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And There Was Light - Bb Clarinet 1
Partitions à imprimer
42 partitions trouvées
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Moonlight Sonata by Beethoven for Clarinet in Original Key
Clarinette et Piano
B-Flat Clarinet,Piano - Level 1 - Digital Download SKU: A0.1156933 Composed by Ludw…
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B-Flat Clarinet,Piano - Level 1 - Digital Download SKU: A0.1156933 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. Score and part. 5 pages. Woods Only, Arrangements #757277. Published by Woods Only, Arrangements (A0.1156933). This arrangement adapted for clarinet in original key and piano was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$1.99
1.82 €
#
Clarinette et Piano
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Clarinet in Original Key
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Woods Only, Arrangements
#
SheetMusicPlus
Moonlight Sonata by Beethoven for Clarinet in A
Clarinette et Piano
A Clarinet,Piano - Level 1 - Digital Download SKU: A0.1156934 Composed by Ludwig va…
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A Clarinet,Piano - Level 1 - Digital Download SKU: A0.1156934 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. Score and part. 5 pages. Woods Only, Arrangements #757278. Published by Woods Only, Arrangements (A0.1156934). This arrangement adapted for clarinet in A and piano was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$1.99
1.82 €
#
Clarinette et Piano
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Clarinet in A
#
Woods Only, Arrangements
#
SheetMusicPlus
Little Suite (Clarinet Trio)
3 Clarinettes (trio)
Woodwind Ensemble,Woodwind Trio Clarinet - Level 4 - Digital Download SKU: A0.1487427
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Woodwind Ensemble,Woodwind Trio Clarinet - Level 4 - Digital Download SKU: A0.1487427 Composed by Alan Bullard. 20th Century,Chamber,Contemporary. 48 pages. Colne Edition / BullardMusic #1064374. Published by Colne Edition / BullardMusic (A0.1487427). Little Suitefor Clarinet Trio or Clarinet Choir/Ensemble These five short movements are by turns light-hearted and delicately expressive, forming an enjoyable and symmetrical suite.1. Entrance2. Sarabande3. Scherzo4. Air5. Exit Little Suite may be played by three solo B flat clarinets. Optional extra parts for E flat Clarinet and Bass Clarinet are provided (doubling B flat Clarinets in various octaves as indicated in the score). To expand the ensemble to a Clarinet Choir, there can be more players on the B flat clarinet parts, for example:E flat Clarinet: 1 playerClarinets 1, 2, and 3: 3 or 4 players eachBass Clarinets: 1 or 2 players Little Suite was originally written for two oboes and cor anglais, and has been performed many times in this version, which Double Reed News described as ‘a most attractive work which can be enjoyed by audiences of all ages’.This version, as well as one for three flutes or flute choir, is available from Colne Edition. You may copy as many parts as you need for your ensemble, but please do not copy the score or pass the parts on to others. Thank you. COLNE EDITION CE145www.colneedition.co.uk.
