English version
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Concerto For Clarinet
Non classifié
225
Piano & claviers
Piano seul
47
Piano Facile
8
Accompagnement Piano
3
Orgue
2
Piano, Voix et Guitare
1
Guitares
Guitare
2
2 Guitares (duo)
1
Guitare notes et tablatures
1
Voix
Chorale SSAA
1
Chorale TTBB
1
Chorale SATB
1
Vents
Clarinette et Piano
145
Clarinette
111
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
80
Ensemble de Clarinettes
48
Flûte, Hautbois, Clarinette, Basson
47
Quatuor de Clarinettes: 4 clarinettes
41
Clarinette (partie séparée)
40
2 Clarinettes (duo)
38
Clarinette Basse, Piano
23
Quintette de Clarinettes: 5 clarinettes
14
3 Clarinettes (trio)
13
Saxophone (partie séparée)
11
Hautbois, Piano (duo)
7
Clarinette, Basson (duo)
7
Flûte, Clarinette (duo)
6
Flûte, Hautbois, Clarinette (trio)
6
Clarinette, Orchestre
5
Clarinette, Violon (duo)
5
Flûte et Guitare
4
Saxophone Alto et Piano
4
Clarinette, Harpe (duo)
4
Saxophone
3
Clarinette, Guitare (duo)
3
Flûte traversière et Piano
2
Clarinette, Violoncelle (duo)
2
Ensemble de Flûtes
2
Flûte traversière
2
Flûte, Clarinette, Piano (trio)
2
Quatuor de Flûtes : 4 flûtes
2
Saxophone Soprano et Piano
2
Flûte, Clarinette et Basson
2
Hautbois (partie séparée)
2
Clarinette, Alto et Piano (trio)
1
3 Saxophones (trio)
1
Flute (partie séparée)
1
Quatuor de Flûtes à bec
1
Trio de Flûtes: 3 flûtes
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
2 Saxophones (duo)
1
Hautbois
1
Flûte traversière, Orchestre
1
Clarinette et Alto
1
Clarinette Basse
1
Saxophone, Clarinette (duo)
1
Quintette de Flûte : 5 flûtes
1
Flûte, Violon
1
Quatuor de Saxophones: 4 saxophones
1
Saxophone et Harpe
1
Hautbois, Clarinette (duo)
1
+ 47 instrumentations
Retracter
Cuivres
Cor (partie séparée)
3
Trompette (partie séparée)
2
Quatuor de cuivres: 4 trombones
2
Trombone (partie séparée)
2
Quatuor de cuivres: 4 cors
1
3 Trombones (trio)
1
Trompette
1
Cor et Harpe
1
Cor
1
+ 4 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
13
Trio à Cordes: violon, alto, violoncelle
8
Violon et Piano
7
Harpe
6
Violon
5
Violon (partie séparée)
5
Violoncelle, Piano
4
Alto seul
3
Violon, Guitare (duo)
2
Alto et orchestre
2
4 Violoncelles
1
Alto, Guitare (duo)
1
Contrebasse (partie séparée)
1
Violoncelle (partie séparée)
1
Harpe, Violon (duo)
1
Harpe, Violoncelle (duo)
1
Quatuor à cordes: 4 violons
1
Alto, Piano
1
Alto (partie séparée)
1
+ 14 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
79
Orchestre de chambre
53
Orchestre
44
Orchestre à Cordes
7
Piano et Orchestre
3
Ensemble de Percussions
2
Ensemble Jazz
1
Ensemble de cuivres
1
Timbales (partie séparée)
1
Cloches
1
Percussion (partie séparée)
1
+ 6 instrumentations
Retracter
Autres
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Instruments
ACCORDEON
ALTO
AUTRES INST…
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BANJO
BASSE
BASSON
BATTERIE
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BUGLE
CHANT - CHO…
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CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
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Concerto For Clarinet
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1251
Allegro (from "Concerto for Four Claviers") (A min) (Clarinet Quintet)
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.813368 Composed by …
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Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.813368 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Instructional,Multicultural,Standards,World. 41 pages. Regis Bookshar #6209733. Published by Regis Bookshar (A0.813368). Clarinet Quintet - Advanced - Digital Download. This must-have arrangement would be a fabulous addition to any music library and could be performed for concerts and recitals and could also be performed for church services. This brilliant work by Johann Sebastian Bach is an adaptation of Antonio Vivaldi's Concerto for Four Violins and String Orchestra in B minor. Bach had gotten to know Vivaldi's concertos while he was an organist at Weimar, where he transcribed ten of them for solo harpsichord and six of them for organ. Originally written in B minor, Bach transposed it to A minor and, while preserving the melodic outline as conceived by Vivaldi for four violins, this later adaptation, from around 1730, for four harpsichords and string orchestra, is far more ambitious. In it, Bach has both tightened and expanded Vivaldi's counterpoint, enriched it with lusher harmonies and expanded the solo parts with greater complexity and greater clarity. The result is a composition that actually improves on the original work. Written in the standard three-movement concerto form of the Baroque period, Bach's Concerto for Four Claviers in A minor is a virtuoso piece for the soloists. Regis Bookshar has now rearranged the first movement of this concerto, marked Allegro, for a Clarinet Quintet, while maintaining the energy and virtuosity of Bach's original work. This arrangement is intended to be performed by accomplished players and may prove to be a huge challenge for many players, but, I think, it will be worth the effort. Included are a score and a complete set of parts (41 pages). In addition to this version for 5 Clarinets, other arrangements of this selection are also available for a variety of Instrumental Quintets, some of which are in the original key of Concert A minor and some have been transposed to Concert G minor, making it a little easier for some performers, as well as numerous other arrangements in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will be a challenge to many performers but will continue to entertain both performers and audiences alike for years to come. I hope you will enjoy it as much as I have enjoyed working on it.
