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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 Piccolo Clarinet
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FLUTE TRAVERSI…
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OCARINA
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Concerto for Piccolo Clarinet
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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
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
#
Concerto
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Schott Music - Digital
#
SheetMusicPlus
Concerto No. 3
Clarinette
E-flat clarinet & piano - Digital Download SKU: IZ.PDP009 Composed by Johann Melchi…
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E-flat clarinet & piano - Digital Download SKU: IZ.PDP009 Composed by Johann Melchior Molter. Score and Parts. 25 pages. Imagine Music - Digital #PDP009. Published by Imagine Music - Digital (IZ.PDP009). 9 x 12 in inches.Johann Melchior Molter achieved particular notoriety for his writing for unusual instruments, such as the chalumeau, the flauto d' amore, the flauto cornetto, and the harp. The clarinet was at the time a very new and quite unrefined instrument, but the Karlsruhe court orchestra possessed a musician (Johann Reusch) who played it. In 1747 Molter wrote four concerti for the piccolo clarinet in D, which are possibly the first clarinet concerti ever written. The motives and fanfare-like arpeggiated figures of these clarinet concerti reflect the early clarinet's reputed tonal similarity to the trumpet. It is interesting to note that the English referred to the early clarinet as the Mock Trumpet, and the name clarinet itself is derived from the Italian word for trumpet, clarino. The piccolo clarinet in D is the clarinet for which Richard Strauss wrote the main motive of his famous tone poem Till Eulenspiegel, and it also notably appears in the symphonies of Mahler and Stravinsky's Le sacre du printemps. The D clarinet is still in fairly common use today, but the majority of modem clarinetists perform parts written for the D clarinet on the much more common E-flat clarinet. For this arrangement I wished to allow the clarinetist to perform Molter's third concerto on the E-flat clarinet in the same key as it was written for the D clarinet. Therefore, I have transposed the piece from the original key of G to A-flat, which keeps the written solo part in the key of F. It is my sincere hope that this practicality will allow many more clarinetists to enjoy performing this historically significant piece of clarinet repertoire.
$20.00
18.34 €
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Clarinette
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Johann Melchior Molter
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Concerto No. 3
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Imagine Music - Digital
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SheetMusicPlus
Concerto for Piccolo Clarinet and Chamber Orchestra
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.980579 Composed by William Grosvenor N…
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Chamber Orchestra - Digital Download SKU: A0.980579 Composed by William Grosvenor Neil. Contemporary. Score and parts. 61 pages. TheComposerStudio.Com, LLC #3501905. Published by TheComposerStudio.Com, LLC (A0.980579). Concerto for Piccolo Clarinet and Chamber Orchestra (2017) The music makes dramatic shifts between the E-flat clarinet’s high virtuous technical flights and its mystical, expressive qualities. The sound resources for entire work are entirely derived from the clarinet’s opening descending line that quickly develops into a succession of firey cadenzas. The soloist then leads the ensemble in a highly spirited dance of counterpoint and rhythm. Click here to order parts: https://www.thecomposerstudio.com/concerto/#tab-15982 Rental support: thecomposerstudio@gmail.com Information on the composer: www.williamneil.net .
$50.00
45.86 €
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Orchestre de chambre
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William Grosvenor Neil
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Concerto for Piccolo Clarinet and Chamber Orchestra
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Concerto for Piccolo Clarinet
Small Ensemble Clarinet,Double Bass,Drum Set,Trombone,Trumpet - Digital Download SKU: A…
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Small Ensemble Clarinet,Double Bass,Drum Set,Trombone,Trumpet - Digital Download SKU: A0.980580 Composed by William Grosvenor Neil. Contemporary. Score and parts. 49 pages. TheComposerStudio.Com, LLC #3517475. Published by TheComposerStudio.Com, LLC (A0.980580). Concerto for Piccolo Clarinet , bassoon, trumpet, tenor-bass trombone, double bass, & percussion (1987) (score & parts)was composed for and dedicated to clarinetist John Bruce Yeh. The music makes dramatic shifts between the E-flat clarinet’s high virtuous technical flights and its mystical, expressive qualities. The sound resources for entire work are entirely derived from the clarinet’s opening descending line that quickly develops into a succession of firey cadenzas. The soloist then leads the ensemble in a highly spirited dance of counterpoint and rhythm. Listen to the audio from John Bruce Yeh's recording on Newport Classics: https://www.youtube.com/watch?v=fA1vHmNzfcA Information on the composer: www.williamneil.net email for support thecomposerstudio@gmail.com.