$6.99
6.39 €
#
3 Clarinettes (trio)
#
Alan Bullard
#
Little Suite
#
Colne Edition / BullardMusic
#
SheetMusicPlus
Moonlight Sonata by Beethoven for Clarinet Duet
2 Clarinettes (duo)
Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.1151925 Composed by Lud…
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Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.1151925 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 2 scores. 8 pages. Woods Only, Arrangements #752131. Published by Woods Only, Arrangements (A0.1151925). This arrangement adapted for clarinet duo was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$3.99
3.65 €
#
2 Clarinettes (duo)
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Clarinet Duet
#
Woods Only, Arrangements
#
SheetMusicPlus
Moonlight Sonata by Beethoven for Clarinet Quartet
Quatuor de Clarinettes: 4 clarinettes
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 2 - Digital Download SKU: A0.113845…
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Woodwind Ensemble,Woodwind Quartet Clarinet - Level 2 - Digital Download SKU: A0.1138454 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 14 pages. Woods Only, Arrangements #738790. Published by Woods Only, Arrangements (A0.1138454). This arrangement adapted for clarinet quartet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$7.99
7.3 €
#
Quatuor de Clarinettes: 4 clarinettes
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Clarinet Quartet
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Woods Only, Arrangements
#
SheetMusicPlus
Moonlight Sonata by Beethoven for Clarinet Quintet
Quintette de Clarinettes: 5 clarinettes
Woodwind Ensemble,Woodwind Quintet Clarinet - Level 2 - Digital Download SKU: A0.112949…
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Woodwind Ensemble,Woodwind Quintet Clarinet - Level 2 - Digital Download SKU: A0.1129494 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 16 pages. Woods Only, Arrangements #729942. Published by Woods Only, Arrangements (A0.1129494). This arrangement adapted for clarinet quintet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$9.99
9.13 €
#
Quintette de Clarinettes: 5 clarinettes
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Clarinet Quintet
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Woods Only, Arrangements
#
SheetMusicPlus
Moonlight Sonata by Beethoven for Clarinet Trio
3 Clarinettes (trio)
Clarinet Trio,Woodwind Ensemble - Level 2 - Digital Download SKU: A0.1147496 Compos…
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Clarinet Trio,Woodwind Ensemble - Level 2 - Digital Download SKU: A0.1147496 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 9 pages. Woods Only, Arrangements #747734. Published by Woods Only, Arrangements (A0.1147496). This arrangement adapted for clarinet trio was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$5.99
5.48 €
#
3 Clarinettes (trio)
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Clarinet Trio
#
Woods Only, Arrangements
#
SheetMusicPlus
Moonlight Sonata by Beethoven for Flute and Clarinet
Flûte, Clarinette (duo)
Clarinet,Flute,Instrumental Duet - Level 2 - Digital Download SKU: A0.1151920 Compo…
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Clarinet,Flute,Instrumental Duet - Level 2 - Digital Download SKU: A0.1151920 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 8 pages. Woods Only, Arrangements #752126. Published by Woods Only, Arrangements (A0.1151920). This arrangement adapted for flute and clarinet duet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$3.99
3.65 €
#
Flûte, Clarinette (duo)
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Flute and Clarinet
#
Woods Only, Arrangements
#
SheetMusicPlus
Moonlight Sonata by Beethoven for Clarinet and Bassoon
Clarinette, Basson (duo)
Bassoon,Clarinet,Instrumental Duet - Level 2 - Digital Download SKU: A0.1151932 Com…
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Bassoon,Clarinet,Instrumental Duet - Level 2 - Digital Download SKU: A0.1151932 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 8 pages. Woods Only, Arrangements #752137. Published by Woods Only, Arrangements (A0.1151932). This arrangement adapted for clarinet and bassoon duet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$3.99
3.65 €
#
Clarinette, Basson (duo)
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Clarinet and Bassoon
#
Woods Only, Arrangements
#
SheetMusicPlus
Moonlight Sonata by Beethoven for Wind Trio
Hautbois, Clarinette, Basson (trio d'anches)
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Oboe - Level 2 - Digital Download SKU:…
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Oboe - Level 2 - Digital Download SKU: A0.1147491 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 9 pages. Woods Only, Arrangements #747729. Published by Woods Only, Arrangements (A0.1147491). This arrangement adapted for wind trio was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$5.99
5.48 €
#
Hautbois, Clarinette, Basson (trio d'anches)
#
Ludwig van Beethoven
#
Ander
#
Moonlight Sonata by Beethoven for Wind Trio
#
Woods Only, Arrangements
#
SheetMusicPlus
Little Suite (Clarinet Choir)
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.14…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1487428 Composed by Alan Bullard. 20th Century,Classical,Contemporary. 48 pages. Colne Edition / BullardMusic #1064375. Published by Colne Edition / BullardMusic (A0.1487428). Little Suitefor Clarinet Trio or Clarinet Choir/Ensemble These five short movements are by turns light-hearted and delicately expressive, forming an enjoyable and symmetrical suite.1. Entrance2. Sarabande3. Scherzo4. Air5. Exit Little Suite may be played by three solo B flat clarinets. Optional extra parts for E flat Clarinet and Bass Clarinet are provided (doubling B flat Clarinets in various octaves as indicated in the score). To expand the ensemble to a Clarinet Choir, there can be more players on the B flat clarinet parts, for example:E flat Clarinet: 1 playerClarinets 1, 2, and 3: 3 or 4 players eachBass Clarinets: 1 or 2 players Little Suite was originally written for two oboes and cor anglais, and has been performed many times in this version, which Double Reed News described as ‘a most attractive work which can be enjoyed by audiences of all ages’.This version, as well as one for three flutes or flute choir, is available from Colne Edition. You may copy as many parts as you need for your ensemble, but please do not copy the score or pass the parts on to others. Thank you. COLNE EDITION CE145www.colneedition.co.uk.