$35.00
32.1 €
#
Ensemble de Clarinettes
#
Johann Sebastian Bach
#
Regis Bookshar
#
Allegro
#
Regis Bookshar
#
SheetMusicPlus
Allegro (from "Concerto for Four Claviers") (G min) (Clarinet Quintet)
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.813394 Composed by …
(+)
Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.813394 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Instructional,Multicultural,Standards,World. 41 pages. Regis Bookshar #6209797. Published by Regis Bookshar (A0.813394). Clarinet Quintet - Advanced - Digital Download. This must-have arrangement would be a fabulous addition to any music library and could be performed for concerts and recitals and could also be performed for church services. This brilliant work by Johann Sebastian Bach is an adaptation of Antonio Vivaldi's Concerto for Four Violins and String Orchestra in B minor. Bach had gotten to know Vivaldi's concertos while he was an organist at Weimar, where he transcribed ten of them for solo harpsichord and six of them for organ. Originally written in B minor, Bach transposed it to A minor and, while preserving the melodic outline as conceived by Vivaldi for four violins, this later adaptation, from around 1730, for four harpsichords and string orchestra, is far more ambitious. In it, Bach has both tightened and expanded Vivaldi's counterpoint, enriched it with lusher harmonies and expanded the solo parts with greater complexity and greater clarity. The result is a composition that actually improves on the original work. Written in the standard three-movement concerto form of the Baroque period, Bach's Concerto for Four Claviers in A minor is a virtuoso piece for the soloists. Regis Bookshar has now rearranged the first movement of this concerto, marked Allegro, for a Clarinet Quintet, while maintaining the energy and virtuosity of Bach's original work. This arrangement is intended to be performed by accomplished players. It may prove to be a huge challenge for many players, but, I think, it will be worth the effort. Included are a score and a complete set of parts (41 pages). In addition to this version for 5 Clarinets, other arrangements of this selection are also available for a variety of Instrumental Quintets, some of which are in the original key of Concert A minor and some have been transposed to Concert G minor, making it a little easier for some performers, as well as numerous other arrangements in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will be a challenge to many performers but will continue to entertain both performers and audiences alike for years to come. I hope you will enjoy it as much as I have enjoyed working on it.
$35.00
32.1 €
#
Ensemble de Clarinettes
#
Johann Sebastian Bach
#
Regis Bookshar
#
Allegro
#
Regis Bookshar
#
SheetMusicPlus
Concerto for Clarinet K622
Solo Cl. 2 Cl. Acl/Cl. BCl. - Intermediate-Advanced - Digital Download SKU: F2.FM800
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Solo Cl. 2 Cl. Acl/Cl. BCl. - Intermediate-Advanced - Digital Download SKU: F2.FM800 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Rainford. A full and faithful arrangement of the evergreen classic concerto. Score and Parts. 102 pages. Forton Music - Digital #FM800. Published by Forton Music - Digital (F2.FM800). ISBN 9790570486991.