$40.00
36.69 €
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William Grosvenor Neil
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percussion (1987) (score &
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Concerto for Piccolo Clarinet
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Carson Cooman: Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, sc
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Tro…
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Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533710 Composed by Carson Cooman. Contemporary. Score and parts. 83 pages. Musik Fabrik Music Publishing #3041105. Published by Musik Fabrik Music Publishing (A0.533710). I. Murky WatersII. The ForgottenIII. Casting InfinityEnchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.†Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention. The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, and as a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious. The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement. The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass. The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)This is the full score and the solo part. The complete parts and seperate parts are available for sale on this site.
$29.95
27.47 €
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Carson Cooman
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Carson Cooman: Enchanted Tracings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, com
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Tro…
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Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533711 Composed by Carson Cooman. Contemporary. Score and parts. 76 pages. Musik Fabrik Music Publishing #3041107. Published by Musik Fabrik Music Publishing (A0.533711). Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble wascommissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble,Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor,conductor. These three marvelous piano soloists served as the inspiration for the work. Theconcerto bears the dedication “for Walter Simmons, a hero for the cause of American music.â€Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeservedattention.The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, andas a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonalconstructs that are a preoccupation of my music. The concerto’s title provided the poetic ideabehind the musical development. Though more or less equal with the ensemble in the firstmovement, the piano clearly takes over as leader in the second and third movements as the goaldirectedformal narrative of the movements becomes more obvious.The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†themusical potential of the basic material. A number of melodic ideas emerge—some lyrical and somedisjunct. A brief coda prepares for the next movement.The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass.The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spikymelodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should thework be performed with any substitutions, doublings, or increase of players on individual parts.)This item contains the complete wind ensemble parts. The score plus solo part are for sale as another item. Individual parts are also for sale.
$77.95
71.49 €
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Carson Cooman
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Carson Cooman Enchanted Tracings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Trumpet Concerto in Eb
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.775244 Composed by Guiseppe Tarti…
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Concert Band - Level 2 - Digital Download SKU: A0.775244 Composed by Guiseppe Tartini. Arranged by Alex Wilson. Baroque. Score and parts. 120 pages. Alexander Wilson #4370282. Published by Alexander Wilson (A0.775244). Originally the Violin Concerto in E major, D.53, Guiseppe Tartini’s concerto was transcribed for the piccolo trumpet by Maurice André and has remained a popular repertoire choice for trumpet players ever since. All three movements of the work are here arranged in the key of Eb (not D!) for piccolo trumpet in Bb and wind band (including 2 flute parts, oboe, bassoon, 3 clarinets, bass clarinet, 2 alto saxes, tenor sax, bari sax, 2 trumpets, 2 horns, 2 trombones, BC and TC euphonium, tuba, and timpani). Performance time is generally around 10 or 11 minutes. Please note that the parts for the accompanying ensemble are at an early intermediate level, as indicated on this page, but the solo part for piccolo trumpet is very challenging.
$20.00
18.34 €
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Orchestre d'harmonie
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Guiseppe Tartini
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Alex Wilson
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Trumpet Concerto in Eb
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Alexander Wilson
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SheetMusicPlus
Concerto for Concert Band (2011) full score
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.869220 Composed by Thomas Oboe Le…
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Concert Band - Level 4 - Digital Download SKU: A0.869220 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 74 pages. Thomas Oboe Lee #1934325. Published by Thomas Oboe Lee (A0.869220). Program note. Concerto for Concert Band is in four movements, played without pause. The first movement begins with a percussion fanfare that leads into woodwind melodies coupled with the euphonium. Then the percussion takes over again, with a timpani solo feature. The second movement is a dialogue between the clarinet and brass choirs. As the choir masses become more dense, a plaintive solo oboe emerges from the din … molto cantabile!!! The third movement is a scherzo featuring the trumpets and the woodwinds. The percussion section joins in with outbursts and commentaries … The brass choir returns in the last movement with more melodies emanating from the woodwinds. The work ends in quiet tranquility … molto cantabile again!!! The work is dedicated to the effervescent Bill Drury who conducts the wind ensembles at the New England Conservatory of Music. I was very grateful to Bill when he asked me to write something for him and the Jordan Winds at NEC. It is a huge challenge to compose music for large wind groups. I find most concert band pieces too thick and mucky in texture. The trick is to create concert band music that is light and transparent; to orchestrate in such a way that you can see/hear light seeping through. I hope I was able to do that. Enjoy!! Instrumentation: 3 Flutes (Fl. 3 also doubles on piccolo) 2 Oboes 2 Bassoons Clarinet in Eb 3 Clarinets in Bb 2 Bass Clarinets in Bb 4 French Horns 3 Trumpets in Bb (also doubling on Flugelhorns in Bb) 3 Trombones Euphonium Tuba Timpani Marimba Percussion 1: snare drum, 3 tom-toms Percussion 2: triangle, 2 bass drums This is a transposed score.
