012

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Table of Contents

Title Page……………………………………………………………………………………Page 1

Table of Contents……………………………………………………………………………Page 2

Basic Information……………………………………………………………………………Page 3

Program Note………………………………………………………………………………..Page 4

Historical Information……………………………………………………………………….Page 4

The Work……………………………………………………………………………………Page 6

Preparation for Performance………………………………………………………………...Page 8

Calendar……………………………………………………………………………………Page 10

Practice Sheet………………………………………………………………………………Page 11

Listening Assignment………………………………………………………………………Page 12

Five Minute Research Assignment………………………………………………………...Page 12

VIP (Very Important Person) Performance Sheet………………………………………….Page 13

Practice Checklist…………………………………………………………………………..Page 14

Staccato Exercises………………………………………………………………………….Page 15

Performance Test Rubric…………………………………………………………………..Page 16

Resources…………………………………………………………………………………..Page 17

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Basic Information

Title: Eine Kleine Nachtmusik: First Movement (Abridged)

Composer: W. A. Mozart

Arranger: Merle J. Isaac

Publisher: Alfred Publishing Co., Inc.

Grade: 3

Style: Classical, as characterized by a piece’s clarity, transparency, separated notes and form.

Key: G Major

Meters: 4/4 or common time

Tempo Indication: Allegro, quarter note =120

Performance Time: About 4 min

Instrumentation: 1st violin (advanced), 1st violin (stays in first position), 2nd violin, 3rd violin (In the event that there are few/no violas), Viola, Cello, Bass, Piano Accompaniment

Score: Full Score in Concert Pitch

Range Concerns: 1st violins: M100 there is a high E. May be played as an extension or in third position. Cellos need to be comfortable in ½, I, II, and III positions. Basses need to be comfortable in ½, I, II, III, and IV positions. M39 and M47 rapidly change positions; cellos I, ½, III and basses 1, ½, 1, ½.

Requirements:

Students must be able to play notes separately or in staccato style.

Students must be able to play in C, G, and D finger patterns/scales.

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Program Note

Eine Kleine Nachtmusik is one of W.A. Mozart’s most well-known and light-hearted pieces. It is technically easy to play, but a completely different story when it comes to playing it in the correct style. Stylistic challenges occur in the different ‘Ideas’ or characters Mozart introduces in this piece. There are five Ideas each with their own quirks. This arrangement by Merle Isaac makes this piece especially attainable for an ambitious young string ensemble. Mozart was a well-known child prodigy pianist, violinist and composer. He wrote many works for solo instruments, small and large ensembles including symphonies and operas. In 1781 Mozart lost his prominent position under the Archbishop of Salzburg and spent the rest of his life in a near constant state of financial uncertainty. This piece was written in August of 1787 at the same time he was composing the second half of his opera Don Giovanni, which is considerably darker in nature. Mozart died a poor and broken man at the young age of 35 in 1791.1

Historical Information

Composer: Wolfgang Amadeus Mozart was born in Salzburg on January 27th in 1756. He was the

younger of two surviving children born to Leopold Mozart and Maria Anna Pertl. His father Leopold was a well known composer, violinist and theorist who devoted himself to his children’s education which included not only music, but mathematics, reading, writing, literature, languages and dancing, moral and religious training as well. Leopold took the young Wolfgang on several tours, demonstrating his musical skill as a child prodigy. Mozart lived and worked with his father in Salzburg until 1777 when he petitioned the archbishop for his release from employment, and Colloredo responded by dismissing both Mozart and his father Leopold. From Salzburg Mozart traveled Mannheim, then Paris, back to Salzburg, where he petitioned archbishop Colloredo for employment as court organist. In 1781 Mozart traveled to Vienna with archbishop Colloredo, once there he decided to realized the possibility of becoming a freelance musician in Vienna and permanently left the archbishop’s service.