$31.95
29.3 €
#
Wolfgang Amadeus Mozart
#
Robert Rainford
#
Concerto for Clarinet K622
#
Forton Music - Digital
#
SheetMusicPlus
Concerto For Clarinet
Clarinette
B-Flat Clarinet Solo - Level 5 - Digital Download SKU: A0.1404050 By Artie Shaw. By…
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B-Flat Clarinet Solo - Level 5 - Digital Download SKU: A0.1404050 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. Individual part. 17 pages. Robert C. Olivia #987223. Published by Robert C. Olivia (A0.1404050). This edition of the solo clarinet part of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw recorded on the record version and in the motion picture.Shaw’s solos as played in both the motion picture and record version are represented in great detail with the film solo shown as ossia so the player can view and choose which they might prefer to play. As many techniques as possible are carefully detailed to show ornaments, slurs, accents etc.The companion parts available here for big band and strings restores many elements missing in other versions available.  The strings here are restored to the original voicings so  important to the style of the classic sound of the period. The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie†Brown on Trombone. There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available. I have performed from this solo part many times and I hope others will do so as well. I give great thanks to several people, who over the course of my career, taught me many skills that resulted in this. Special thanks to my teachers Bob Wilber, Leon Russianoff & Tom Martin and Marty Burlingame & JoAnn and Artie Kane.
$35.00
32.1 €
#
Clarinette
#
Artie Shaw
#
Edited Robert C
#
Concerto For Clarinet
#
Robert C. Olivia
#
SheetMusicPlus
Christmas Duets for Clarinet and Bassoon or Clarinet & Cello - Complete Set - Music for Two
Clarinette, Basson (duo)
Clarinet, Bassoon, Cello - Advanced Intermediate - Digital Download Composed by Vario…
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Clarinet, Bassoon, Cello - Advanced Intermediate - Digital Download Composed by Various, Tschaikovsky, Handel, Corelli, Mozart. Arranged by Daniel Kelley. Classical Period, Baroque Period, Sacred, Christmas, Hanukkah. Score. 130 pages. Published by Last Resort Music Publishing
This complete set of Music for Two Clarinets, Christmas features 61 selections, including favorites like Jingle Bells, music from the Nutcracker, and more! Includes Sets 1 through 6 all together Each duet book is published in score form (both parts on the same page) so that the players can play from the same part.<br> <br> TABLE OF CONTENTS<br> A Caroling We Go (Johnny Marks)<br> A Holly Jolly Christmas (Johnny Marks)<br> A La Nanita Nana (Spanish Traditional)<br> Angels From The Realm Of Glory (J. Montgomery and H. Smart)<br> Angels We Have Heard on High (Traditional)<br> Away in a Manger (Traditional)<br> The Boar's Head Carol (English Traditional)<br> Break Forth, O Beauteous, Heavenly Light from the Christmas Oratorio (J.S. Bach)<br> Bring Your Torch, Jeanette Isabella (French Traditional)<br> Christ-Child is Born, The Der Heiland is Geboren (German Traditional)<br> Third Movement from Christmas Concerto (Corelli)<br> Fourth Movement from Christmas Concerto (Corelli)<br> Christmas Day in the Morning (Old English Carol)<br> Coventry Carol (Traditional)<br> Deck the Halls (Welsh Traditional)<br> Ding Dong Merrily on High (Traditional)<br> The First Noel (Traditional)<br> Fum, Fum, Fum (Catalan Carol)<br> Gesu Bambino (Pietro A. Yon)<br> God Rest Ye, Merry Gentlemen (Traditional)<br> Good Christian Men, Rejoice (Traditional)<br> Good King Wenceslas (Piae Cantiones)<br> Greensleeves (Traditional)<br> Hanukkah Medley Hanukkah, S'Vivon, My Dreidel, Rock of Ages (Traditional Jewish)<br> Hark! The Herald Angels Sing (Mendelssohn)<br> He Is Born, The Divine Christ Child Il est ne, Le Divin Enfant (French Traditional)<br> The Holly and the Ivy (Traditional)<br> I Heard the Bells on Christmas Day (John Calkin & Longfellow)<br> I Saw Three Ships (Traditional)<br> It Came Upon a Midnight Clear (Richard S. Willis)<br> Jingle Bells (J. Pierpont)<br> Jolly Old Saint Nicholas (Traditional)<br> Joy To The World (Handel)<br> Lo, How a Rose E'er Bloooming (Traditional)<br> The For Unto Us a Child Is Born from The Messiah (Handel)<br> The Hallejah Chorus from The Messiah (Handel)<br> He Shall Feed His Flock Like A Shepherd from The Messiah (Handel)<br> The Pastoral Symphony "Pifa" from The Messiah (Handel)<br> The Chinese Dance from The Nutcracker (Tschaikovsky)<br> The Dance of the Reed Flutes from The Nutcracker (Tschaikovsky)<br> The Dance of the Sugar-Plum Fairy from The Nutcracker(Tschaikovsky)<br> The Overture from The Nutcracker (Tschaikovsky)<br> The Trepak from The Nutcracker (Tschaikovsky)<br> O Christmas Tree (Traditional)<br> O Come, All Ye Faithful Adeste Fideles (Traditional)<br> O Come, O Come, Emmanuel (Traditional)<br> O Holy Night Cantique de Noel (Adolphe Adam)<br> O Little Town of Bethlehem (Lewis H. Redner)<br> Pat-a-Pan (Traditional)<br> Rockin' Around The Christmas Tree (Johnny Marks)<br> Rudolph The Red-Nosed Reindeer (Johnny Marks)<br> Silent Night (Franz Gruber and Rev. Joseph Mohr)<br> Sing We Now of Christmas Noel Nouvelet (French Traditional)<br> Sleigh Ride from German Dance, K. 605 # 3 (Mozart)<br> The Twelve Days of Christmas (Traditional)<br> Up On The Housetop (Traditional)<br> Wassail Song (Traditional)<br> We Three Kings of Orient Are (John Henry Hopkins)<br> We Wish You a Merry Christmas (Traditional)<br> Wexford Carol (Irish Traditional)<br> While Shepherds Watched Their Flocks By Night (Handel).This complete set of Music for Two Clarinets, Christmas features 61 selections, including favorites like Jingle Bells, music from the Nutcracker, and more! Includes Sets 1 through 6 all together Each duet book is published in score form (both parts on the same page) so that the players can play from the same part.<br> <br> TABLE OF CONTENTS<br> A Caroling We Go (Johnny Marks)<br> A Holly Jolly Christmas (Johnny Marks)<br> A La Nanita Nana (Spanish Traditional)<br> Angels From The Realm Of Glory (J. Montgomery and H. Smart)<br> Angels We Have Heard on High (Traditional)<br> Away in a Manger (Traditional)<br> The Boar's Head Carol (English Traditional)<br> Break Forth, O Beauteous, Heavenly Light from the Christmas Oratorio (J.S. Bach)<br> Bring Your Torch, Jeanette Isabella (French Traditional)<br> Christ-Child is Born, The Der Heiland is Geboren (German Traditional)<br> Third Movement from Christmas Concerto (Corelli)<br> Fourth Movement from Christmas Concerto (Corelli)<br> Christmas Day in the Morning (Old English Carol)<br> Coventry Carol (Traditional)<br> Deck the Halls (Welsh Traditional)<br> Ding Dong Merrily on High (Traditional)<br> The First Noel (Traditional)<br> Fum, Fum, Fum (Catalan Carol)<br> Gesu Bambino (Pietro A. Yon)<br> God Rest Ye, Merry Gentlemen (Traditional)<br> Good Christian Men, Rejoice (Traditional)<br> Good King Wenceslas (Piae Cantiones)<br> Greensleeves (Traditional)<br> Hanukkah Medley Hanukkah, S'Vivon, My Dreidel, Rock of Ages (Traditional Jewish)<br> Hark! The Herald Angels Sing (Mendelssohn)<br> He Is Born, The Divine Christ Child Il est ne, Le Divin Enfant (French Traditional)<br> The Holly and the Ivy (Traditional)<br> I Heard the Bells on Christmas Day (John Calkin & Longfellow)<br> I Saw Three Ships (Traditional)<br> It Came Upon a Midnight Clear (Richard S. Willis)<br> Jingle Bells (J. Pierpont)<br> Jolly Old Saint Nicholas (Traditional)<br> Joy To The World (Handel)<br> Lo, How a Rose E'er Bloooming (Traditional)<br> The For Unto Us a Child Is Born from The Messiah (Handel)<br> The Hallejah Chorus from The Messiah (Handel)<br> He Shall Feed His Flock Like A Shepherd from The Messiah (Handel)<br> The Pastoral Symphony "Pifa" from The Messiah (Handel)<br> The Chinese Dance from The Nutcracker (Tschaikovsky)<br> The Dance of the Reed Flutes from The Nutcracker (Tschaikovsky)<br> The Dance of the Sugar-Plum Fairy from The Nutcracker(Tschaikovsky)<br> The Overture from The Nutcracker (Tschaikovsky)<br> The Trepak from The Nutcracker (Tschaikovsky)<br> O Christmas Tree (Traditional)<br> O Come, All Ye Faithful Adeste Fideles (Traditional)<br> O Come, O Come, Emmanuel (Traditional)<br> O Holy Night Cantique de Noel (Adolphe Adam)<br> O Little Town of Bethlehem (Lewis H. Redner)<br> Pat-a-Pan (Traditional)<br> Rockin' Around The Christmas Tree (Johnny Marks)<br> Rudolph The Red-Nosed Reindeer (Johnny Marks)<br> Silent Night (Franz Gruber and Rev. Joseph Mohr)<br> Sing We Now of Christmas Noel Nouvelet (French Traditional)<br> Sleigh Ride from German Dance, K. 605 # 3 (Mozart)<br> The Twelve Days of Christmas (Traditional)<br> Up On The Housetop (Traditional)<br> Wassail Song (Traditional)<br> We Three Kings of Orient Are (John Henry Hopkins)<br> We Wish You a Merry Christmas (Traditional)<br> Wexford Carol (Irish Traditional)<br> While Shepherds Watched Their Flocks By Night (Handel).
