English version
Parcourir Free-scores.com
--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
Music for Solo Clarinet
Non classifié
2 205
Piano & claviers
Piano seul
198
Piano, Voix
32
Piano (partie séparée)
27
Piano, Voix et Guitare
22
Accompagnement Piano
16
Orgue
10
Piano Facile
10
Accordéon et Orchestre
2
2 Pianos, 4 mains
1
Piano Trio: piano, violon, violoncelle
1
+ 5 instrumentations
Retracter
Guitares
Guitare (partie séparée)
47
Guitare
13
Ligne De Mélodie, (Paroles) et Accords
4
Guitare notes et tablatures
3
Guitare, Flûte, Clarinette
3
Mandoline
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
55
Chorale 3 parties
7
Voix Soprano, Piano
7
Voix Tenor, Piano
6
Chorale Unison
6
Chorale TTBB
5
Voix duo
4
Voix Alto, Piano
4
Chorale 2 parties
3
Voix duo, Piano
3
Voix haute
2
Voix Baryton, Piano
1
Voix seule
1
Soli, choeur mixte et accompagnement
1
+ 9 instrumentations
Retracter
Vents
Clarinette
5 183
Clarinette et Piano
1 453
Clarinette (partie séparée)
274
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
181
Flûte, Hautbois, Clarinette, Basson
170
Saxophone (partie séparée)
166
Quatuor de Clarinettes: 4 clarinettes
131
Clarinette Basse, Piano
123
2 Clarinettes (duo)
120
Saxophone Alto et Piano
98
Clarinette Basse
93
Flûte traversière et Piano
92
Saxophone Tenor et Piano
86
Hautbois, Piano (duo)
82
3 Clarinettes (trio)
78
Ensemble de Clarinettes
70
Clarinette, Guitare (duo)
54
Flûte, Clarinette (duo)
40
Flûte traversière
39
Quintette de Clarinettes: 5 clarinettes
38
Saxophone Alto
34
Saxophone Soprano et Piano
32
2 Saxophones (duo)
29
Hautbois, Clarinette, Basson (trio d'anches)
25
Flute (partie séparée)
24
Flûte à bec Soprano
23
Saxophone, Clarinette (duo)
19
2 Flûtes traversières (duo)
18
Clarinette, Violon (duo)
17
Hautbois (partie séparée)
16
Saxophone Baryton, Piano
16
Cor anglais, Piano
15
Cor Anglais
14
Hautbois, Clarinette (duo)
14
Saxophone Tenor
13
Flûte, Clarinette, Piano (trio)
12
2 Hautbois (duo)
10
Clarinette, Basson (duo)
9
Clarinette, Trompette (duo)
9
Flûte, Hautbois, Clarinette (trio)
8
Clarinette, Orgue
7
Quatuor de Saxophones: 4 saxophones
7
Flûte, Clarinette et Basson
7
Flûte, Trompette (duo)
6
Flûte à bec Tenor
6
2 Clarinettes, Piano
6
Flûte et Guitare
6
Hautbois, Basson (duo)
5
Clarinette et Alto
5
Flûte, Violon
5
Flûte, Saxophone (duo)
4
Clarinette, Violoncelle (duo)
4
Clarinette, Harpe (duo)
4
Hautbois, Flûte
4
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
Flûte, Alto (duo)
3
Clarinette, Orchestre
3
Cor anglais, Guitare (duo)
2
3 Saxophones (trio)
2
Quintette de Saxophone: 5 saxophones
2
Flûte, Violon, Piano
2
Saxophone
2
Hautbois
2
Flûte, Violoncelle, Piano (trio)
2
Flûte à bec Soprano, Piano
2
2 Clarinettes, Basson
2
Flûte, Hautbois (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
2 Flûte à bec (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Hautbois, Basson
1
Flûte à bec Alto, Piano
1
Hautbois, Basson et Piano
1
Flûte traversière, Orchestre
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Piccolo
1
Clarinette, Tuba
1
Flûte à Bec
1
2 Flûtes traversières, Piano
1
2 Flûtes, 2 Clarinettes (Quatuor)
1
Clarinette, Contrebasse (duo)
1
Piccolo, Piano
1
Saxophone Soprano
1
Hautbois, Clarinette et Piano (Trio)
1
Ensemble de saxophones
1
Clarinette, Trombone (duo)
1
+ 82 instrumentations
Retracter
Cuivres
Instruments en Sib
321
Trombone (partie séparée)
100
Trompette
95
Trompette (partie séparée)
90
Trombone et Piano
53
Cor et Piano
49
Trompette, Piano
43
Cor (partie séparée)
23
Tuba (partie séparée)
18
Cor anglais, Piano
15
Cor Anglais
14
Tuba et Piano
13
Trombone
11
Euphonium, Piano (duo)
9
Euphonium
8
Trompette, Saxophone (duo)
8
Cor
7
2 Trompettes (duo)
7
2 Trombones (duo)
5
Trompette, Trombone (duo)
5
Tuba
4
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
4
Cor anglais, Guitare (duo)
2
Trombone et orchestre
2
2 Cors (duo)
2
Ensemble de Tubas
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
4 Tubas
1
Ensemble de Trombones
1
+ 24 instrumentations
Retracter
Cordes
Violon et Piano
100
Alto, Piano
75
Violoncelle, Piano
75
Violon
41
Contrebasse (partie séparée)
29
Violoncelle
20
Alto seul
16
Harpe, Violon (duo)
15
Alto et Harpe
15
Contrebasse, Piano (duo)
14
Harpe, Violoncelle (duo)
13
Harpe, Flûte (duo)
13
Harpe
11
2 Violons (duo)
11
Violon, Alto (duo)
9
2 Altos (duo)
8
Violon, Violoncelle (duo)
7
2 Violoncelles (duo)
6
Quatuor à cordes: 2 violons, alto, violoncelle
6
Alto (partie séparée)
3