$6.99
6.39 €
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Alan Bullard
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Little Suite
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Colne Edition / BullardMusic
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SheetMusicPlus
Moonlight Sonata by Beethoven for Woodwind Quartet
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1138448 Com…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1138448 Composed by Ludwig van Beethoven. Arranged by Ander. Christian,Classical,Instructional,March,Romantic Period. 15 pages. Woods Only, Arrangements #738784. Published by Woods Only, Arrangements (A0.1138448). This arrangement adapted for woodwind quartet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$7.99
7.3 €
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Flûte, Hautbois, Clarinette, Basson
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Ludwig van Beethoven
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Ander
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Moonlight Sonata by Beethoven for Woodwind Quartet
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Woods Only, Arrangements
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SheetMusicPlus
Clarinet Quintet, opus 155 (2013)
Quintette de Clarinette: Clarinette, Quatuor à Cordes
Clarinet, String Quartet - Advanced Intermediate - Digital Download Composed by Thoma…
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Clarinet, String Quartet - Advanced Intermediate - Digital Download Composed by Thomas Oboe Lee. 21st Century, 20th Century, Romantic Period, Classical Period, Baroque Period. Score. With Allegro III. 28 pages. Published by Thomas Oboe Lee
Program note.<br> Clarinet Quintet, opus 155 is the fourth work I have written for Nancy Braithwaite. The first one was written on the occasion of her sister’s wedding in Vermont. Nancy premiered the solo clarinet piece “Trinca di Chôro” during the wedding ceremony. The second work was “Yo Picasso” (2007) for clarinet, viola, cello and piano. The work was tailor-made for the Arto Ensemble which consisted of two married couples: Oane (piano) and Nancy (clarinet), and Prunella (viola) and Guus (cello). The third work was “Octet in D, opus 144” (2012) scored for clarinet, horn, bassoon, string quartet and double bass. Nancy and her Dutch colleagues premiered the work in a program with the Schubert Octet in Bunnik, a small village west of Utrecht in the Netherlands.Many great composers have tackled the clarinet quintet, most notable Mozart and Brahms.<br> My Quintet is somewhat different in that there are a lot of jazz elements and something new that I have not tackled before: polymeter.<br> <br> Clarinet Quintet, opus 155 is in seven movements.<br> <br> I. Largo<br> II. Allegro<br> III. Interlude 1 … Presto<br> IV. Adagio<br> V. Reprise … a bit faster than before!<br> VI. Interlude 2 … Adagio<br> VII. Allegro con moto<br> <br> The work begins with a clarinet meditation over pianissimo string chords. The music is very static … not unlike the sacred music of Arvo Pärt. This is followed by an allegro that is in 12/8 featuring a pizzicato jazzy bass figure played by the cello. The third movement is my experiment in polymeter. The ostinato pattern is grouped in a metrical scheme of 4, 3, 4 and 5; but the octave melody in the clarinet and first violin unfolds in standard duple meter of 4. The middle fourth movement is an adagio. This is an example of what I love about music, a soaring melody above slow haunting chords. A reprise of the jazzy Interlude 1 comes next, but in a slightly different guise with new elements, both melodically and harmonically.Interlude 2 is reminiscent of the meditative music of the first movement, but again it is quite different in mood and atmosphere.The finale is another experiment in polymeter. At first the metrical scheme is in a pattern of 4, 3, 4, 3, 2, 3 and 2. But eventually the meters get all scrambled up. Have fun trying to count. You’ll get lost! Above the “oom-pah oom-pah” accompaniment, the clarinet soars like a flying bird … diving, hovering, dipping and swooping!!!