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Clarinette, Violoncelle (duo)

Hatikva (The Hope), Israeli National Anthem

#Clarinette, Violoncelle (duo)

Hatikva (The Hope), Israeli National Anthem #Clarinette, Violoncelle (duo) #INTERMÉDIAIRE #Patriotique #Shmuel Cohen #Joel Jacklich (ASCAP) #Hatikva #Joel Jacklich #SheetMusicPlus

Instrumental Duet Cello,Clarinet,Instrumental Duet - Level 3 - SKU: A0.723176 Composed by Shmuel Cohen. Arranged by Joel Jacklich (ASCAP). Jewish,Patrio...(+)

Instrumental Duet Cello,Clarinet,Instrumental Duet - Level 3 - SKU: A0.723176 Composed by Shmuel Cohen. Arranged by Joel Jacklich (ASCAP). Jewish,Patriotic,World. Score and parts. 4 pages. Joel Jacklich #6626055. Published by Joel Jacklich (A0.723176). I was asked by two musicians friends, who had previously commissioned several Klezmer pieces from me, to write an arrangement of Hatikva (The Hope), the Israeli National Anthem for a visual visit to the Wailing Wall in Jerusalem to take place later this year. Naphtali Herz Imber (1856-1909) wrote the poem in 1878. Shmuel (Samuel) Cohen (1870-1940) first set Imber's poem to music in 1887, basing the melody for Hatikvah on La Mantovana, a 16th-century Italian song, composed by Giuseppe Cenci (Giuseppino del Biado) ca. 1600. In 1933, the 18th International Zionist Congress in Prague adopted Hatikva as the anthem of the Zionist movement. With there establishment of the state of Israel in 1948, it was adopted unofficially as then national anthem of Israel, becoming finalized officially by the Knesset in 2004. This arrangement for clarinet and cello shares the melody diplomatically between the two instruments. The clarinet occasionally switches octaves for a slight Klezmer feeling (as was requested by the commissioner) while still maintaining the piece in a serious mode.

Josquin: 22 Duets for Clarinet & Cello

#Josquin: 22 Duets for Clarinet

B-Flat Clarinet,Cello,Instrumental Duet - Level 2 - SKU: A0.1074010 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678278. Published by jmsgu3 (A0.1074010). Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular â€œcircular canonâ€ and the more complex â€œstrict canon.â€ He was also an early adopter of the â€œinverted canonâ€ form, in which the same melody is repeated but in an inverted form. Josquinâ€™s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.Contents:Â I. Duo from the Augsberger LiederbuchII. Agnus Dei II from Missa De Beata VirgineÂ III. Duo from the HÃ¶r Organ tablatureIV. Agnus Dei II from Missa Ave maris stellaV. Benedictus from Missa GaudeamusVI. Agnus Dei II from Missa GaudeamusVII. Pleni sunt coeli from the Sanctus of Missa Hercules dux FerrarieÂ VIII. Agnus Dei II from Missa La sol fa re miÂ IX. Benedictus from Missa L'homme armÃ© super voces musicalesX. Benedictus from Missa L'homme armÃ© Sexti ToniÂ XI. Pleni sunt coeli from Missa Malheur me batÂ XII. Pleni sunt from Missa Mater patris (canon at the major second)XIII. Benedictus from Missa Mater patrisÂ XIV. Agnus Dei II from Missa Mater patris (canon at the unison)XV. Pleni sunt caeli from Missa Pange linguaÂ XVI. Benedictus from Missa Pange linguaÂ XVII. Agnus Dei II from Missa Pange linguaÂ XVIII. Pleni sunt from Missa sine nomineÂ XIX. Domine non secundum peccata nostraÂ XX. Ave verum and Cuius latusÂ XXI. In principio erat verbum from Motet Verbum caro factus estÂ XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.