Violon (partie séparée)
3
Harpe, Voix
2
Alto, Guitare (duo)
2
Trio à Cordes: violon, alto, violoncelle
1
Contre Basse
1
Alto et orchestre
1
2 Harpes (duo)
1
Violoncelle, Orchestre
1
Violon, Guitare (duo)
1
+ 24 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
311
Ensemble Jazz
172
Orchestre
133
Orchestre de chambre
49
Batterie (partie séparée)
27
Orchestre à Cordes
11
Jazz combo
9
Xylophone, Piano
9
Ensemble de cuivres
6
Ensemble d'École
5
Fanfare
4
Ensemble de Percussions
4
Batterie
3
Percussion (partie séparée)
3
Vibraphone
2
Quintette à Vent
2
Cloches
1
Trio à Vent: 3 instruments à vents
1
Timbales (partie séparée)
1
Piano et Orchestre
1
+ 15 instrumentations
Retracter
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
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
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
572
Partitions
Numériques
13 973
Librairie
Musicale
4 174
Matériel
de Musique
37
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Music for Solo Clarinet
Partitions à imprimer
13 973 partitions trouvées
<
1
26
51
....
9976
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
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 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Squeak Big: Practical Fundamentals for the Successful Clarinetist
Clarinette
Clarinet - Digital Download SKU: IZ.9780976508106 Composed by Phillip Paglialonga. …
(+)
Clarinet - Digital Download SKU: IZ.9780976508106 Composed by Phillip Paglialonga. Score. 111 pages. Imagine Music - Digital #9780976508106. Published by Imagine Music - Digital (IZ.9780976508106). 9 x 12 in inches.Squeak Big teaches aspiring clarinetists the fundamentals necessary for success on the instrument through conceptual development and practical exercises. It will undoubtedly become an important resource for aspiring clarinetists and educators worldwide.For years, Dr. Paglialonga has helped his students improve by creating exercises and explanations to address fundamental playing issues. These materials circulated throughout the clarinet community, leading to numerous requests for materials to address other specific problems. Squeak Big answers those requests, making these materials available to a wider audience in a simple, easy-to-use format.Squeak Big is filled with healthy, concise, no-nonsense advice, as well as some great tips and tricks. I would recommend it to anyone wanting to advance their relationship with the clarinet. (Samuel Caviezel - Associate Principal Clarinet, Philadelphia Orchestra) Squeak Big is a wonderful resource for student and teacher alike. In it, Dr. Paglialonga provides helpful insights on clarinet playing from the fundamentals of producing a beautiful sound to hints on practicing in real life situations. His methodical approach helps to demystify clarinet playing and is geared towards helping improve both technique and musicianship. A must-have for any clarinetist's library! (Benjamin Lulich - Principal Clarinet, Cleveland Orchestra) Squeak Big is full of useful information. I highly recommend it to anyone who's looking for practical ways to become a better clarinetist! (Alexander Fiterstein - Prominent International Soloist) I would recommend Squeak Big to anyone wanting to improve or better understand the fundamentals of sound clarinet playing. (Carey Bell - Principal Clarinet, San Francisco Symphony) Phillip Paglialonga has written a thoughtful and detailed treatise on playing the clarinet. He communicates from a thorough knowledge of the instrument and its workings. This volume is a valuable reference for teachers and performers alike, replete with numerous practical suggestions and exercises. If only every clarinet player could digest the information Dr. Paglialonga sets forth herein, good solid foundations would be formed and bad habits easily prevented. (John Bruce Yeh - Assistant Principal Clarinet, Chicago Symphony) Squeak Big provides valuable advice for players at every stage of development, with easy practical methods, useful exercises, and even a bit of historical context. I've already been able to incorporate many of these ideas, not only into my teaching, but also into my own playing! (Ralph Skiano - Principal Clarinet, Detroit Symphony) Squeak Big is excellent and I'm sure it will be of great value to many players. Phillip Paglialonga explains so many of the fundamentals in a very clear, concise way. Bravo! (Larry Guy - Prominent Pedagogue).