$54.00
49.53 €
#
Clarinette, Basson (duo)
#
Various, Tschaikovsky, Handel, Corelli, Mozart
#
Daniel Kelley
#
Christmas Duets for Clarinet and Bassoon or Clarinet & Cello - Complete Set - Music for Two
#
SheetMusicPlus
Bach: Wachet auf for Clarinet Quartet
Quatuor de Clarinettes: 4 clarinettes
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - Digital Download SKU: A0.549861…
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Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - Digital Download SKU: A0.549861 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Wedding. 18 pages. Jmsgu3 #3557469. Published by jmsgu3 (A0.549861). Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 10 pages, Program this for church services during the Easter season, weddings, or as a recital encore. Instrumentation: 2 Bb clarinets, 1 alto clarinet, 1 bass clarinet.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbrevia.
$39.95
36.64 €
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Quatuor de Clarinettes: 4 clarinettes
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Clarinet Quartet
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jmsgu3
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SheetMusicPlus
Haydn's Cello Concerto for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.891061 Composed by …
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Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.891061 Composed by Franz Joseph Haydn. Arranged by Diana L. Appler. Classical,Instructional,Standards. 99 pages. Diana L. Appler #4355291. Published by Diana L. Appler (A0.891061). Haydn’s most famous Cello Concerto Op. 101 was written for Anton Kraft and a small group of strings. It is equally suitable for solo clarinet and clarinet choir. Transposed to F and C for clarinet it is quite playable for an advancing student and is an excellent study in classical forms. It is a delight for both audience and performer.
$22.00
20.18 €
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Ensemble de Clarinettes
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Franz Joseph Haydn
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Diana L
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Haydn's Cello Concerto for Clarinet Choir
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Diana L. Appler
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SheetMusicPlus
Concertino for Solo Clarinet and Clarinet Choir
Clarinette
Clarinet Choir,Woodwind Ensemble Bass Clarinet,Bassethorn,Contra Alto Clarinet,E-Flat Clar…
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Clarinet Choir,Woodwind Ensemble Bass Clarinet,Bassethorn,Contra Alto Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.1232519 Composed by Carl Maria von Weber. Arranged by Matt Johnston. Classical. 61 pages. ALRY Publications, LLC #828183. Published by ALRY Publications, LLC (A0.1232519). The Concertino of Carl Maria von Weber was originally composed in Spring 1811 over the course of three days for German clarinet virtuoso Heinrich Joseph Baermann. It was a particularly productive year for Weber, as he also composed the two concertos for clarinet, a bassoon concerto, and the clarinet quintet, among other pieces. A tour with Baermann from December 1811 through March 1812 performing these clarinet works was a turning point in Weber’s career, after which his music gained popularity and was more universally accepted.Arranged here for Solo Clarinet, Eb Clarinet, 4 Bb Clarinets, Alto Clarinet/Basset Horn/Clarinet 5, Bass Clarinet, Contrabass Clarinet/Contralto Clarinet/String Bass, and optional Timpani.