Mozart first started supporting himself financially through taking on several students. He married Constanze Weber July 16th 1782. Other sources of revenue included public concerts and payments from private patrons in addition to his students. His financial circumstances were mysterious; while he never went without luxuries typical of his class, his income was unstable. Mozart died December 5th 1791 from rheumatic inflammatory fever. Mozart was buried in a common grave at the St. Marx cemetery outside the city on December 7th in compliance with Viennese burial customs. Mozart composed over 600 works and is unanimously considered a genius and excelled in every musical medium current to his time.2

Work:Serenade No. 13 for strings in G Major, (better known as) Eine Kleine Nachtmusik was

written late in the summer of 1787 only a couple months after the death of his father Leopold. It was composed around the same time as two of his operas, Le Nozze Di Figaro and Don Giovanni.1 It is probable that this piece was written on commission, it is now one of Mozart’s most recognizable works.

1 Michael Allen et al. Teaching Music Through Performance in Orchestra(Chicago: GIA Publications, 2001), 482-4852 Cliff Eisen and Stanley Sadie, The New Grove: Mozart (New York, Palgrave: 2002)

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In Mozart’s time, concert halls did not exist and public performances were just emerging. Music was composed to serve two purposes; either religious, or for the nobility. The nobility employed musicians to play and compose for the salon, and drawing room, to charm and entertain them. The music was often quiet, restrained, modest and pleasant. The sensibilities of the time considered excessive displays of emotion unseemly in art, and for the individual. Classical music is consistent without huge differences in volume, dramatic pauses or emotional solos and played by smaller orchestras or chamber ensembles.3

Related History:Mozart lived during the emergence of the Age of Enlightenment, a cultural movement during the 18th century which sought to employ reason to reform society and promote knowledge.

Sept 17th 1787 the United States Constitution was approved. After the Articles of Confederation failed to provide a working government for the United States, the delegates from each state convened to amend the Articles of Confederation. They met at the Constitutional Convention, presided over by George Washington. It became apparent that it would be easier to start from scratch and compose a new document, and thus, the Constitution we know today was born.4

Painting by Junius Brutus Stearns in 18565

Titania and Oberon, two moons of Uranus are discovered by William Herschel6

The first Black Masonic Lodge is formed in Prince Hall, Boston.2

The French Revolution begins.7

3 Robert Harris, What to Listen for In Mozart (New York, Simon & Schuster: 1991) 12-72.4 http://usgovinfo.about.com/blconstday.htm5 http://en.wikipedia.org/wiki/File:Washington_Constitutional_Convention_1787.jpg6 http://www.brainyhistory.com/years/1787.html7 http://www.britannica.com/EBchecked/topic/219315/French-Revolution

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The WorkFormal Analysis:

Eine Kleine Nachtmusik is in Sonata-Allegro form, this organization is based on two opposing themes or two groups of themes; one in tonic, and one in dominant. There are three sections in sonata-allegro form. First section, called the exposition states the two themes for the first time; the first theme in tonic and second theme in dominant and ends with a coda in dominant. The exposition ends with a repeat which brings us back to the beginning. The second section is termed the development in which the composer plays around with the presented themes and creates tension and suspense within the piece. The last section is the recapitulation where the themes are presented again both in the tonic key and also ends with a coda in the tonic. Merle J. Isaac’s version of Eine Kleine Nachtmusik is abridged and its form varies slightly from the original. Instead of a repeat to the beginning, the repeat is written out and altered toward the end, bringing the piece to a close. This effectively cuts out the middle development section giving the piece an altered sonata-allegro form into a rounded binary using just an exposition and a recapitulation.Exposition: M1 - M55Theme 1(tonic): Idea 1 M1 - M4

Idea 2 M5 - M8 Idea 3 M9 - M10 Idea 4 M11 - M14, repeat M15 – 17

Transition: Idea 5 M18 - M27Theme 2 (dominant): Idea 1 M28 - M31

Idea 2 M32 - M35 Idea 3 M35 - M39 Idea 4 M39 - M43

Idea 3 (repeated) M43 - M47 Idea 4 (repeated) M47 - M50

Coda (dominant): M51 - M55Recapitulation: Theme 1 (tonic): Idea 1M56 - M59

Idea 2 M60 - M60 Idea 3 M64 - M65 Idea 4 M66 - M69, repeat M70 - M72

Transition: Idea 5 M73 - M80 (two measures shorter than in the Exposition)Theme 2 (tonic): Idea 1 M81 - M84

Idea 2 M85 - M88 Idea 3 M88 - M92 Idea 4 M92 - M96 Idea 3 (repeated) M96 - M100 Idea 4 (adapted w/ transition at the end) M100 - M106

Coda (tonic): M107 - M117

Errata: I did not find any mistakes in the notes between the original score and the arrangement.