$9.99
9.16 €
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Orchestre d'harmonie
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Thomas Oboe Lee
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Concerto for Concert Band
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Thomas Oboe Lee
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SheetMusicPlus
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble) - Score Only
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1339375 Composed by Masakazu YAMA…
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Concert Band - Level 4 - Digital Download SKU: A0.1339375 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 31 pages. Motch Music #925066. Published by Motch Music (A0.1339375). Original work by Masakazu Yamamoto.Concerto for solo alto saxophone and small wind ensemble. Composed in 2017. It premiered at the annual concert 2017 of the Japan Wind Ensemble (Momotaro Band).This work was commissioned by Keiko Kobayashi (the chief conductor of the orchestra) and Atsushi Nishimoto (chief concertmaster and saxophone player of the orchestra) and Musica Eterna LLC. Harlequin, a popular person who entertains people. Dressed in a quirky costume, what does he think under that makeup? Even if you indulge in thought or shed tears without knowing it, you have to continue playing the clown on the stage for the expectations of the audience. The composition seems to be the relationship between an individual and society, and it also applies to the relationship between solo and the band in this work. Duration: 9', Grade 4 (band only)[Instrumentation] Flutes (2) 1st also piccolo Oboe (1) Bb Clarinets (3) 3rd also Eb Clarinet Bb Bass Clarinet (1) Eb Alto Saxophones (2) Bb Tenor Saxophone (1) Bb Trumpets (2) F Horn (1) Trombone (1) Euphonium (1) Tuba (1) Percussion (1) Claves, Snare Drum, Triangle, Shaker, Suspended Cymbal  Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english
$50.00
45.86 €
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Orchestre d'harmonie
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Masakazu YAMAMOTO
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Shadow in a harlequin
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Motch Music
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SheetMusicPlus
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble)
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1339368 Composed by Masakazu YAMA…
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Concert Band - Level 4 - Digital Download SKU: A0.1339368 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 85 pages. Motch Music #925059. Published by Motch Music (A0.1339368). Original work by Masakazu Yamamoto.Concerto for solo alto saxophone and small wind ensemble. Composed in 2017. It premiered at the annual concert 2017 of the Japan Wind Ensemble (Momotaro Band).This work was commissioned by Keiko Kobayashi (the chief conductor of the orchestra) and Atsushi Nishimoto (chief concertmaster and saxophone player of the orchestra) and Musica Eterna LLC. Harlequin, a popular person who entertains people. Dressed in a quirky costume, what does he think under that makeup? Even if you indulge in thought or shed tears without knowing it, you have to continue playing the clown on the stage for the expectations of the audience. The composition seems to be the relationship between an individual and society, and it also applies to the relationship between solo and the band in this work. Duration: 9', Grade 4 (band only)[Instrumentation] Flutes (2) 1st also piccolo Oboe (1) Bb Clarinets (3) 3rd also Eb Clarinet Bb Bass Clarinet (1) Eb Alto Saxophones (2) Bb Tenor Saxophone (1) Bb Trumpets (2) F Horn (1) Trombone (1) Euphonium (1) Tuba (1) Percussion (1) Claves, Snare Drum, Triangle, Shaker, Suspended Cymbal  Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english Â
$200.00
183.44 €
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Orchestre d'harmonie
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Masakazu YAMAMOTO
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Shadow in a harlequin
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Motch Music