<br> <br> ENJOY!!!<br> <br> Audio link. Copy and paste the URL link into your browser.<br> <br> https://thomasoboelee.bandcamp.com/album/clarinet-quintet-opus-155-2013<br> <br> Video link: https://youtu.be/2fByM3tEAqcProgram note.<br> Clarinet Quintet, opus 155 is the fourth work I have written for Nancy Braithwaite. The first one was written on the occasion of her sister’s wedding in Vermont. Nancy premiered the solo clarinet piece “Trinca di Chôro” during the wedding ceremony. The second work was “Yo Picasso” (2007) for clarinet, viola, cello and piano. The work was tailor-made for the Arto Ensemble which consisted of two married couples: Oane (piano) and Nancy (clarinet), and Prunella (viola) and Guus (cello). The third work was “Octet in D, opus 144” (2012) scored for clarinet, horn, bassoon, string quartet and double bass. Nancy and her Dutch colleagues premiered the work in a program with the Schubert Octet in Bunnik, a small village west of Utrecht in the Netherlands.Many great composers have tackled the clarinet quintet, most notable Mozart and Brahms.<br> My Quintet is somewhat different in that there are a lot of jazz elements and something new that I have not tackled before: polymeter.<br> <br> Clarinet Quintet, opus 155 is in seven movements.<br> <br> I. Largo<br> II. Allegro<br> III. Interlude 1 … Presto<br> IV. Adagio<br> V. Reprise … a bit faster than before!<br> VI. Interlude 2 … Adagio<br> VII. Allegro con moto<br> <br> The work begins with a clarinet meditation over pianissimo string chords. The music is very static … not unlike the sacred music of Arvo Pärt. This is followed by an allegro that is in 12/8 featuring a pizzicato jazzy bass figure played by the cello. The third movement is my experiment in polymeter. The ostinato pattern is grouped in a metrical scheme of 4, 3, 4 and 5; but the octave melody in the clarinet and first violin unfolds in standard duple meter of 4. The middle fourth movement is an adagio. This is an example of what I love about music, a soaring melody above slow haunting chords. A reprise of the jazzy Interlude 1 comes next, but in a slightly different guise with new elements, both melodically and harmonically.Interlude 2 is reminiscent of the meditative music of the first movement, but again it is quite different in mood and atmosphere.The finale is another experiment in polymeter. At first the metrical scheme is in a pattern of 4, 3, 4, 3, 2, 3 and 2. But eventually the meters get all scrambled up. Have fun trying to count. You’ll get lost! Above the “oom-pah oom-pah” accompaniment, the clarinet soars like a flying bird … diving, hovering, dipping and swooping!!!<br> <br> ENJOY!!!<br> <br> Audio link. Copy and paste the URL link into your browser.<br> <br> https://thomasoboelee.bandcamp.com/album/clarinet-quintet-opus-155-2013<br> <br> Video link: https://youtu.be/2fByM3tEAqc
$9.99
9.13 €
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Quintette de Clarinette: Clarinette, Quatuor à Cordes
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Thomas Oboe Lee
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Clarinet Quintet, opus 155
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Thomas Oboe Lee
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SheetMusicPlus
National Anthem of Ukraine - Clarinet Quintet - Intermediate Level
Quintette de Clarinettes: 5 clarinettes
Woodwind Ensemble,Woodwind Quintet Bass Clarinet - Level 3 - Digital Download SKU: A0.1…