$32.00
29.35 €
#
Clarinette
#
Phillip Paglialonga
#
Squeak Big: Practical Fundamentals for the Successful Clarinetist
#
Imagine Music - Digital
#
SheetMusicPlus
Music for Solo Clarinet (2001)
Clarinette
B-Flat Clarinet Solo - Level 5 - Digital Download SKU: A0.1266397 By Bill Whitley. …
(+)
B-Flat Clarinet Solo - Level 5 - Digital Download SKU: A0.1266397 By Bill Whitley. By Bill Whitley. Arranged by Bill Whitley. 20th Century,Classical,Contemporary. Individual part. 9 pages. Musica Semplice #859152. Published by Musica Semplice (A0.1266397). A tip of the hat to Stravinsky's Three Pieces,  this and my String Trio (also 2001) I see now as my last 20th Century composition.  Not only was the 20th century over, but these two were the last to fit the 20th century, avant-garde ethos.  By 2003, I'd already begun to move away from most of the Western European Art Music tradition.1. Dance2. Verset3. RantMusic for Solo Clarinet was written in the fall of 2001. These were spontaneous, uncommissioned, un-requested works that seemed to come from nowhere. But looking back, I see that they encapsulate a lot of what I was feeling (what everyone was feeling) in the fall of 2001: confusion, sadness, anger, disappointment... Each movement features one of the three primary ‘colors’ produced by the three different registers of the clarinet, and each is a sonata-allegro form, where tiny gestural figures are used as themes.
$10.99
10.08 €
#
Clarinette
#
Bill Whitley
#
Bill Whitley
#
Music for Solo Clarinet
#
Musica Semplice
#
SheetMusicPlus
Bach-Gounod: Ave Maria, Schwencke version for Alto Clarinet & Piano
Clarinette et Piano
E-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.550918 Composed by J. S.…
(+)
E-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.550918 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and part. 12 pages. Jmsgu3 #4888287. Published by jmsgu3 (A0.550918). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. 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 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 a court composer.  Style It seems like Bach created an engaging 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 €
#
Clarinette et Piano
#
J
#
James M
#
Bach-Gounod: Ave Maria, Schwencke version for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Bach-Gounod: Ave Maria, Schwencke version for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 2 - Digital Download SKU: A0.550920 Composed by J. S. B…
(+)
Bass Clarinet,Piano - Level 2 - Digital Download SKU: A0.550920 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and part. 12 pages. Jmsgu3 #4888299. Published by jmsgu3 (A0.550920). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. 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 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 a court composer.  Style It seems like Bach created an engaging 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 €
#
Clarinette Basse, Piano
#
J
#
James M
#
Bach-Gounod: Ave Maria, Schwencke version for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Handel: Largo from Xerxes for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549380 Composed by George …
(+)
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549380 Composed by George Frideric Handel. Arranged by James M. Guthrie, ASCAP. Baroque,Sacred,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3492257. Published by jmsgu3 (A0.549380). Duration: 4:55, Score: 6 pages, Solo part: 1 page, piano part: 2 pages. A very famous aria (Ombra mai fu) from XerxesSuitable for any venue requiring meditative music. Excellent choice for a recital encore. Xerxes Xerxes is, in fact, an opera seria in three acts by Handel. Moreover, Handel conducted the premiere performance in London in 1738. Handel casts the opera in Persia in 470 BC. The part of Xerxes was indeed originally sung by a soprano castrato. Nowadays, the part is generally sung by a mezzo-soprano or conversely a counter-tenor. In the first place, Xerxes sings an opening aria, Ombra mai fu to a plane tree. Handel sets this aria to one of his most truly famous melodies. Although many refer to it traditionally as Handel’s Largo, Handel has, on the contrary, clearly marked Larghetto in the score. Handel Background George Frideric Handel (1685 - 1759) was born in Germany but eventually became a British citizen. Nonetheless, he was a famous Baroque composer. In fact, he became famous for his operas, oratorios, anthems, and organ concertos. Handel studied music and, by and large, worked as a composer in Germany and Italy before moving to London. On the whole, Handel was very familiar with the contemporary music of Italy and Germany. Career in England It is essential to realize that Italian opera was all the rage in England at the time. Moreover, Handel was really good at writing them. Therefore, he started not one but three opera companies in England. Alexander's Feast was a huge success in 1736, but Handel began composing English choral works. After success with the Messiah in 1742) he certainly never again wrote an Italian opera. Consequently, he died in 1759, a treasured genius. Accordingly, the English government gave him full state honors at his funeral. Hence, he is buried in Westminster Abbey in London. Legacy Music historians agree that Handel was in general one of the greatest composers of the Baroque era.  To demonstrate, his works such as the Messiah, Water Music, and Music for the Royal Fireworks remain consistently popular up to the present time. He especially composed the coronation anthem, Zadok the Priest for the coronation of George II. Nevertheless, it has specifically been performed at every succeeding British coronation since. His oratorio Solomon has by all means also continued to be prevalent. As a matter of fact, Sinfonia from act 3 was featured in the 2012 London Olympics opening ceremony. Handel was particularly prolific. To enumerate, he wrote over forty operas.  Since the late 1960s, we have expressly experienced a revival of baroque music. Similarly, we have especially seen a pique of interest in historically informed musical performances. Since his death in 1779, interest in Handel's music has all in all, expanded. Â