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Performance Notes:

The cello and bass parts are exactly the same.

Each phrase or idea is a different musical character.

This piece should be played lightly, with staccato to create an accurate interpretation.

Give students the opportunity to listen to the piece a few times, not just once.

Glossary of Terms:

Allegro – lively

Classical style – the piece has clear separation of notes and transparent texture. Typically light and features a lighter bow with staccato bow stroke.

cresc. (crescendo) – a gradual increase in volume

decres. (decrescendo) – a gradual decrease in volume

div. (divisi) – the part features two lines and is divided so that the inside player plays one line while the outside player plays the other line.

Eine Kleine Nachtmusik – A Little Night Music, serenade

F (forte) – Loud

mp (mezzo-piano) – medium soft

P (piano) – soft

sf (sforzando) – suddenly loud, followed by quick decrescendo

staccato – playing with a light bow and a loose arm at the balance point so that the bow bounces slightly after each stoke. Play with index pronated and pinkie can be off the string.8

Major Concepts:

-Finger patterns in C major, G major, and D major-Understanding that a dotted quarter note is equal to a quarter note tied to an eighth note.-Observing eighth rests and playing on the ‘and’ of beats. -Playing with a light, staccato bow. -Playing even sixteenth note triplets. -Differentiating between triplets and eighth and two sixteenths.-Playing quarter notes with two slashes as sixteenth notes. -Strong, weak, weak, weak beats.-Identifying what bowings would be appropriate/efficient. -Demonstrating the different Ideas as different characters.

8 Simon Fischer, Basics: 300 Exercises and Practice Routines for Violin (London, Peters Edition Limited: 1997) 65.

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Preparation for PerformanceObjectives for Students: Students will be able to…

1) Play their part with both accuracy and musicality. 2) Play their part in the correct style.3) Recognize the role their part plays throughout the piece (melody/harmony)4) Identify where the piece is in tonic and where it is in dominant5) All strings – play in tune with correct rhythm and dynamics: observe eighth rests, play

triplets evenly, play with staccato, observe sforzandos and the more lyrical characters in Ideas 4 and 5.

6) Recognize what the other instrument parts are doing.7) Define Binary and Sonata-allegro form. 8) Make connections with other musical pieces of the same composer.9) Make connections with other musical pieces by different composers.10) Make connections between the music and other historical and social circumstances.

Strategies and Activities

The teacher will: -Identify a focus for each rehearsal and make it known to the students by writing it on the chalk/white board.-Keep students focused and on task.-Encourage listeningThe students will:-Attend class focused and ready to learn with all necessary equipment (instrument, music, pencil)-Practice regularly (even if only a little bit)-Do their personal best work

Score Activity (may be utilized in the event of a substitute teacher)1) Put students into 4 or 5 groups.2) Pass out the copies of the score to Eine Kleine with the measure and page numbers

blacked out. Give each student one or two pages of the score.3) Have students look at the score and try to hum their part and the melody and the

cello/bass part.4) Have students put the pages of the score in order and staple. Make sure the group

members write their name on the back of the stapled score.5) Check with the original score. Are the pages in order?6) If not, take apart the stapled score and put it in order. If yes, then have students hum/sing

the melody and label different sections they identify (no wrong answer yet) Label each change in melody as a new Idea. How many ideas do you have? Which ones repeat? Where does it repeat?