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Woodwind Ensemble,Woodwind Quintet Bass Clarinet - Level 3 - Digital Download SKU: A0.1185254 By Pavilo Chubynsky, Mykhailo Verbytsky. By Pavilo Chubynsky, Mykhailo Verbytsky. Arranged by Dennis Ruello. 19th Century,Chamber,Historic,Patriotic. 9 pages. Chicory Music #784938. Published by Chicory Music (A0.1185254). In 1992 the Ukrainian Parliament chose as the national anthem music composed in 1863 by Mykhailo Verbytsky, a western Ukrainian composer and Catholic priest. Verbytsky originally wrote the score as a solo song and later for orchestra to accompany a patriotic poem written in 1862 by Pavlo Chubynsky, a prominent ethnographer in the Kyiv region. In his poem Shche Ne Vmerla Ukrayina (which means Ukraine is not yet dead), Chubynsky expressed the mixture of hope and desperation felt by Ukrainians over their continuous struggle to rule their own land. Widely sung around the country as the Hymn to Ukraine, both the melody and lyrics were similar to those of Polish and Serbian anthems. In 1917 it became the anthem of the short-lived Ukrainian National Republic, but during the Soviet era it was replaced. Over time there were various changes and additions to Chubynsky's original words, resulting in several slightly differing versions of the Hymn to Ukraine. Following independence in 1991, many Ukrainians were disatisfied with the pessimistic tone, so the Ukrainian government made the Verbytsky score official but hesitated to approve the Chubynsky's lyrics. A comission sponsored contests for replacement lyrics, but none were decided on. Agreement finally came in 2003, when the Parliament passed and the President signed an act recognizing a slight change to the version of Chubynsky's lyrics that were usually sung. Only the first stanza and the refrain (which is sung twice) were approved in President Kuchma's official proclamation This arrangement for Clarinet Quintet, in the woodwind friendly key of g minor, is easily accessible to those students who play at the Intermediate Level. Performance Time: 1 minute 35 seconds
$9.99
9.13 €
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Quintette de Clarinettes: 5 clarinettes
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Pavilo Chubynsky, Mykhailo Verbytsky
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Dennis Ruello
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National Anthem of Ukraine - Clarinet Quintet - Intermediate Level
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Chicory Music
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SheetMusicPlus
BLAVET SONATA No. 1 in E minor for 2 flutes
2 Flûtes traversières (duo)
Woodwind Ensemble - Level 3 - Digital Download SKU: A0.811696 Composed by MICHEL BL…
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Woodwind Ensemble - Level 3 - Digital Download SKU: A0.811696 Composed by MICHEL BLAVET 1700 - 1768. Arranged by Edited by Pat Spence. Baroque,Concert,Instructional. 20 pages. Piper Publications #4282825. Published by Piper Publications (A0.811696). *The first of a set of 6 sonatas published in Paris by Boivin A Deux flutes transversiere sans Basse Par Mr. Handel. No manuscript has been found and there is no date of publication. Boivin was also Michel Blavet’s publisher and the flute duets and sonatas credited to Blavet have publication dates and opus numbers and his full name and the dedication details. The musical style of the 6 sonatas is characteristic of Blavet rather than Handel and none of the thematic material from these sonatas seems to have been re-used by Handel - whose borrowings from his own works are numerous and well documented. They are also suitable for pairs of oboes or clarinets or violins. They have been very lightly edited, obvious wrong notes have been corrected, a few dynamic and decorative suggestions added in parentheses ( ) missing slurs added in broken lines (- -). Players of Intermediate standard will enjoy this music written for 2 equal instruments. 4 movements - Larghetto, Allegro, Andante & Allegro.