$32.95
30.22 €
#
Clarinette Basse, Piano
#
George Frideric Handel
#
James M
#
Handel: Largo from Xerxes for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Handel: Largo from Xerxes for Alto Clarinet & Piano
Clarinette
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549379 Composed by Georg…
(+)
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549379 Composed by George Frideric Handel. Arranged by James M. Guthrie, ASCAP. Baroque,Sacred,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3492251. Published by jmsgu3 (A0.549379). Duration: 4:55, Score: 6 pages, Solo part: 1 page, piano part: 2 pages. A very famous aria (Ombra mai fu) from XerxesSuitable for any venue requiring meditative music. Excellent choice for a recital encore. Xerxes Xerxes is, in fact, an opera seria in three acts by Handel. Moreover, Handel conducted the premiere performance in London in 1738. Handel casts the opera in Persia in 470 BC. The part of Xerxes was indeed originally sung by a soprano castrato. Nowadays, the part is generally sung by a mezzo-soprano or conversely a counter-tenor. In the first place, Xerxes sings an opening aria, Ombra mai fu to a plane tree. Handel sets this aria to one of his most truly famous melodies. Although many refer to it traditionally as Handel’s Largo, Handel has, on the contrary, clearly marked Larghetto in the score. Handel Background George Frideric Handel (1685 - 1759) was born in Germany but eventually became a British citizen. Nonetheless, he was a famous Baroque composer. In fact, he became famous for his operas, oratorios, anthems, and organ concertos. Handel studied music and, by and large, worked as a composer in Germany and Italy before moving to London. On the whole, Handel was very familiar with the contemporary music of Italy and Germany. Career in England It is essential to realize that Italian opera was all the rage in England at the time. Moreover, Handel was really good at writing them. Therefore, he started not one but three opera companies in England. Alexander's Feast was a huge success in 1736, but Handel began composing English choral works. After success with the Messiah in 1742) he certainly never again wrote an Italian opera. Consequently, he died in 1759, a treasured genius. Accordingly, the English government gave him full state honors at his funeral. Hence, he is buried in Westminster Abbey in London. Legacy Music historians agree that Handel was in general one of the greatest composers of the Baroque era.  To demonstrate, his works such as the Messiah, Water Music, and Music for the Royal Fireworks remain consistently popular up to the present time. He especially composed the coronation anthem, Zadok the Priest for the coronation of George II. Nevertheless, it has specifically been performed at every succeeding British coronation since. His oratorio Solomon has by all means also continued to be prevalent. As a matter of fact, Sinfonia from act 3 was featured in the 2012 London Olympics opening ceremony. Handel was particularly prolific. To enumerate, he wrote over forty operas.  Since the late 1960s, we have expressly experienced a revival of baroque music. Similarly, we have especially seen a pique of interest in historically informed musical performances. Since his death in 1779, interest in Handel's music has all in all, expanded. Â
$32.95
30.22 €
#
Clarinette
#
George Frideric Handel
#
James M
#
Handel: Largo from Xerxes for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Morning Mood from Peer Gynt Suite for Alto Clarinet & Piano
Clarinette
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549516 Composed by Edvar…
(+)
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549516 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 17 pages. Jmsgu3 #3502617. Published by jmsgu3 (A0.549516). Duration: ca. 4:00, Score: 9 pages, solo part: 3 pages, piano part: 4 pages. Super-famous instantly recognizable tune, not very difficult - suitable for a recital or church meditation. Works particularly well on the Alto Clarinet! Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic-era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy), and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.
$32.95
30.22 €
#
Clarinette
#
Edvard Grieg
#
James M
#
Grieg: Morning Mood from Peer Gynt Suite for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Ase's Death from Peer Gynt Suite for Clarinet & Piano
Clarinette et Piano
B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549532 Composed by Edvar…
(+)
B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549532 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Contemporary,Romantic Period,Sacred,Standards. Score and part. 11 pages. Jmsgu3 #3505773. Published by jmsgu3 (A0.549532). Duration: ca. 3:40, Score: 5 pages, solo part: 2 pages, piano part: 3 pages. Super-famous instantly recognizable tune, not very difficult - suitable for a recital, funeral or church meditation. Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life. Register for free lifetime revisions and updates at www.jamesguthrie.com.