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Assignments for Students:-Practice Sheet (see page 11) Objective 5

-Listening Assignment (see page 12) Objectives 1,2, 3, 4, 6, 8, 9

-VIP Performance Sheet (see page 13) Objectives 1, 2

-5 Minute Research (see page 12) Objectives 7,8,9,10

Practice Guide:

-Practice Checklist (see page 14) Objectives 1,2

-Staccato Exercises8 (see page 15) Objective 2

Evaluation of Students

Playing Tests (see calendar page 10 for dates and page 16 for rubric) Objectives 1, 2

Regular checks to see if students are completing their Practice Checklists and VIP Performances

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Calendar:

Monday Tuesday Wednesday Thursday FridayWeek 1 Warmup and review

Octave C,G and D major scalesSightread: Eine Kleine Introduce new practice checklist for E.K.N and VIP Sheet

Warmup, Sightread Rhosymedre Play through beginning of Eine Kleine Introduce Listening Assignment

Warmup, Sightread Dance of the Tumblers, Play through part of Rhosymedre

Warmup, Sightread Russian Sailors Dance, Play through part of Dance of the Tumblers

Playing Test:Octave G&D Major scales Play through second half of Eine Kleine (1st half too if time)

Week 2 Warmup, check students VIP and Practice Checklists and play through Russian Sailors DanceIntroduce Staccato Exercises focus on 1st half of E.K.N

Warmup and play through Rhosymedre, focus on 2nd half of E.K.N Introduce the 5 Min Research due Friday

Warmup play through Dance of the Tumblers, focus on Rhosymedre

Warmup play through Russian Sailors Dance, focus on Dance of the Tumblers Review: EKN PT and rubric

Playing Test:Eine KleineStudents present their 5 min research

Week 3 Warmup, check students VIP and Practice Checklists focus on Russian Sailors Dance and Rhosymedre

Warmup, review staccato and focus on E.K.N

Warmup, focus on Dance of the Tumblers and Rhosymedre

Warmup, focus on E.K.N and Rhosymedre Review: PT and rubric

Playing Test:Rhosymedre Score activity or focus on Russian Sailors Dance

Week 4 Warmup, check students VIP and Practice Checklists, Russian Sailors Dance, focus on Dance of the Tumblers

Warmup, remind about Listening Activity, focus on Rhosymedre (Russian Sailors Dance if time)

Warmup, focus on E.K.N review staccato. (Dance of the Tumblers if time)

Warmup, focus on Dance of the Tumbers and Russian Sailors Dance Review PT and rubric

Playing Test:Russian Sailors Dance, focus on E.K.N, Rhosymedre if time

Week 5 Warmup, check students VIP and Practice Checklists, focus on Rhosymedre and E.K.N

Warmup, focus on E.K.N and Dance of the Tumblers

Warmup, focus on Dance of the Tumblers and Russian Sailors Dance

Warmup, focus on Rhosymedre and E.K.N Review PT and rubric

Playing Test: Eine KleineSightreading, Rhosymedre if time

Week 6 Warmup, check students VIP and Practice Checklists focus on Dance of the Tumblers and Russian Sailors Dance

Warmup, focus on Dance of the Tumblers and Russian Sailors Dance

Warmup, focus on E.K.N and Rhosymedre

Warmup, focus on E.K.N and Rhosymedre Review PT and rubric

Playing Test: Rhosymedre Play through, and record Rhosymedre and E.K.N

Week 7 Warmup, check students VIP and Practice Checklists, focus on Dance of the Tumblers and E.K.N

Warmup, focus on Russian Sailors Dance and E.K.N remind about listening asgn

Warmup, focus on Rhosymedre and Dance of the Tumblers

Warmup, focus on E.K.N and Dance of the Tumblers Review PT and rubric

Playing Test:Dance of the TumblersSightreading, play through and record DT

Week 8 Warmup, check students VIP and Practice Checklists focus on weakest piece

Warmup, listen to recording of Rhosymedre and EKN difference?