$30.00
27.52 €
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Clarinette
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Carl Maria von Weber
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Matt Johnston
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Concertino for Solo Clarinet and Clarinet Choir
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ALRY Publications, LLC
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SheetMusicPlus
Allegro (from "Concerto for Four Claviers") (G min) (Woodwind Quintet - 1 Flute, 1 Oboe, 1 Clar, 1 H
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.813410 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Instructional,Multicultural,Standards,World. 43 pages. Regis Bookshar #6209865. Published by Regis Bookshar (A0.813410). Woodwind Quintet - Advanced - Digital Download. This must-have arrangement would be a fabulous addition to any music library and could be performed for concerts and recitals and could also be performed for church services. This brilliant work by Johann Sebastian Bach is an adaptation of Antonio Vivaldi's Concerto for Four Violins and String Orchestra in B minor. Bach had gotten to know Vivaldi's concertos while he was an organist at Weimar, where he transcribed ten of them for solo harpsichord and six of them for organ. Originally written in B minor, Bach transposed it to A minor and, while preserving the melodic outline as conceived by Vivaldi for four violins, this later adaptation, from around 1730, for four harpsichords and string orchestra, is far more ambitious. In it, Bach has both tightened and expanded Vivaldi's counterpoint, enriched it with lusher harmonies and expanded the solo parts with greater complexity and greater clarity. The result is a composition that actually improves on the original work. Written in the standard three-movement concerto form of the Baroque period, Bach's Concerto for Four Claviers in A minor is a virtuoso piece for the soloists. Regis Bookshar has now rearranged the first movement of this concerto, marked Allegro, for a Woodwind Quintet, consisting of 1 Flute, 1 Oboe, 1 Clarinet, 1 French Horn and 1 Bassoon, while maintaining the energy and virtuosity of Bach's original work. This arrangement is intended to be performed by accomplished players and may prove to be a huge challenge for many players, but, I think, it will be worth the effort. Included are a score and a complete set of parts (43 pages). In addition to this version for a Woodwind Quintet, other arrangements of this selection are also available for a variety of Instrumental Quintets, some of which are in the original key of Concert A minor and some have been transposed to Concert G minor, making it a little easier for some performers, as well as numerous other arrangements in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will be a challenge to many performers but will continue to entertain both performers and audiences alike for years to come. I hope you will enjoy it as much as I have enjoyed working on it.
$35.00
32.1 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johann Sebastian Bach
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Regis Bookshar
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Allegro
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Regis Bookshar
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SheetMusicPlus
Allegro (from "Concerto for Four Claviers") (A min) (Woodwind Quintet - 1 Flute, 1 Oboe, 1 Clar, 1 H
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.813388 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Instructional,Multicultural,Standards,World. 43 pages. Regis Bookshar #6209781. Published by Regis Bookshar (A0.813388). Woodwind Quintet - Advanced - Digital Download. This must-have arrangement would be a fabulous addition to any music library and could be performed for concerts and recitals and could also be performed for church services. This brilliant work by Johann Sebastian Bach is an adaptation of Antonio Vivaldi's Concerto for Four Violins and String Orchestra in B minor. Bach had gotten to know Vivaldi's concertos while he was an organist at Weimar, where he transcribed ten of them for solo harpsichord and six of them for organ. Originally written in B minor, Bach transposed it to A minor and, while preserving the melodic outline as conceived by Vivaldi for four violins, this later adaptation, from around 1730, for four harpsichords and string orchestra, is far more ambitious. In it, Bach has both tightened and expanded Vivaldi's counterpoint, enriched it with lusher harmonies and expanded the solo parts with greater complexity and greater clarity. The result is a composition that actually improves on the original work. Written in the standard three-movement concerto form of the Baroque period, Bach's Concerto for Four Claviers in A minor is a virtuoso piece for the soloists. Regis Bookshar has now rearranged the first movement of this concerto, marked Allegro, for a Woodwind Quintet, consisting of 1 Flute, 1 Oboe, 1 Clarinet, 1 French Horn and 1 Bassoon, while maintaining the energy and virtuosity of Bach's original work. This arrangement is intended to be performed by accomplished players. It may prove to be a huge challenge for many players, but, I think, it will be worth the effort. Included are a score and a complete set of parts (43 pages). In addition to this version for a Woodwind Quintet, other arrangements of this selection are also available for a variety of Instrumental Quintets, some of which are in the original key of Concert A minor and some have been transposed to Concert G minor, making it a little easier for some performers, as well as numerous other arrangements in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will be a challenge to many performers but will continue to entertain both performers and audiences alike for years to come. I hope you will enjoy it as much as I have enjoyed working on it.
$35.00
32.1 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johann Sebastian Bach
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Regis Bookshar
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Allegro
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Regis Bookshar
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SheetMusicPlus
Stamitz Rondo from Concerto for Clarinet #3
Quintette de Clarinettes: 5 clarinettes
Woodwind Ensemble,Woodwind Quintet Clarinet - Level 3 - Digital Download SKU: A0.581895…
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Woodwind Ensemble,Woodwind Quintet Clarinet - Level 3 - Digital Download SKU: A0.581895 Composed by Carl Stamitz. Arranged by John Gibson. Classical. 22 pages. JB Linear #3087117. Published by JB Linear (A0.581895). Concertos for Woodwind Quintet - single movements for solo flute, oboe, clarinet, horn, or bassoon with accompaniment from the remaining instruments. This is the third movement of Concerto in Bb for clarinet by Carl Stamitz (1745 - 1801) in a setting for woodwind quintet by John Gibson. The third of 5, each instrument will have a concerto movement from its repertoire accompanied by the other players in the quintet. This will be an opportunity for each player to show off their skills! You may watch of video on YouTube at https://youtu.be/E8h9VwkDnj4  .