$24.95
22.88 €
#
Clarinette et Piano
#
Edvard Grieg
#
James M
#
Grieg: Ase's Death from Peer Gynt Suite for Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Anitra's Dance from Peer Gynt Suite for Alto Clarinet & Piano
Clarinette et Piano
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549561 Composed by Edvar…
(+)
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549561 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 16 pages. Jmsgu3 #3508011. Published by jmsgu3 (A0.549561). Duration: ca. 3:20, Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Delicate, not very difficult - suitable for a recital encore. Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.Register for free lifetime revisions and updates at www.jamesguthrie.com
$24.95
22.88 €
#
Clarinette et Piano
#
Edvard Grieg
#
James M
#
Grieg: Anitra's Dance from Peer Gynt Suite for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Anitra's Dance from Peer Gynt Suite for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549562 Composed by Edvard …
(+)
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549562 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 16 pages. Jmsgu3 #3508013. Published by jmsgu3 (A0.549562). Duration: ca. 3:20, Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Delicate, not very difficult - suitable for a recital encore. Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.Register for free lifetime revisions and updates at www.jamesguthrie.com
$24.95
22.88 €
#
Clarinette Basse, Piano
#
Edvard Grieg
#
James M
#
Grieg: Anitra's Dance from Peer Gynt Suite for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Hall of the Mountain King from Peer Gynt Suite for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549585 Composed by Edvard …
(+)
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549585 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 18 pages. Jmsgu3 #3511273. Published by jmsgu3 (A0.549585). Duration: ca. 2:17 Score: 10 pages, solo part: 2 pages, piano part: 5 pages. A proven audience pleaser - perfect for a recital encore! Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life. Register for free lifetime revisions and updates at www.jamesguthrie.com
$24.95
22.88 €
#
Clarinette Basse, Piano
#
Edvard Grieg
#
James M
#
Grieg: Hall of the Mountain King from Peer Gynt Suite for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Ase's Death from Peer Gynt Suite for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549541 Composed by Edvard …
(+)
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549541 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Contemporary,Romantic Period,Sacred,Standards. Score and part. 11 pages. Jmsgu3 #3506173. Published by jmsgu3 (A0.549541). Duration: ca. 4:00, Score: 9 pages, solo part: 3 pages, piano part: 4 pages. Super-famous instantly recognizable tune, not very difficult - suitable for a recital or church meditation.Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.Register for free lifetime revisions and updates at www.jamesguthrie.com
$24.95
22.88 €
#
Clarinette Basse, Piano
#
Edvard Grieg
#
James M
#
Grieg: Ase's Death from Peer Gynt Suite for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Ase's Death from Peer Gynt Suite for Alto Clarinet & Piano
Clarinette
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549540 Composed by Edvar…
(+)
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549540 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Contemporary,Romantic Period,Sacred,Standards. Score and part. 11 pages. Jmsgu3 #3505897. Published by jmsgu3 (A0.549540). Duration: ca. 3:40, Score: 5 pages, solo part: 2 pages, piano part: 3 pages. Super-famous instantly recognizable tune, not very difficult - suitable for a recital, funeral or church meditation. Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.Register for free lifetime revisions and updates at www.jamesguthrie.com
$24.95
22.88 €
#
Clarinette
#
Edvard Grieg
#
James M
#
Grieg: Ase's Death from Peer Gynt Suite for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Hall of the Mountain King from Peer Gynt Suite for Alto Clarinet & Piano
Clarinette
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549582 Composed by Edvar…
(+)
E-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549582 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 18 pages. Jmsgu3 #3509567. Published by jmsgu3 (A0.549582). Duration: ca. 2:17 Score: 10 pages, solo part: 2 pages, piano part: 5 pages. A proven audience pleaser - perfect for a recital encore! Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life. Register for free lifetime revisions and updates at www.jamesguthrie.com.
$24.95
22.88 €
#
Clarinette
#
Edvard Grieg
#
James M
#
Grieg: Hall of the Mountain King from Peer Gynt Suite for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Grieg: Hall of the Mountain King from Peer Gynt Suite for Clarinet & Piano
Clarinette et Piano
B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549575 Composed by Edvar…
(+)
B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.549575 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 18 pages. Jmsgu3 #3509361. Published by jmsgu3 (A0.549575). Duration: ca. 2:17 Score: 10 pages, solo part: 2 pages, piano part: 5 pages. A proven audience pleaser - perfect for a recital encore! Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.
$24.95
22.88 €
#
Clarinette et Piano
#
Edvard Grieg
#
James M
#
Grieg: Hall of the Mountain King from Peer Gynt Suite for Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
New Heart Hymns: 10 Familiar Hymns for Solo Clarinet in Bb and Intermediate Piano
Clarinette et Piano
By Jennie Rhodes. By Jennie Rhodes. Arranged by Jennie Rhodes. Classical, Contempora…
(+)
By Jennie Rhodes. By Jennie Rhodes. Arranged by Jennie Rhodes. Classical, Contemporary, Instructional, Praise & Worship, Sacred. Score and part. 53 pages. Jennie Rhodes Music #164839. Published by Jennie Rhodes Music
"My students were tired of playing out of the hymn book. This collection makes them to feel like artists when they perform in their worship services!" This volume of 10 beloved, multi-denominational hymns are arranged with the aim of being easy enough for young players to master, yet beautiful enough for advanced musicians to enjoy. Perfect as short featured solos, or use the optional attaccas and links connecting the entire set for prelude/postlude settings. Also available for solo violin, viola, cello, oboe, flute, and piano. Listen to a playlist of the entire collection (as arranged for violin) on YouTube. DETAILS: Total length = 24 minutes. Solo instrument part = 15 pages. Piano score =29 pages . All texts included. SONG LIST: Abide With Me; Come, Come Ye Saints (All is Well); Come, Follow Me; Come, Thou Fount of Every Blessing; Count Your Blessings; How Firm a Foundation; I Know that My Redeemer Lives; I Stand All Amazed; Lead, Kindly Light; Nearer, My God, to Thee. www.jennierhodesmusic.com."My students were tired of playing out of the hymn book. This collection makes them to feel like artists when they perform in their worship services!" This volume of 10 beloved, multi-denominational hymns are arranged with the aim of being easy enough for young players to master, yet beautiful enough for advanced musicians to enjoy. Perfect as short featured solos, or use the optional attaccas and links connecting the entire set for prelude/postlude settings. Also available for solo violin, viola, cello, oboe, flute, and piano. Listen to a playlist of the entire collection (as arranged for violin) on YouTube. DETAILS: Total length = 24 minutes. Solo instrument part = 15 pages. Piano score =29 pages . All texts included. SONG LIST: Abide With Me; Come, Come Ye Saints (All is Well); Come, Follow Me; Come, Thou Fount of Every Blessing; Count Your Blessings; How Firm a Foundation; I Know that My Redeemer Lives; I Stand All Amazed; Lead, Kindly Light; Nearer, My God, to Thee. www.jennierhodesmusic.com.