Warmup, listen to DT. Difference? Play through all pieces

Warmup, play through all pieces and focus on weakest, if time

Playing Test: Russian Sailors Dance, record RSDSightreading

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Practice Sheet

Name:

This sheet is for your benefit only! I am not going to check them, it is simply a tool to help you stay organized and remember to practice at least a little every day.

Time (min) Parts/ Pieces practiced

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

Notes:

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Listening Assignment

This listening assignment is spread out over 5 Days and can be turned in at any time before the Monday after MSBOA festival. It can be either typed or hand written, just make sure it is legible.

Directions:

Go to the class website: www.symphonyinwriting.weebly.com click on the Helpful Videos tab under the Music Students tab.

Follow the directions under Days 1 – 5.

You should write at least one paragraph for each day.

Five Minute Research Assignment

Teacher: Passes out index cards with a musical term/composer/piece of music.

Students: Write as much about their given subject on the lined side of the index card, brings it back to class and shares.

Teacher: Binds cards to make a small class dictionary of Mozart.

List of terms:

Mozart – Early life String Quartets Sonata-Allegro Form

Mozart – Middle life Leopold Mozart Binary Form

Mozart – Late life Child Prodigy Rounded Binary Form

Haydn Eine Kleine Nachtmusik Age of Enlightenment

Beethoven Mozart’s Symphonies

Staccato Don Giovanni

Vienna Pierre Beaumarchais

Salzburg Nannerl Mozart

Classical style Works 1772-1781

Die Zauberflote Works 1781-1788

Le Nozze Di Figaro Works 1789-91

Constanze Mozart Sonata Form

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VIP (Very Important Person) Performance Sheet

Name: Instrument:

Directions: One very important aspect of being a musician is performing in front of others. That is what this assignment gives you an opportunity to do. The student is to select a VIP or Very Important Person each week and play their assignment for them.

The VIP is to sign off that the student played for them and write any comments they might have.

Week 1: Eine Kleine Nachtmusik M1 – 27 VIP Signature:

Comments:

Week 2: Dance of the Tumblers VIP Signature:

Comments:

Week 3: Rhosymedre VIP Signature:

Comments:

Week 4: Russian Sailors Dance VIP Signature:

Comments:

Week 5: Eine Kleine Nachtmusik M81 – End VIP Signature:

Comments: Improvement? Y or N

Week 6: Dance of the Tumblers VIP Signature

Comments: Improvement? Y or N

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Practice Checklist: Eine Kleine Nachtmusik

Name: Instrument:

Directions: Read through the Steps carefully. If you are learning a new section, follow the steps in order and check them off as you practice. If you are practicing a section you are already familiar with, start at step 3. Put multiple check marks in each box. There should be more in boxes 3-6 and at least in boxes 1 and 2.

Warmup: Don’t forget to warm up with a one octave scale in the key of the piece and any exercises handed out in class.

Step 1: Look at the section, what potential problems do you see? What areas do you know need work? Clap the rhythm at a slower consistent tempo. Repeat until confident.

Step 2: Look at the notes and finger through the passage before playing. What finger pattern(s) do you need to use?

Step 3: Play through the section at a slower tempo. If you get stuck, break down the problem area into the smallest parts, then, play it very slowly, once the problem(s) is corrected, you may gradually speed the section up.

Step 4: Play through the section and pay special attention to the Intonation and Tone. How do you sound (warm, scratchy)?

Step 5: Play through the section and pay attention to the bowing and articulation. Are you playing all the accents/staccato/legato markings? Are you using the correct bowing?

Step 6: Play through the section and pay attention to where the phrases begin and end. Are you giving each ‘Idea’ a character? Are you playing with appropriate dynamic differences?

*At any time - Listen to a recording online to see if what you are playing matches what the piece should sound like. Use the class website www.symphonyinwriting.weebly.com.

Step 1 Step 2 Step 3 Step 4 Step 5 Step 6M 1-8M 9-17M 18-27M 28-38M 39-55M 56-72M 73-91M 92-End

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Staccato Exercises

There are some differences in staccato approaches. What matters is that it is executed well. The best staccatos use a combination of these factors:

The impulse originates in the forearm while the upper arm remains relaxed and the string player lets the fingers and hand move. A passive movement of the fingers helps make each note. The hand/fingers play the note while the arm supports.

