Harp, Flute, Clarinet, String Quartet

SKU: HL.14023298

Composed by Per Norgard. Music Sales America. Score. Music Sales #KP01431. Published by Music Sales (HL.14023298).

ISBN 9788759871591. English.

Per Norgard 's Gennem Torne / Through Thorns (2003) Harp Concerto No. 2 - Passage for Harp Solo with Flute, Clarinet and String Quartet. Premiered by Tine Rehling (Harp) and the Esbjerg Ensemble, conducted by Kaisa Roose at the Concert Hall of the Western Jutland Academy of Music, Esbjerg, 28th January 2004. Programme Note THROUGH THORNS has a duration of about 20 minutes, in one continuous movement, thus the subtitle passage. The work is scored for harp solo, flute, clarinet and string quartet. The title is borrowed from the lines from an old Virgin Mary Hymn: Mary wanders through thorns, a hymn which ends with the following line: then roses grew forth amongst thethorns. I only came across the poem after finishing the composition, the passage of which is a journey of sometimes dramatic events, concluding with a rose-blooming, as does the hymn.  For THROUGH THORNS to borrow its title from a Virgin Mary Hymn has to do with the musical material and current of the piece, which brings motives from an earlier choral piece of mine, FLOS UT ROSA (Latin for a flower like a rose), and the rose in question is of course the one which grew forth when the Virgin Mary gave birth to the Infant Jesus in a hitherto unheard-of fashion, a NOVA GENITURA (new birth), which is the title of another work of mine that also derives its material from my original rose-melody from 1975.  THROUGH THORNS is dedicated to Tine Rehling, and together with her I have tried to expand the sonorities of the harp, by exploring existing techniques and their more remote regions, in order to gain access to new territory and new soundscaoes, as realised by the constantly experimentally-minded and virtuoso player.  Per Norgard, 2004.   .

Chorus with inst. (solo: T - choir:TTB - 1.2.1.0 - 2.0.0.0 - org - str)

SKU: BR.PB-5326

Cantata based on the Autograph Completed by Franz Beyer - Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Choir; Softcover. Partitur-Bibliothek (Score Library).

One already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.

Cantata; Requiem; Classical. Full score. 20 pages. Duration 10'. Breitkopf and Haertel #PB 5326. Published by Breitkopf and Haertel (BR.PB-5326).

ISBN 9790004210680. 9 x 12 inches.

Thanks to the Mozart specialist Franz Beyer, the cantata Dir, Seele des Weltalls has been completed in its original scoring and with an unerring feeling for stylistic accuracy. One already finds echoes of the Magic Flute in this fragment, which Mozart wrote in 1785. The two introductory and two closing bars added by Beyer along with the full orchestration of the piece allow musicians to discover a Mozart cantata that will ring familiar with many modern-day listeners. - The traditional version by Maximilian Stadler (for soprano solo, mixed chorus and orchestra without organ) continues to remain available

One already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.

(solo: T - choir:TTB - 1.2.1.0 - 2.0.0.0 - org - str)

SKU: BR.CHB-5271-02

Cantata based on the Autograph Completed by Franz Beyer - Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Chor-Bibliothek (Choral Library).

One already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.

Cantata; Requiem; Classical. Choral score. 4 pages. Duration 10'. Breitkopf and Haertel #ChB 5271-02. Published by Breitkopf and Haertel (BR.CHB-5271-02).

ISBN 9790004412121. 7.5 x 10.5 inches.

Thanks to the Mozart specialist Franz Beyer, the cantata Dir, Seele des Weltalls has been completed in its original scoring and with an unerring feeling for stylistic accuracy. One already finds echoes of the Magic Flute in this fragment, which Mozart wrote in 1785. The two introductory and two closing bars added by Beyer along with the full orchestration of the piece allow musicians to discover a Mozart cantata that will ring familiar with many modern-day listeners. - The traditional version by Maximilian Stadler (for soprano solo, mixed chorus and orchestra without organ) continues to remain available.

One already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Timpani, Trombone 1, Trombone 2 and more.

SKU: PR.446413400

High Wire Act for Orchestra. Composed by Michael Boyman. Study Score. With Standard notation. Duration 8 minutes. Merion Music #446-41340. Published by Merion Music (PR.446413400).

UPC: 680160667406. 9 x 12 inches.

Tightrope Walker is my first piece for full orchestra. Given the large forces available to me, I wanted to write something exciting, colorful and visceral. I remembered back to when I was a kid going to see the Cirque du Soleil. That trip made a big impression on me, especially the high wire performers. These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending. This idea of danger, of risking one's life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience. The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds. These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker. The tempo slows and the atmosphere becomes tense. The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns. The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored. We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms. The anticipation builds until we hear a solo drum roll - the main act is about to begin. The second half of the piece depicts the Tightrope Walker performing for his audience. But from the outset, as in the beginning of the piece, we hear there are problems. The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.
Tightrope Walker is my first piece for full orchestra.  Given the large forces available to me, I wanted to write something exciting, colorful and visceral.  I remembered back to when I was a kid going to see the Cirque du Soleil.  That trip made a big impression on me, especially the high wire performers.  These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending.  This idea of danger, of risking one’s life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience.The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds.  These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker.  The tempo slows and the atmosphere becomes tense.  The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns.  The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored.We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms.  The anticipation builds until we hear a solo drum roll - the main act is about to begin.  The second half of the piece depicts the Tightrope Walker performing for his audience.  But from the outset, as in the beginning of the piece, we hear there are problems.  The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.