$19.95
18.3 €
#
Clarinette et Piano
#
Jennie Rhodes
#
Jennie Rhodes
#
Worship, Sacred
#
New Heart Hymns: 10 Familiar Hymns for Solo Clarinet in Bb and Intermediate Piano
#
Jennie Rhodes Music
#
SheetMusicPlus
Bach: Wachet auf for Alto Clarinet & Piano
Clarinette
E-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.549849 Composed by Johan…
(+)
E-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.549849 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3555017. Published by jmsgu3 (A0.549849). 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. www.jamesguthrie.comWachet 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.
$24.95
22.88 €
#
Clarinette
#
Johann Sebastian Bach
#
James M
#
#
Bach: Wachet auf for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
How Beautiful are the Feet, (from the Messiah), by Handel, for Solo Clarinet and Piano
Clarinette et Piano
Clarinet,Piano - Level 3 - Digital Download SKU: A0.594414 Composed by G F Handel. …
(+)
Clarinet,Piano - Level 3 - Digital Download SKU: A0.594414 Composed by G F Handel. Arranged by David McKeown. Baroque,Christmas,Easter,Sacred. Score and part. 4 pages. David McKeown #6658343. Published by David McKeown (A0.594414). How Beautiful are the Feet is one of the best loved arias from G F Handel’s oratorio The Messiah. This version is arranged as a solo for Clarinet with piano accompaniment. The original 1741 version of The Messiah presented How Beautiful are the Feet as a duet for two altos and choir, but in 1749 Handel revised the piece as a solo aria for soprano. This revision forms the basis for this arrangement. The text is taken directly from the book of Romans in the New Testament. Musicians at an intermediate standard will find this ideal for formal and informal concert performances. Total performance time is around two minutes. Click the link YouTube link to listen to a complete performance of this arrangement. Teachers will enjoy using this arrangement as a fun way to approach expressive playing and phrasing. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$4.60
4.22 €
#
Clarinette et Piano
#
G F Handel
#
David McKeown
#
How Beautiful are the Feet,
#
David McKeown
#
SheetMusicPlus
18 Gospel Hymns Vol.1 for Solo Clarinet and Piano
Clarinette et Piano
Piano Accompaniment, Clarinet - Early Intermediate - Digital Download Composed by Var…
(+)
Piano Accompaniment, Clarinet - Early Intermediate - Digital Download Composed by Various. Arranged by David McKeown. Christian, Gospel, Spiritual, Sacred, Praise & Worship. Score, Solo Part. 50 pages. Published by David McKeown
18 Easy Gospel Hymns Vol.1 for Solo Clarinet and Piano is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and key for the solo instrument. The preview only shows a few pages of the piano score, but this is followed by a separate solo instrumental part, adding up to 49 pages of quality music.<br> <br> The standard is early intermediate. Players with a year or two’s experience will enjoy playing these Gospel hymns, with plenty of interest in both the solo and the piano parts. These hymns are ideal for use in concerts or worship, formal or informal. The hymns are in alphabetical order and are as follows<br> <br> · Abide with Me, <br> <br> · Amazing Grace, <br> <br> · Blessed Assurance, <br> <br> · Deep River, <br> <br> · Down by the Riverside, <br> <br> · Go Down Moses, <br> <br> · Go Tell It on the Mountain, <br> <br> · He’s Got the Whole World in HIs Hands, <br> <br> · Higher Ground, <br> <br> · Jesus on the Mainline, <br> <br> · Joshua Fought the Battle of Jericho, <br> <br> · Just a Closer Walk with Thee, <br> <br> · Just as I Am, <br> <br> · Just Over in the Glory Land, <br> <br> · Kumbaya My Lord, <br> <br> · Love Lifted Me, <br> <br> · Nobody Knows the Trouble I’ve Seen, <br> <br> · Nothing but the Blood of Jesus. <br> <br> If you like these Gospel Hymns, then there are another eighteen just like them in Volume 2. To find them copy and paste 18 Easy Gospel Hymns Vol.2 for Solo Clarinet and Piano in the Search Bar above. There are also duet versions of these Gospel hymns available on Sheet Music Plus, and more advanced duet arrangements of your Gospel favourites in the 10 Gospel Duets series.<br> <br> To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.<br> <br> There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/620318 Easy Gospel Hymns Vol.1 for Solo Clarinet and Piano is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and key for the solo instrument. The preview only shows a few pages of the piano score, but this is followed by a separate solo instrumental part, adding up to 49 pages of quality music.