$12.75
11.69 €
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Quintette de Clarinettes: 5 clarinettes
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Carl Stamitz
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John Gibson
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Stamitz Rondo from Concerto for Clarinet #3
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JB Linear
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SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Clarinet & Piano
Clarinette et Piano
B-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.549229 Composed by Johan…
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B-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.549229 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Easter,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468706. Published by jmsgu3 (A0.549229). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.22 €
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Clarinette et Piano
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Johann Sebastian Bach
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James M
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Bach: Bist du bei mir BWV 508 for Clarinet & Piano
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jmsgu3
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SheetMusicPlus
Beethoven: Adagio from Sonata Pathetique for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549648 Composed by Ludwig …
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Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549648 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 16 pages. Jmsgu3 #3516889. Published by jmsgu3 (A0.549648). Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages. One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program. Bring your best espressivo and plan to rehearse the many subtle dynamic changes.Sonata Pathétique Op. 13 First of all, this is an arrangement of the second movement of Beethoven’s Sonata Pathétique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. Register for free lifetime revisions and updates at www.jamesguthrie.com
$24.95
22.88 €
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Clarinette Basse, Piano
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Ludwig van Beethoven
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James M
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piano concertos 1-5
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Beethoven: Adagio from Sonata Pathetique for Bass Clarinet & Piano
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jmsgu3
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SheetMusicPlus
Bach: Wachet auf for Clarinet & Piano
Clarinette et Piano
B-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.549841 Composed by Johan…
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B-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.549841 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3554817. Published by jmsgu3 (A0.549841). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95
22.88 €
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Clarinette et Piano
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Johann Sebastian Bach
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James M
#
#
Bach: Wachet auf for Clarinet & Piano
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jmsgu3
#
SheetMusicPlus
Mendelssohn: Wedding March for Alto Clarinet & Piano
Clarinette
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549896 Composed by Felix…
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E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549896 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. Score and part. 23 pages. Jmsgu3 #3603419. Published by jmsgu3 (A0.549896). Score: 12 pages, piano part: 6 pages, alto clarinet part: 4 pages. duration: ca. 5'. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself. Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. C.
$24.95
22.88 €
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Clarinette
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Felix Bartholdy Mendelssohn
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James M
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Mendelssohn: Wedding March for Alto Clarinet & Piano
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jmsgu3
#
SheetMusicPlus
Mendelssohn: Wedding March for Clarinet & Piano
Clarinette et Piano
B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549889 Composed by Felix…
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B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549889 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. Score and part. 23 pages. Jmsgu3 #3602813. Published by jmsgu3 (A0.549889). Score: 12 pages, piano part: 6 pages, clarinet part: 4 pages. duration: ca. 5'. This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself.Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuos.
$24.95
22.88 €
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Clarinette et Piano
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Felix Bartholdy Mendelssohn
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James M
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Mendelssohn: Wedding March for Clarinet & Piano
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jmsgu3
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SheetMusicPlus
Alexander Konstantinovich Glazunov: Concerto Op. 109 for clarinet & piano
Clarinette et Piano
Instantly downloadable sheet music by Alexander Konstantinovich Glazunov for clarinet &…
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Instantly downloadable sheet music by Alexander Konstantinovich Glazunov for clarinet & piano of MEDIUM skill level. Contents: opus 109, op.109, concerto in eb / classical,concert
$5.99
5.49 €
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Clarinette et Piano
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Alexander Konstantinovich Glazunov
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Virtualsheetmusic
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
22 €
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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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SheetMusicPlus
Haydn's Cello Concerto for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.891073 Composed by …
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Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.891073 Composed by Franz Joseph Haydn. Arranged by Diana L. Appler. Classical. 99 pages. Diana L. Appler #6244599. Published by Diana L. Appler (A0.891073). Haydn's most famous Cello Concerto Op. 101, here transposed to F and C for clarinet, it is playable and suitable for an advancing soloist. Accompanied by a full clarinet choir it is an excellent study in classical form and a delight to play. The choir makes a pleasurable accompaniment fun and challenging for all. grade 4
$22.00
20.18 €
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Ensemble de Clarinettes
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Franz Joseph Haydn
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Diana L
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Haydn's Cello Concerto for Clarinet Choir
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Diana L. Appler
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SheetMusicPlus
Louis Spohr: Concerto No. 4 in E minor instantly for clarinet & piano
Clarinette et Piano
Instantly downloadable sheet music by Louis Spohr for clarinet & piano of MEDIUM skill…
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Instantly downloadable sheet music by Louis Spohr for clarinet & piano of MEDIUM skill level. Contents: WoO 20 / classical,concert
$7.99
7.33 €
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Clarinette et Piano
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Louis Spohr
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Virtualsheetmusic
Saint-Saëns: The Swan for Clarinet & Piano
Clarinette et Piano
B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.1314273 Composed by Cami…
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B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.1314273 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. Score and part. 11 pages. Jmsgu3 #903015. Published by jmsgu3 (A0.1314273). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing.The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes.Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list.ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well.YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing.LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95
30.22 €
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Clarinette et Piano
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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for Clarinet & Piano
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jmsgu3
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SheetMusicPlus
Mendelssohn: Song Without Words Op. 109 for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549498 Composed by Felix B…
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Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549498 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 20 pages. Jmsgu3 #3501033. Published by jmsgu3 (A0.549498). BASS CLARINET & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.