$10.00
9.14 €
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2 Flûtes traversières (duo)
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MICHEL BLAVET 1700 - 1768
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Edited by Pat Spence
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BLAVET SONATA No. 1 in E minor for 2 flutes
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Piper Publications
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SheetMusicPlus
Moonlight Sonata by Beethoven for Clarinet Ensemble
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 2 - Digital Download SKU: A0.11…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 2 - Digital Download SKU: A0.1147369 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 15 pages. Woods Only, Arrangements #747573. Published by Woods Only, Arrangements (A0.1147369). This arrangement adapted for clarinet ensemble was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$7.99
7.3 €
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Ludwig van Beethoven
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Ander
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Moonlight Sonata by Beethoven for Clarinet Ensemble
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Woods Only, Arrangements
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SheetMusicPlus
Just a Closer Walk with Thee for Clarinet Quintet/Quartet
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.11…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.1135165 By Ella Fitzgerald. By Traditional. Arranged by Vanessa Klassen. Jazz,Religious,Spiritual,Standards. 21 pages. Vanessa Klassen #735208. Published by Vanessa Klassen (A0.1135165). “Just a Closer Walk with Thee†dates back to the southern African-American churches of the nineteenth century, frequently being performed as part of a traditional New Orleans-style funeral march. Composer Kenneth Morris heard a train station porter singing the song while traveling from Kansas City to Chicago in 1940. The music became so prominent in his mind that Morris exited his train and took a different train back to the previous station to ask the porter to sing it again. Morris wrote down the music and lyrics and had the song published. The song soon became a standard in both the gospel and jazz genres and has since been recorded by numerous artists. The original author or composer is unknown. This arrangement for clarinet quintet is closely based on Ella Fitzgerald’s recording of the song which was featured on her 1967 album, “Brighten the Corner.†Ella’s voice is represented in the Clarinet 1 part which has been transcribed exactly as she sung. There is also a simplified Clarinet 1 part which is easier to read and allows the soloist more freedom to embellish as desired. The accompanying parts are the background vocals and upright bass, with the light piano riffs in the E♠Clarinet part. The E♠part may be omitted for an easier quartet version. The biggest challenge in this arrangement is the balance as the solo is often in the lower register of the clarinet (below the break).
$9.99
9.13 €
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Ella Fitzgerald
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Vanessa Klassen
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Just a Closer Walk with Thee for Clarinet Quintet/Quartet
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Vanessa Klassen
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SheetMusicPlus
Moonlight Sonata by Beethoven for Low Clarinet Duet
2 Flûte à bec (duo)
Bass Clarinet,Instrumental Duet - Level 2 - Digital Download SKU: A0.1151927 Compos…
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Bass Clarinet,Instrumental Duet - Level 2 - Digital Download SKU: A0.1151927 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 9 pages. Woods Only, Arrangements #752133. Published by Woods Only, Arrangements (A0.1151927). This arrangement adapted for low clarinet duo was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$3.99
3.65 €
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2 Flûte à bec (duo)
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Ludwig van Beethoven
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Ander
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Moonlight Sonata by Beethoven for Low Clarinet Duet
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Woods Only, Arrangements
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SheetMusicPlus
A Festival Chime: B-flat Bass Clarinet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017578_BC B-flat Bass Clarinet
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Concert Band - Digital Download SKU: AX.00-PC-0017578_BC B-flat Bass Clarinet. Composed by Gustav Holst. Arranged by Douglas E. Wagner. Masterwork Arrangement. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017578_BC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017578_BC). UPC: 038081523033.The third movement of Opus 34 (Three Festival Choruses), which Gustav Holst penned in 1916, was originally scored for chorus with piano, orchestra, or military band. The easily recognized melody is a nineteenth century Welsh ballad, known to most as the hymn tune St. Denio, set to the words of English poet, Clifford Bax. In 3/4, this characteristically delightful Holst theme has been freely arranged to incorporate elements of his original score with additional material included to heighten musical interest for contemporary concert bands and audiences alike. As the title implies, chimes are an integral part of this arrangement; however, there are alternate options provided in the program notes if a suitable instrument is unavailable. This musical setting is complete with a variety of teaching and performance opportunities and a perfect fit for beginning concert bands. (2:00)Concert/Contest; Festival.