The finger movement involves a slight curving and straightening. The fingers curve to play the note, then straighten to prepare for the next note.

Another approach – keep the fingers solid on the bow and make each note with the forearm or whole arm. Listen carefully, solid finger, stiff arm staccatos can sound too pressed and harsh at times.

Up – bow: -Play on the outer edge of the hair. (opposite for cello/bass)-Lean the hand slightly more on the fourth fingerUpper strings:-Use a higher elbow-Angle the point of the bow slightly towards the fingerboardDown-bow:-Play on the inner edge of the hair. (opposite for cello/bass)-Lean the hand slightly more on the first fingerUpper strings:-Use lower elbow -Angle the point of the bow slightly toward the bridgePractice:First - Find the balance point and practice staccato there.Step 1: First practice on your highest string, then lower, then lower and lowest.Step 2: Practice alternating between the highest and second highest strings, slowly at first, then speed up.Step 3: Practice alternating between the two middle strings, slowly, then speed up.Step 4: Practice alternating between the two lowest strings, slowly then speed up.Step 5: Practice alternating between all four strings and highest to lowest string. Slowly at first, then speed up.

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Performance Test Rubric

Musical Category 4 3 2 1Rhythm The beat is secure

and the rhythms are accurate for the style of music being played.

The beat is secure and the rhythms are mostly accurate. There are a few duration errors, but these do not detract from the overall performance.

The beat is somewhat erratic. Some rhythms are accurate. Frequent or repeated duration errors. Rhythm problems occasionally detract from the overall performance.

The beat is usually erratic and rhythms are seldom accurate detracting significantly from the overall performance.

Pitch Virtually no errors. Pitch is very accurate.

An occasional isolated error, but most of the time pitch is accurate and secure.

Some accurate pitches, but there are frequent and/or repeated errors.

Very few accurate or secure pitches.

Tone Quality Tone is consistently focused, clear, and centered throughout the range of the instrument. Tone has professional quality.

Tone is focused, clear and centered through the normal playing range of the instrument. Extremes in range sometimes cause tone to be less controlled. Tone quality typically does not detract from the performance.

Tone is often focused, clear and centered, but sometimes the tone is uncontrolled in the normal playing range. Extremes in range are usually uncontrolled. Occasionally the tone quality detracts from overall performance.

The tone is often not focused, clear or centered regardless of the range being played, significanltly detracting from the overall performance.

Articulation/Style Secure attacks. Markings (staccato, legato, slur, accents, etc.) are executed accurately as directed by the score and/or the conductor.

Attacks are usually secure, though there might be an isolated error. Markings are executed accurately as directed by the score and/or the conductor.

Attacks are rarely secure, but markings are often executed accurately as directed by the score and/or the conductor.

Few secure attacks. Markings are typically not executed accurately.

Phrasing Phrasing is always consistent and sensitive to the style of music being played.

Phrasing is usually consistent and sensitive to the style of music being played.

Phrasing is usually consistent and occasionally sensitive to the style of music being played.

Phrasing is rarely consistent and/or rarely sensitive to musical style.

Dynamics Dynamic levels are obvious, consistent, and an accurate intrepretation of the style of music being played.

Dynamic levels are typically accurate and consistent.

Dynamic levels fluctuate but can be discerned.

Attention to dynamic levels is not obvious.

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Resources

Recordings:

Videos of three performances are posted on the class website www.symphonyinwriting.weebly.com

Bibliography:

Books:

Cliff Eisen and Stanley Sadie, The New Grove: Mozart (New York, Palgrave: 2002)

Donald L. Hamann, Strategies for Teaching Strings: Building a Successful String and Orchestra Program 2nd Edition (New York: Oxford University Press, 2009)

Michael Allen et al. Teaching Music Through Performance in Orchestra(Chicago: GIA Publications, 2001), 482-485

Robert Harris, What to Listen for In Mozart (New York, Simon & Schuster: 1991) 12-72.