<br> <br> The standard is early intermediate. Players with a year or two’s experience will enjoy playing these Gospel hymns, with plenty of interest in both the solo and the piano parts. These hymns are ideal for use in concerts or worship, formal or informal. The hymns are in alphabetical order and are as follows<br> <br> · Abide with Me, <br> <br> · Amazing Grace, <br> <br> · Blessed Assurance, <br> <br> · Deep River, <br> <br> · Down by the Riverside, <br> <br> · Go Down Moses, <br> <br> · Go Tell It on the Mountain, <br> <br> · He’s Got the Whole World in HIs Hands, <br> <br> · Higher Ground, <br> <br> · Jesus on the Mainline, <br> <br> · Joshua Fought the Battle of Jericho, <br> <br> · Just a Closer Walk with Thee, <br> <br> · Just as I Am, <br> <br> · Just Over in the Glory Land, <br> <br> · Kumbaya My Lord, <br> <br> · Love Lifted Me, <br> <br> · Nobody Knows the Trouble I’ve Seen, <br> <br> · Nothing but the Blood of Jesus. <br> <br> If you like these Gospel Hymns, then there are another eighteen just like them in Volume 2. To find them copy and paste 18 Easy Gospel Hymns Vol.2 for Solo Clarinet and Piano in the Search Bar above. There are also duet versions of these Gospel hymns available on Sheet Music Plus, and more advanced duet arrangements of your Gospel favourites in the 10 Gospel Duets series.<br> <br> To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.<br> <br> There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$8.49
7.79 €
#
Clarinette et Piano
#
Various
#
Worship
#
18 Gospel Hymns Vol.1 for Solo Clarinet and Piano
#
David McKeown
#
SheetMusicPlus
18 Gospel Hymns Vol.2 for Solo Clarinet and Piano
Clarinette et Piano
Piano Accompaniment, Clarinet - Early Intermediate - Digital Download Composed by Var…
(+)
Piano Accompaniment, Clarinet - Early Intermediate - Digital Download Composed by Various. Arranged by David McKeown. Christian, Gospel, Spiritual, Sacred, Praise & Worship. Score, Solo Part. 49 pages. Published by David McKeown
18 Easy Gospel Hymns Vol.2 for Solo Clarinet and Piano is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and key for the solo instrument. The preview only shows a few pages of the piano score, but this is followed by a separate solo instrumental part, adding up to 49 pages of quality music.<br> <br> <br> <br> The standard is early intermediate. Players with a year or two’s experience will enjoy playing these Gospel hymns, with plenty of interest in both the solo and the piano parts. These hymns are ideal for use in concerts or worship, formal or informal. <br> <br> <br> <br> The hymns are in alphabetical order and are as follows<br> <br> <br> <br> · O Mary Don’t You Weep,<br> <br> · O When the Saints, <br> <br> · Old Time Religion, <br> <br> · Onward Christian Soldiers, <br> <br> · Rock of Ages, <br> <br> · Shall We Gather at the River, <br> <br> · Stand Up, Stand Up for Jesus,<br> <br> · Standing in the Need of Prayer,<br> <br> · Swing Low Sweet Chariot,<br> <br> · Steal Away,<br> <br> · There is a Fountain Filled with Blood,<br> <br> · There is Power in the Blood,<br> <br> · This Little Light of Mine,<br> <br> · Wade in the Water, <br> <br> · Were You There? <br> <br> · What a Friend We Have in Jesus, <br> <br> · When the Roll Is Called Up Yonder, <br> <br> · When We All Get to Heaven. <br> <br> <br> <br> If you like these Gospel Hymns, then there are another eighteen just like them in Volume 1. To find them copy and paste 18 Easy Gospel Hymns Vol.1 for Solo Clarinet and Piano in the Search Bar above. There are also duet versions of these Gospel hymns available on Sheet Music Plus, and more advanced duet arrangements of your Gospel favourites in the 10 Gospel Duets series.18 Easy Gospel Hymns Vol.2 for Solo Clarinet and Piano is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and key for the solo instrument. The preview only shows a few pages of the piano score, but this is followed by a separate solo instrumental part, adding up to 49 pages of quality music.<br> <br> <br> <br> The standard is early intermediate. Players with a year or two’s experience will enjoy playing these Gospel hymns, with plenty of interest in both the solo and the piano parts. These hymns are ideal for use in concerts or worship, formal or informal. <br> <br> <br> <br> The hymns are in alphabetical order and are as follows<br> <br> <br> <br> · O Mary Don’t You Weep,<br> <br> · O When the Saints, <br> <br> · Old Time Religion, <br> <br> · Onward Christian Soldiers, <br> <br> · Rock of Ages, <br> <br> · Shall We Gather at the River, <br> <br> · Stand Up, Stand Up for Jesus,<br> <br> · Standing in the Need of Prayer,<br> <br> · Swing Low Sweet Chariot,<br> <br> · Steal Away,<br> <br> · There is a Fountain Filled with Blood,<br> <br> · There is Power in the Blood,<br> <br> · This Little Light of Mine,<br> <br> · Wade in the Water, <br> <br> · Were You There? <br> <br> · What a Friend We Have in Jesus, <br> <br> · When the Roll Is Called Up Yonder, <br> <br> · When We All Get to Heaven. <br> <br> <br> <br> If you like these Gospel Hymns, then there are another eighteen just like them in Volume 1. To find them copy and paste 18 Easy Gospel Hymns Vol.1 for Solo Clarinet and Piano in the Search Bar above. There are also duet versions of these Gospel hymns available on Sheet Music Plus, and more advanced duet arrangements of your Gospel favourites in the 10 Gospel Duets series.