$3.00
2.74 €
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Orchestre d'harmonie
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Gustav Holst
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Douglas E
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A Festival Chime: B-flat Bass Clarinet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
A Festival Chime: 1st B-flat Clarinet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017578_C1 1st B-flat Clarinet…
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Concert Band - Digital Download SKU: AX.00-PC-0017578_C1 1st B-flat Clarinet. Composed by Gustav Holst. Arranged by Douglas E. Wagner. Masterwork Arrangement. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017578_C1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017578_C1). UPC: 038081523033.The third movement of Opus 34 (Three Festival Choruses), which Gustav Holst penned in 1916, was originally scored for chorus with piano, orchestra, or military band. The easily recognized melody is a nineteenth century Welsh ballad, known to most as the hymn tune St. Denio, set to the words of English poet, Clifford Bax. In 3/4, this characteristically delightful Holst theme has been freely arranged to incorporate elements of his original score with additional material included to heighten musical interest for contemporary concert bands and audiences alike. As the title implies, chimes are an integral part of this arrangement; however, there are alternate options provided in the program notes if a suitable instrument is unavailable. This musical setting is complete with a variety of teaching and performance opportunities and a perfect fit for beginning concert bands. (2:00)Concert/Contest; Festival.
$3.00
2.74 €
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Orchestre d'harmonie
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Gustav Holst
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Douglas E
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A Festival Chime: 1st B-flat Clarinet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Elijah (Part 1) Tone Poem for Violin and Piano Movement: God's Mercy by Stephen R Dalrymple
Violon et Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.818224 By Stephen R Dalrymple. By…
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Piano,Violin - Level 5 - Digital Download SKU: A0.818224 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple Designs). Contemporary,Sacred. 75 pages. Stephen R Dalrymple #3075417. Published by Stephen R Dalrymple (A0.818224). Elijah (Movement 1) God’s Mercy – Tone Poem for Violin and Piano by Stephen R Dalrymple ♫ sequenced by the composer ♫ transcribed for solo flute, clarinet, trumpet, euphonium/trombone, & cello ♫ Tone Poem for Violin and Piano by Stephen R Dalrymple♫ transcribed for solo flute, clarinet, trumpet, euphonium/trombone, & cello ♫ music © 2015 Stephen R Dalrymple♫ recording ℗  2023 Stephen R Dalrymple♫ sequenced by the composer ♫ presentation © 2023 Stephen R Dalrymple♫ Although a 3 year drought seems to be a terrible hardship for Israel, it was actually a sign of the mercy of God. The northern 10 tribes, once faithful to Yahweh were virtually pagan. The prophetic ministries of Elijah and Elisha were used by God to produce a cluster of miracles that had a special purpose in the life of the nation. ♫ Besides the golden calves made by Jeroboam, the Israelites worshiped Ba’al, the supposed god of thunderstorms and fertility. The worship of Ba’al and his consort Asherah became popular, (not surprising since their representations were pornographic and the temples employed prostitutes of both genders and homosexuals for the use of worshippers.) The miracles of Elijah (involving drought and famine, flour, rain, and lightning mark a contest between Ba’al and Yahweh to show who really controls the seasons, the weather and harvests.♫ The movement is made of 4 themes: 1. Ahab – Polytonal (G Mixolydian over F Mixolydian) 2.The Mercy of God (Aeolian Mode) 3. Elijah - Polytonal (G Mixolydian / F Mixolydian) 4. Famine Theme (G Mixolydian over F Mixolydian). The 2 hands of the pianist are playing in different key signatures during most of movement 1.♫ The score shows the parts for violin and piano, but individual parts are provided for the other solo instruments.♫ Includes 14 score choices: Full Score for violin and piano letter size; Flute, Clarinet, Trumpet, Euphonium (or trombone), Violin, and Cello solo parts; Full Score for violin and piano - small page format for performing from a 10 inch tablet; the same solo parts for 10 inch tablet. (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)♫ YouTube https://youtu.be/_URo1xPcnbM♫ English and Krèyol have separate versions of this video on YouTube.♫ A free copy of the music is available to the Haitian community. Contact Stephen Dalrymple.