Simon Fischer, Basics: 300 Exercises and Practice Routines for Violin (London, Peters Edition Limited: 1997) 65.

Websites:

http://www.brainyhistory.com/years/1787.htmlhttp://www.britannica.com/EBchecked/topic/219315/French-Revolutionhttp://www.rubistar.4teachers.orghttp://usgovinfo.about.com/blconstday.htmhttp://en.wikipedia.org/wiki/File:Washington_Constitutional_Convention_1787.jpg

Related Items:Other works by the same composer:-Episode K. 216 by W.A. Mozart arr. Sandra Dackow, Alfred Publishing Co., Level 1-Mozart Classics by W.A. Mozart arr. John O’Reilly, Alfred Publishing Co., Level 1-Mozart Minuet and Rondo by W.A. Mozart arr. John O’Reilly, Alfred Publishing Co., Level 1-Mozart Serenade and Dance by W.A. Mozart arr. John O’Reilly, Alfred Publishing Co., Level 1-The Magic Flute (Overture) by W.A. Mozart arr. Richard Meyer, Alfred Publishing Co., Level 1-Menuetto (from Symphony No. 39) by W.A. Mozart arr. Richard Meyer, Alfred Publishing Co., Level 2-Mozart Alleluia by W.A. Mozart arr. by John O’Reilly, Alfred Publishing Co., Level 2-Mozart Variations by W.A. Mozart arr. Ruth Seigler, Alfred Publishing Co., Level 2

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-Rondo Presto (from String Quartet K. 157) by W.A. Mozart arr. Anderw H. Dabczynski, Alfred Publishing Co., Level 2-The Sleigh Ride (from Three German Dances, K. 605) by W.A. Mozart arr. Douglas E. Wagner, Alfred Publishing Co., Level 2-A Mozart Mix by W.A. Mozart arr. John O’Reilly, Alfred Publishing Co., Level 2.5-Adagio (from Clarinet Concerto in A Major, K. 622) by W.A. Mozart arr. Jeffrey E. Turner, Alfred Publishing Co., Level 3-Divertimento No. 3 (1st movement) by W.A. Mozart arr. Brendan McBrien, Alfred Publishing Co., Level 3-Symphony No. 12 (1st movement) by W.A. Mozart arr. Brendan McBrien, Alfred Publishing Co., Level 3-Two Selections from Mozart’s Requiem Mass by W.A. Mozart arr. Bob Lipton, Alfred Publishing Co., Level 3-Classical Overture by W.A. Mozart arr. Samuel Applebaum and James D. Polyhar, Alfred Publishing Co., Level 3.5-Mozart Requiem – Dies Irae by W.A. Mozart arr. Christina Hans, Alfred Publishing Co., Level 3.5-Symphony No. 25, First Movement by W.A. Mozart arr. Don Brubaker, Alfred Publishing Co., Level 3.5-The Marriage of Figaro (overture) by W.A. Mozart arr. Merle Isaac, Alfred Publishing Co., Level 3.5-Mozart’s Symphony No. 25 in G minor, 1st and 2nd movements by Ralph Matesky, Alfred Publishing Co., Level 4.-Mozart’s Symphony No. 25 in G minor, 3rd and 4th movements by Ralph Matesky, Alfred Publishing Co., Level 4. -Symphony No. 29 (1st movement) by W.A. Mozart arr. Thomas LaJoie, Alfred Publishing Co., Level 4-Symphony No. 41 by W.A. Mozart arr. Todd Parrish, Alfred Publishing Co., Level 4Similar works by other composers:-Serenade: Homage to Mozart by Jonathan Harvey, Alfred Publishing Co., Level not displayed.-The One Bow Concerto by Richard Meyer, Alfred Publishing Co., Level 2-Beethoven Inc. by Richard Meyer, Alfred Publishing Co., Level not displayed. (sounds like a 3)Other:-Album of Easy String Quartets, Volumes I – III, Series Kalmus Edition, Alfred Publishing Co., Level not displayed.