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SheetMusicPlus
Grieg (Edvard) - First Movement of Grieg's Piano Concerto in A minor - simplified arr. for piccolo (
Clarinet,Flute,Guitar,Harpsichord,Organ,Piano Accompaniment,Violin - Level 4 - Digital Dow…
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Clarinet,Flute,Guitar,Harpsichord,Organ,Piano Accompaniment,Violin - Level 4 - Digital Download SKU: A0.913131 Composed by Edvard Grieg. Arranged by Andrei-Lucian Dragoi. Romantic Period,Standards. 11 pages. Andrei-Lucian Dragoi #6624077. Published by Andrei-Lucian Dragoi (A0.913131). Music (1868): Edvard Hagerup Grieg (1843-1907) Simplified arr. for piccolo(/flute/violin/clarinet) & guitar(/G-clef piano/harp [GCP/GCH]) (21.11.2021): dr. Andrei-Lucian Drăgoi (DRAGOII.com), (GCP.dragoii.com, MS.dragoii.com, SMP.dragoii.com, YT.dragoii.com)
$3.00
2.75 €
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Edvard Grieg
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Andrei-Lucian Dragoi
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Grieg
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Andrei-Lucian Dragoi
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SheetMusicPlus
Life -A Concerto for Bb and Eb clarinet movement 1
Small Ensemble B-Flat Clarinet,E-Flat Clarinet,Piano Accompaniment,Piccolo - Level 5 - Dig…
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Small Ensemble B-Flat Clarinet,E-Flat Clarinet,Piano Accompaniment,Piccolo - Level 5 - Digital Download SKU: A0.953964 Composed by Dominic B. Minda. Contemporary. Score and parts. 8 pages. Dominic B. Minda #2918695. Published by Dominic B. Minda (A0.953964). Life is a 5 movement concerto for Eb and Bb clarinet w/ piano covering 5 major parts of life. With many twists and turns it is sure to excite any listener. Movements are can be purchased individually or together.
$8.00
7.34 €
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Dominic B
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Life -A Concerto for Bb and Eb clarinet movement 1
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Dominic B. Minda
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SheetMusicPlus
Tchaikovsky (Pyotr Ilyich) - Canzonetta (the 2nd movement of Tchaikovsky's Concerto in D for violin
Clarinet,Flute,Guitar,Harpsichord,Oboe,Organ,Piano Accompaniment,Viola,Violin - Level 4 - …
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Clarinet,Flute,Guitar,Harpsichord,Oboe,Organ,Piano Accompaniment,Viola,Violin - Level 4 - Digital Download SKU: A0.913127 Composed by Peter Ilyich Tchaikovsky. Arranged by Andrei Lucian Dragoi. Romantic Period,Standards. 7 pages. Andrei-Lucian Dragoi #6606477. Published by Andrei-Lucian Dragoi (A0.913127). - the 2nd movement of Tchaikovsky's Concerto in D for violin and orchestra -Music (1878): Pyotr Ilyich Tchaikovsky (1840-1893) Simplified arr. (with modifications) for piccolo & guitar duo or G-clef piano/harp (GCP/GCH) by: dr. Andrei-Lucian Drăgoi (31.10.2021) (gcp.dragoii.com, gci.dragoii.com, dragoii.com)
$1.99
1.83 €
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Peter Ilyich Tchaikovsky
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Andrei Lucian Dragoi
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Tchaikovsky
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Andrei-Lucian Dragoi
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SheetMusicPlus
Richard Faith : Concerto for oboe and chamber orchestra, full score
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.533083 Composed by Richard F…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.533083 Composed by Richard Faith. 20th Century,Standards. Score and parts. 109 pages. Musik Fabrik Music Publishing #482089. Published by Musik Fabrik Music Publishing (A0.533083). A three-movement concerto for oboe and orchestra in a pastoral style. A reduction for oboe and piano by the composer is available as a seperate item. The parts are on rental from the publisher. Instrumentation: 2 flutes (2nd doubles piccolo) english horn in F clarinet in Bb 2 bassoons 2 horns in F timpani percussion: orchestra bells, bass drum, tomtom, suspended cymbal, crash cymbal, triangle gong, celesta, small tambourine harp Strings.