$4.50
4.11 €
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Violon et Piano
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Stephen R Dalrymple
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Elijah
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Stephen R Dalrymple
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SheetMusicPlus
Bach-Gounod: Ave Maria for Clarinet and Piano
Clarinette et Piano
Composed by J. S. Bach - C. Gounod. Arranged by Colin Kirkpatrick. Praise & Wors…
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Composed by J. S. Bach - C. Gounod. Arranged by Colin Kirkpatrick. Praise & Worship, Easter, Wedding, Bar or Bat Mitzvah, Funeral. Piano Reduction, Solo Part. 6 pages. Published by Colin Kirkpatrick Publications
This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favourite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the “combined” piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod’s original arrangement transposed Bach’s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.<br> The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a “harmonic weakness” (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.<br> Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favourite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the “combined” piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod’s original arrangement transposed Bach’s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.<br> The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a “harmonic weakness” (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.<br> Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.
$7.95
7.27 €
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Clarinette et Piano
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J
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Colin Kirkpatrick
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Bach-Gounod: Ave Maria for Clarinet and Piano
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Colin Kirkpatrick Publications
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SheetMusicPlus
Mini Concerto For Alex (Cello and Piano Arrangement)
Violoncelle, Piano
Cello,Piano - Level 4 - Digital Download SKU: A0.1298011 Composed by Geraldine (Den…
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Cello,Piano - Level 4 - Digital Download SKU: A0.1298011 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and part. 14 pages. Geraldine (Denny) Green at Oakmountmusic #887912. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1298011). ALL PURCHASES COME WITH SCORE AND PARTS1992 – The Mini Concerto For Alex, for solo cello (about grade 6 or 7) and school orchestra was commissioned in 1992 by Ibstock Place School for a talented young cellist, Alex Hunt, who was a student at the school at the time.  The Head of the school’s music department was Chris Artley, who was a marvelous support to me, throwing my way many wonderful opportunities or orchestrate for the Ibstock Place orchestra. The Mini Concerto For Alex is just one example. Chris is now a very successful composer living and working in New Zealand!Duration: approx. 10 minutes.In one movement, this piece is light in character and great fun for a school orchestra with a young, aspiring cellist.There are two Arrangements;No.1 – For Solo Cello and School Orchestra.Instrumentation as follows: 1st Flute2nd Flute1st Bflat Clarinet2nd Bflat Clarinet3rd Bflat Clarinet1st Alto Saxophone2nd Alto Saxophone1 Trumpet in Bflat2 TimpaniSide Drum(brushes and sticks)Sleigh BellsTambourineMaraccasCymbals(crash and suspended)TriangleWind ChimesGlockenspeilPianoKeyboard(strings and celesta sounds)*Solo CelloViolin 1Violin 2Violin 3ViolasCellosDoubles BassesNo.2 – For Solo Cello and PianoThere is a choice of 2 cadenzas: The first one is fairly easy and the second one is for the more advanced soloist. The one you hear below is the second, more advanced one. Both Cadenzas come with all arrangements.
$9.00
8.23 €
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Violoncelle, Piano
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Geraldine
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Mini Concerto For Alex
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Geraldine
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.93 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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