Chamber Music Cello, Clarinet, Flute, Piano, Violin

SKU: PR.14440515S

Composed by Robert Martin. Full score. With Standard notation. 48 pages. Theodore Presser Company #144-40515S. Published by Theodore Presser Company (PR.14440515S).

UPC: 680160667819. 9 x 12 inches.

In 1979, Martin produced a set of three quintets, in consideration of Gorky's piece Nighttime Enigma Nostalgia. Each is scored for flute, clarinet, violin, cello, and piano. One role of music is to evoke. Therefore, Nighttime is a nocturne, a night piece suggestive of flickering shadows, perhaps created by firelight. It is a recurrent setting in human existence. The music opens with the scene of twilight calm, gently disturbed with the slight uncertainty about what is around us, what we cannot see. Later, the clarinet takes on a solo role, and the notes bleed like careless paint into the other instruments that quietly sustain them. Next, the flute takes over the role of solo. The piece ends with a repeated cadence of morning light. (From the performance notes.).

By Ernst Pepping (1901-1981). For solo piano/orchestra (Solo Piano/first Flute/second Flute/Piccolo Flute/2 Oboes/2 Clarinets/2 Bassoons/4 Horns/2 Trumpets/Trombone/Tuba/Timpani/Strings). Score. Composed 1951. 116 pages. Duration 22 minutes. Published by . Score.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Timpani, Trombone 1, Trombone 2 and more.

SKU: PR.44641340L

High Wire Act for Orchestra. Composed by Michael Boyman. Large Score. With Standard notation. Duration 8 minutes. Merion Music #446-41340L. Published by Merion Music (PR.44641340L).

UPC: 680160667413. 11 x 17 inches.

Tightrope Walker is my first piece for full orchestra. Given the large forces available to me, I wanted to write something exciting, colorful and visceral. I remembered back to when I was a kid going to see the Cirque du Soleil. That trip made a big impression on me, especially the high wire performers. These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending. This idea of danger, of risking one's life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience. The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds. These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker. The tempo slows and the atmosphere becomes tense. The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns. The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored. We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms. The anticipation builds until we hear a solo drum roll - the main act is about to begin. The second half of the piece depicts the Tightrope Walker performing for his audience. But from the outset, as in the beginning of the piece, we hear there are problems. The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.
Tightrope Walker is my first piece for full orchestra.  Given the large forces available to me, I wanted to write something exciting, colorful and visceral.  I remembered back to when I was a kid going to see the Cirque du Soleil.  That trip made a big impression on me, especially the high wire performers.  These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending.  This idea of danger, of risking one’s life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience.The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds.  These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker.  The tempo slows and the atmosphere becomes tense.  The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns.  The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored.We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms.  The anticipation builds until we hear a solo drum roll - the main act is about to begin.  The second half of the piece depicts the Tightrope Walker performing for his audience.  But from the outset, as in the beginning of the piece, we hear there are problems.  The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.

Trilogie sacree - Geistliche Trilogie (Holoman 130). Klavierauzszug nach dem Urtext der New Berlioz Edition (franzosisch/deutsch) - Sacred Trilogy (Holoman 130). Vocal Score, based on the Urtext of the New Berlioz Edition (French/German). By Hector Berlioz. Edited by Lloyc-Jones, David. Arranged by Wernhard, Eike. For Soprano solo, 2 Tenor solo, Baritone solo, 3Bass solo, Mixed Choir-SSAATTBB, Flute 1, Flute 2/ Piccolo, Oboe 1, Oboe 2/ English horn, 2 Clarinet (b flat), 2 Bassoon, 2 Horn, 2 Trumpet, 2 Cornet, 3 Trombone, Kettledrum, Harp, Organ/ Harmonium, Strings. Piano Reduction/Vocal Score (paperbound). op. 25. Published by Baerenreiter-Ausgaben (German import).

Trilogie sacree - Geistliche Trilogie (Holoman 130). Klavierauzszug nach dem Urtext der New Berlioz Edition (franzosisch/englisch) - Sacred Trilogy (Holoman 130). Vocal Score base on the Urtext of the New Berlioz Edition (French/English). By Hector Berlioz. Edited by Lloyc-Jones, David. For Soprano Solo, Tenor Solo (2), Baritone Solo, Bass Solo (3), Mixed Choir-SSAATTBB, Flute 1/, Flute 2/Piccolo, Oboe 1, Oboe 2/English Horn, Clarinet (B Flat) (2), Bassoon (2), Horn (2), Trumpet (2), Cornet (2), Trombone (3), Kettledrum, Harp, Organ/Harmonium, Strings. Neue Berlioz-Ausgabe, Band 11. Score; Urtext Edition; Complete Edition (cloth bound). Op. 25. Published by Baerenreiter-Ausgaben (German import). (BA5451 01)

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2

SKU: CF.YPS208

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208).

ISBN 9781491152287. UPC: 680160909780. Key: D minor.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.