$25.95
23.8 €
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Orchestre de chambre
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Richard Faith
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Richard Faith : Concerto for oboe and chamber orchestra, full score
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Musik Fabrik Music Publishing
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SheetMusicPlus
Richard Faith : Concerto for oboe and chamber orchestra, piano reduction and solo part
Hautbois, Piano (duo)
Instrumental Duet Instrumental Duet,Oboe,Piano - Level 4 - Digital Download SKU: A0.533…
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Instrumental Duet Instrumental Duet,Oboe,Piano - Level 4 - Digital Download SKU: A0.533084 Composed by Richard Faith. 20th Century,Concert,Standards. Score and parts. 57 pages. Musik Fabrik Music Publishing #482091. Published by Musik Fabrik Music Publishing (A0.533084). A three-movement concerto for oboe and orchestra in a pastoral style. The piano reduction is by the composer. The full score is available as a seperate item. The parts are on rental from the publisher. Instrumentation: 2 flutes (2nd doubles piccolo) english horn in F clarinet in Bb 2 bassoons 2 horns in F timpani percussion: orchestra bells, bass drum, tomtom, suspended cymbal, crash cymbal, triangle gong, celesta, small tambourine harp Strings.
$25.95
23.8 €
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Hautbois, Piano (duo)
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Richard Faith
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Richard Faith : Concerto for oboe and chamber orchestra, piano reduction and solo part
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Musik Fabrik Music Publishing
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SheetMusicPlus
Guthrie: Concerto for French Horn and Orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.551982 Composed by James M. Gut…
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Full Orchestra - Level 4 - Digital Download SKU: A0.551982 Composed by James M. Guthrie. 20th Century,Contemporary,Standards. Score and Parts. 101 pages. Jmsgu3 #6038287. Published by jmsgu3 (A0.551982). Concerto in three movements for French Horn & Orchestra.Score: 101 pages, Duration 21:42Instrumentation:Flute (doubles on piccolo)OboeClarinetBassoon2 TrumpetsTenor & Bass TrombonesTubaTimpaniHornStrings.
$79.95
73.33 €
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Orchestre
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James M
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Orchestra
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Guthrie: Concerto for French Horn and Orchestra
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jmsgu3
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SheetMusicPlus
Concerto for Viola and orchestra
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1175939 Composed by Gabriel Yud…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1175939 Composed by Gabriel Yudenich. 20th Century,Contemporary,Multicultural,World. Score and parts. 115 pages. Gabriel Yudenich #776065. Published by Gabriel Yudenich (A0.1175939). Concerto for Viola and orchestraComposition of Gabriel YudenichOrquestration:- Piccolo (1)- Flute (2)- Oboe (1)- Clarinet Bb (2)- Basson (2)- Horn F (4)- Trombone (1)- Tuba (1)- Percussion: Timpani, Snare Drum, Bass Drum, Cymbal and Tam-Tam- Harp (optional)- Viola (solist)Strings: - Violin I (min. 3)- Violin II (min. 3)- Viola (min. 2)- Cello (min. 2)- Bass (min. 2)Version revised in 2023 by the composer
$50.00
45.86 €
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Orchestre
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Gabriel Yudenich
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Concerto for Viola and orchestra
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Gabriel Yudenich
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SheetMusicPlus
Adagio from Mozart's Clarinet Concerto for Flute Choir
Ensemble de Flûtes
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 1 - Digital Download
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 1 - Digital Download SKU: A0.1502120 Composed by Wolfgang Amadeus Mozart. Arranged by David Burndrett. Classical,Contemporary. 12 pages. David Burndrett #1077998. Published by David Burndrett (A0.1502120). This easy and short arrangement works well as a concert piece or just for fun!Each part gets the tune.Download includes the score and all of the parts.