$32.95
30.22 €
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Clarinette Basse, Piano
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Felix Bartholdy Mendelssohn
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James M
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Mendelssohn: Song Without Words Op. 109 for Bass Clarinet & Piano
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jmsgu3
#
SheetMusicPlus
Mendelssohn: Song Without Words Op. 109 for Alto Clarinet & Piano
Clarinette
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549497 Composed by Felix…
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E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549497 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 20 pages. Jmsgu3 #3501029. Published by jmsgu3 (A0.549497). ALTO CLARINET & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.
$32.95
30.22 €
#
Clarinette
#
Felix Bartholdy Mendelssohn
#
James M
#
Mendelssohn: Song Without Words Op. 109 for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Concerto for Clarinet, Chair, and Orchestra. Piano Reduction. Movement II. Andante.
Clarinette et Piano
Clarinet,Piano - Level 5 - Digital Download SKU: A0.713175 Composed by Doug Clyde. …
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Clarinet,Piano - Level 5 - Digital Download SKU: A0.713175 Composed by Doug Clyde. 20th Century,Contemporary. Score and part. 12 pages. ALBEDO MUSIC #4278341. Published by ALBEDO MUSIC (A0.713175). Concerto for Clarinet, Chair, and Orchestra. Piano Reduction. Movement II. Andante. Second Movement only. Composed by Doug Clyde of ALBEDO MUSIC from Thanksgiving 2018 to Christmas 2018. Piano Score & Clarinet Part. Contents: Movement II. Andante. Instrumentation: Piano, Solo Clarinet in Bb and Chair (metal chair, wooden chair, or plastic chair). Performance Duration 4:30. AMSM114. © 2018 by Doug Clyde of ALBEDO MUSIC.
$10.00
9.17 €
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Clarinette et Piano
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Doug Clyde
#
Clarinet Part
#
Concerto for Clarinet, Chair, and Orchestra. Piano Reduction. Movement II. Andante.
#
ALBEDO MUSIC
#
SheetMusicPlus
Concerto for Clarinet, Chair, and Orchestra. Piano Reduction. All Three Movements.
Clarinette et Piano
Clarinet,Piano - Level 5 - Digital Download SKU: A0.713173 Composed by Doug Clyde. …
(+)
Clarinet,Piano - Level 5 - Digital Download SKU: A0.713173 Composed by Doug Clyde. 20th Century,Contemporary. Score and part. 57 pages. ALBEDO MUSIC #4278333. Published by ALBEDO MUSIC (A0.713173). Concerto for Clarinet, Chair, and Orchestra. Piano Reduction. All Three Movements. Composed by Doug Clyde of ALBEDO MUSIC from Thanksgiving 2018 to Christmas 2018. Piano Score & Clarinet Part. In Three Movements. Contents: Movement I. Allegro, Movement II. Andante, Movement III. Moderato. Instrumentation: Piano, Solo Clarinet in Bb and Chair (metal chair, wooden chair, or plastic chair). Performance Duration 15:50. Movement I. 5:05, Movement II. 4:30, Movement III. 6:15. AMSM113114115. © 2018 by Doug Clyde of ALBEDO MUSIC.
$25.00
22.93 €
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Clarinette et Piano
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Doug Clyde
#
Clarinet Part
#
Concerto for Clarinet, Chair, and Orchestra. Piano Reduction. All Three Movements.
#
ALBEDO MUSIC
#
SheetMusicPlus
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