$8.49
7.79 €
#
Clarinette et Piano
#
Various
#
Worship
#
18 Gospel Hymns Vol.2 for Solo Clarinet and Piano
#
David McKeown
#
SheetMusicPlus
Away in a Manger (clarinet)
Clarinette et Piano
Piano Accompaniment, Clarinet - Early Intermediate - Digital Download Composed by Jam…
(+)
Piano Accompaniment, Clarinet - Early Intermediate - Digital Download Composed by James Murray, William Kirkpatrick. Arranged by Michael Ware. Contemporary Classical, Sacred, General Worship, Christmas, Recital. Solo Part. 7 pages. Published by MusicWare Press
Michael Ware’s setting of Away in a Manger for solo clarinet in Bb and piano is a unique arrangement that includes both of the familiar tunes for the popular Christmas carol. It is appropriate for worship, recital, or any celebration of the season.Michael Ware’s setting of Away in a Manger for solo clarinet in Bb and piano is a unique arrangement that includes both of the familiar tunes for the popular Christmas carol. It is appropriate for worship, recital, or any celebration of the season.
$6.99
6.41 €
#
Clarinette et Piano
#
James Murray, William Kirkpatrick
#
Away in a Manger
#
SheetMusicPlus
Mozart Clarinet Concerto in A major, K.622, 2. Andante for Clarinet Choir
Ensemble de Clarinettes
Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Downloa…
(+)
Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.1405118 By Craig Slegel. By Wolfgang Amadeus Mozart. Arranged by Craig Slegel. Chamber,Classical. 23 pages. Craig Slegel #988158. Published by Craig Slegel (A0.1405118). A clarinet classic, Mozart's Clarinet Concerto in A Major, K.622 is one of the most well known pieces to any musician. Â This arrangement of the work for Clarinet Choir is designed to be as close of a transcription to the orchestral version as possible. Â No cuts or abbreviations have been made, but for the convenience of the player, the piece has been transposed into concert B-flat.Included here is Mvt. 2, Andante from the concerto. Â It's scored for Solo Clarinet with Clarinet Choir accompainment, with parts including: Solo Clarinet in Bb Clarinet in Eb (Optional, but recommended) Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb 3 Clarinet in Bb 4 Alto Clarinet (Optional) Bass Clarinet Contrabass Clarinet (Optional) The Solo B-flat Clarinet part is designed to be fully compatible with the soloists preferred edition of the concerto. Articulation used is fully open to the interpretation of the soloist. The provided solo part is meant as a guide.The E-flat Soprano Clarinet part is not required, but highly recommended. In general, the E-flat Alto Clarinet part is similar to the B-flat Clarinet 4 part, and the B-flat Contrabass Clarinet part is similar to the B-flat Bass Clarinet part. Therefore, the E-flat Alto Clarinet and B-flat Contrabass Clarinet parts are optional.
$16.99
15.58 €
#
Ensemble de Clarinettes
#
Craig Slegel
#
Craig Slegel
#
Mozart Clarinet Concerto in A major, K.622, 2. Andante for Clarinet Choir
#
Craig Slegel
#
SheetMusicPlus
Mozart Clarinet Concerto in A major, K.622, 1. Allegro for Clarinet Choir
Ensemble de Clarinettes
Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Downloa…
(+)
Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1405110 Composed by Wolfgang Amadeus Mozart. Arranged by Craig Slegel. Chamber,Classical. 94 pages. Craig Slegel #988149. Published by Craig Slegel (A0.1405110). A clarinet classic, Mozart's Clarinet Concerto in A Major, K.622 is one of the most well known pieces to any musician.  This arrangement of the work for Clarinet Choir is designed to be as close of a transcription to the orchestral version as possible. No cuts or abbreviations have been made, but for the convenience of the player, the piece has been transposed into concert B-flat.  Included here is Mvt. 1, Allegro from the concerto.  It's scored for Solo Clarinet with Clarinet Choir accompainment, with parts including: Solo Clarinet in Bb Clarinet in Eb (Optional, but recommended) Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb 3 Clarinet in Bb 4 Alto Clarinet (Optional) Bass Clarinet Contrabass Clarinet (Optional) The Solo B-flat Clarinet part is designed to be fully compatible with the soloists preferred edition of the concerto. Articulation used is fully open to the interpretation of the soloist. The provided solo part is meant as a guide.The E-flat Soprano Clarinet part is not required, but highly recommended. In general, the E-flat Alto Clarinet part is similar to the B-flat Clarinet 4 part, and the B-flat Contrabass Clarinet part is similar to the B-flat Bass Clarinet part. Therefore, the E-flat Alto Clarinet and B-flat Contrabass Clarinet parts are optional.
$18.99
17.42 €
#
Ensemble de Clarinettes
#
Wolfgang Amadeus Mozart
#
Craig Slegel
#
Mozart Clarinet Concerto in A major, K.622, 1. Allegro for Clarinet Choir
#
Craig Slegel
#
SheetMusicPlus
<
1
26
51
....
9976
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