$10.95
10.04 €
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Ensemble de Flûtes
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Wolfgang Amadeus Mozart
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David Burndrett
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Adagio from Mozart's Clarinet Concerto for Flute Choir
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David Burndrett
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SheetMusicPlus
Concerto for Trumpet and Wind Ensemble - Complete Parts
Orchestre d'harmonie
Concert Band - Level 5 - Digital Download SKU: A0.914418 Composed by Bryan Starkwea…
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Concert Band - Level 5 - Digital Download SKU: A0.914418 Composed by Bryan Starkweather. Contemporary,Standards. Score and parts. 82 pages. Bryan Starkweather #4286975. Published by Bryan Starkweather (A0.914418). Originally written for trumpet virtuoso Dr. Thomas R. Smith, director of music at Florida Southwestern College. Approximate running time, 10 minutes. Written in four styles: jazz, Latin, bugle corps, and march/fanfare. Range is G3-F6.Parts are: Piccolo, Flute 1/2, Oboe, Clarinet 1/2/3/Bass, Bassoon, Alto/Tenor/Bari Sax, Horn 1/2/3/4, Solo Bb Trumpet, Bb Trumpet 1/2/3, Trombone 1/2/3(Bass), Euphonium, Tuba, Timpani. Percussion 1/2/3. Oboe, Bassoon, and Horn parts are cued if not available.For comments, questions, corrections, or special requests, please email me at bryan32483@gmail.com for any and all info, or visit https://www.facebook.com/Canvas-Music-Productions-134274459972325/ I love hearing from my customers! I'm always happy to help in any way I can, including modifying a piece to suit your needs.
$49.99
45.85 €
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Orchestre d'harmonie
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Bryan Starkweather
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Concerto for Trumpet and Wind Ensemble - Complete Parts
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Bryan Starkweather
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SheetMusicPlus
Concerto for Eb Clarinet and Clarinet Choir from Vivaldi Piccolo Concerto RV 443
Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.1425377 Composed by…
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Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.1425377 Composed by Antonio Vivaldi. Arranged by Alan Edgar. Baroque. 86 pages. Alan Edgar Ted Moon #1006198. Published by Alan Edgar Ted Moon (A0.1425377). VIVALDI RV 443 PICC CONCERTO ARR FOR EB CLARINET AND CLARINET CHOIR. Essential: Eb soloist, Bb1,2,3 or Alto, Bass. Optional Contra-alto, Contrabass. This Concerto in C Major for flautino RV443 dates from1728-29. It was probably composed for the Ospedale della Pietà in Venice, the convent/orphanage with which he was affiliated.. The girls of the Pietà were famous throughout Europe for their musical performances. . Since the term “flautino” was not generally used in Vivaldi’s day, scholars have speculated ever since about what instrument Vivaldi had in mind. The leading candidate is the sopranino recorder. However, later in the 18th century the transverse flute replaced the recorder in general use, and a new edition of RV 443 was published for the piccolo, a member of the flute family.There are several passages with only the bass line accompanying, and no figures, so I have realised some of these. Some of the accompaniment rhythm patterns, originally for strings, seem too heavy-footed on clarinets, so I have made a few tiny modifications in them. The cadenza, all the articulations and dynamics are mine. 9 minutes if the soloist is very agile.
$40.00
36.69 €
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Antonio Vivaldi
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Alan Edgar
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Concerto for Eb Clarinet and Clarinet Choir from Vivaldi Piccolo Concerto RV 443
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Alan Edgar Ted Moon
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SheetMusicPlus
LIVING PULSE for Saxophone Quartet and Concert Band/Wind Ensemble
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.770394 Composed by Ivan Marini. C…
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Concert Band - Level 4 - Digital Download SKU: A0.770394 Composed by Ivan Marini. Contemporary,Multicultural,World. Score and parts. 152 pages. Www.dalsegno.eu #4756671. Published by www.dalsegno.eu (A0.770394). Concerto for saxophone quartet and band, from Minimal music to Tango.Complete set with score and parts: Solos (Soprano or Alto 1, Alto 2, Tenor, Bari), Piccolo, Flute 1+2, Oboe 1+2, Bassoon 1+2, Clarinets 1+2+3+bass, Trumpets 1+2+3, F Horns 1+2+3+4, Trombones 1+2+3, Euphonium/Baritone, Tuba, String Bass, Timpani, Heartbeat, Percussions 1+2+3 .Other transpositions (e.g. Bb Trombones TC) available for free at simply request. Euphoniums already provided in Bb (TC) and C (BC). Arrangement for percussion ensemble and saxophone quartet also available.Duration ca. 9 mins., 152 pages. Feel free to contact me at info@dalsegno.eu for any other setting!Please, check my other works at www.sheetmusicplus.com/publishers/3025323or visit www.dalsegno.eu
$99.99
91.71 €
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Orchestre d'harmonie
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Ivan Marini
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LIVING PULSE for Saxophone Quartet and Concert Band/Wind Ensemble
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www.dalsegno.eu
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SheetMusicPlus
A Himalaya Concerto (all orchestral and solo parts, excluding full score)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.835443 Composed by Stuart Brown…
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Full Orchestra - Level 5 - Digital Download SKU: A0.835443 Composed by Stuart Brown. Concert,Contemporary,Film/TV. Score and parts. 856 pages. Stuart Brown Music #1892609. Published by Stuart Brown Music (A0.835443). ** ADVISORY NOTE: This composition was written for a professional clarinettist, who has performed it twice (once in UK, once in Australia). As regards level of difficulty, it is on a par with Richard Strauss's oboe concerto, i.e. one of the most challenging solo works available for the instrument. Purchase only if you feel up to the challenge! ** Copyright © Stuart Brown, July 13th 2015, All rights reserved Performing rights apply (administered by PRS for Music in the UK and the USA) For a description of this work, please refer to A Himalaya Concerto (full score) (item number S0.103467, THIS MUST BE PURCHASED SEPARATELY. For a complete bundled product that gives you the maximum flexibility please refer to the composer's own website, search for Stuart Brown Music shop bundles.) This pack contains: 1 solo clarinet; 1 solo cimbalom; 1 piccolo; 3 flutes; 2 oboes; 1 cor anglais; 2 bassoons; 2 double bassoons; 4 horns; 2 trumpets; 2 tenor trombones; 2 bass trombones; 1 tuba; 1 timpani; 1 tubular bells; 16 first violins; 14 second violins; 12 violas; 10 cellos; 8 double basses.
$165.00
151.33 €
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Orchestre
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Stuart Brown
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1 solo cimbalom
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A Himalaya Concerto
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Stuart Brown Music
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SheetMusicPlus
Trio Pieces for Flute (Piccolo), Violin (Oboe, Clarinet) & Organ Vol. 2 in Celtic Spirit
Small Ensemble Clarinet,Flute,Oboe,Organ,Violin - Level 4 - Digital Download SKU: A0.85…
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Small Ensemble Clarinet,Flute,Oboe,Organ,Violin - Level 4 - Digital Download SKU: A0.853242 Composed by Hans-Andre Stamm. Contemporary. Score and parts. 96 pages. Hans-Andre Stamm #6130351. Published by Hans-Andre Stamm (A0.853242). The trio pieces of Vol. 2 are influenced by elements of Celtic music. They were originally composed for a performance with piccolo flute in the upper part but can be equally played with a concert flute. Alternative parts for oboe and clarinet in Bb instead of violin are included. The titles, which can also be heard on Youtube are:Irish Delight, Highland Concerto, Gartan Mother's Lullaby, Sunlit Morning, The Minstrel Boy, Fantasy on Dobbin's Flowery Vale, Paraphrase on Amazing Grace. The lyrical pieces are less difficult to perform.
$24.95
22.88 €
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Hans-Andre Stamm
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Trio Pieces for Flute
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Hans-Andre Stamm
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SheetMusicPlus
Concerto in F minor for Trumpet & Wind Ensemble
Small Ensemble Clarinet,Flute,Trumpet - Level 5 - Digital Download SKU: A0.810881 C…
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Small Ensemble Clarinet,Flute,Trumpet - Level 5 - Digital Download SKU: A0.810881 Composed by Bohme, Oskar. Arranged by Bergler, Geoffrey. Romantic Period. Score and parts. 424 pages. Gordon Cherry #3667971. Published by Gordon Cherry (A0.810881). Oskar Bohme's famous Concerto in F minor, beautifully transcribed by Trumpeter Geoffrey Bergler of the Seattle Symphony. This version has been meticulously edited by Jeff and sounds beautiful in the Wind Ensemble setting. Instrumentation is: Solo Trumpet, Piccolo, 2 Flutes, 2 Oboes, 3 Clarinets, Bass Clarinet, 2 Bassoons, 2 Horns, 2 Trumpets, 3 Trombones and Tuba
$86.00
78.88 €
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Bohme, Oskar
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Bergler, Geoffrey
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Concerto in F minor for Trumpet & Wind Ensemble
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Gordon Cherry
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SheetMusicPlus
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