| Duo Op. 5 No. 1 2 Flutes (duet) [Score and Parts] Forton Music
Composed by Francois Devienne (1759-1803). Arranged by Robert Rainford. A lovely...(+)
Composed by Francois Devienne (1759-1803). Arranged by Robert Rainford. A lovely duet arranged for flute and alto flute. Score and parts. Published by Forton Music (FT.FM603).
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| Burlesque for Bassoon and Piano Bassoon, Piano (duet) Metropolis Music Publishers
Composed by Jef Maes (1905-). Woodwinds - Bassoon. Metropolis Music Publisher...(+)
Composed by Jef Maes
(1905-). Woodwinds -
Bassoon. Metropolis Music
Publishers #BP4378EM.
Published by Metropolis
Music Publishers
$21.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ludwig van Beethoven: Flute trio for Piano, Flute and Bassoon G major WoO 37 Bassoon, Piano (duet) [Sheet music] G. Henle
Bassoon and Piano. By Ludwig van Beethoven. Edited by Friedhelm Klugmann. Chambe...(+)
Bassoon and Piano. By Ludwig van Beethoven. Edited by Friedhelm Klugmann. Chamber Music with Winds. Pages: Score = 27 * Fl Part = 6 * Bassoon Part = 6. Urtext edition-paper bound. Published by G. Henle.
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| Cornish Pastiche. Bassoon & Piano Bassoon, Piano (duet) Clifton Edition
Bassoon and Piano SKU: ST.C130 Composed by Mark Tanner. Wind & brass musi...(+)
Bassoon and Piano SKU: ST.C130 Composed by Mark Tanner. Wind & brass music. Clifton Edition #C130. Published by Clifton Edition (ST.C130). ISBN 9790570811304. As I sit myself down to write this brief foreword, I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road, in Bristol), I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful, rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy, and likewise, speaking as a lapsed brass player, there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again, one gets a different, yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence, with a little gamesmanship on my part, I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat), trombone and tuba (bass clef), horn in F, flute, clarinet and bassoon. While many will find themselves humming the likes of Going up Camborne Hill, Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire, The Pool of Pilate and Cold Blows the Wind Today Sweetheart, which are quite simply sublime melodies, perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs, Cornish folk music works equally ideally sung and played, and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all, it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past, while skilfully paying homage to the underlying charm and, for want of a better word, simplicity, of the original music. But this is only a start – for without an energetic response from younger generations, Cornish folk music is destined to wither on the vine in much the same way as is happening with the Cornish dialect. So, put your instrument to your lips and proceed, not with caution, but with enthusiasm and a smile, for your great grandparents (and perhaps even their grandparents) would surely raise a glass if they could hear you doing your bit to ensure the survival of this splendid heritage. Timeless Cornish melodies, cooked up for hungry clarinet players Grades 1–4 Former Spartan Press Cat. No.: SP1219. $24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Clarinet Solos, Duets, Ensembles, Methods & Studies for: The Ultimate Collection Clarinet CD Sheet Music
SKU: SU.00220629 Woodwinds, Clarinet. USB (PDF Scores). CD Sheet Music #0...(+)
SKU: SU.00220629 Woodwinds, Clarinet. USB (PDF Scores). CD Sheet Music #00220629. Published by CD Sheet Music (SU.00220629). This CD Sheet Music collection on USB Flash Drive contains 2 complete CDSM titles: The Clarinet Solos & Duos collection makes available a wealth of music for solo clarinet including sonatas, concertos, and solo works by 28 composers from the 18th, 19th and early 20th centuries. Also included are two complete volumes of collected works: Easy Duets and Album of Short Solos by Various Composers. Works include: Baermann, C. (Duo Concertante); Baermann, H. (Adagio); Beethoven (3 Duos for Clarinet and Bassoon); Berg (4 Pieces for Clarinet & Piano); Brahms (Sonata Nos. 1 & 2); Busoni (Elegie for Clarinet & Piano); Cavallini (30 Caprices for Clarinet); Debussy (Première Rhapsodie); Fauré (Berceuse); Gade (4 Fantasy Pieces); Glazunov (Saxophone Concerto [for clarinet & piano]); Jeanjean (Variations on Au Clair de la Lune); Klosé )Souvenir); Mason (Sonata for Clarinet & Piano); Mendelssohn (Concert Piece for 2 Clarinets & Piano); Mozart, L. (Concerto in Bb major); Mozart, W.A. (3 Duets for 2 Clarinets); Paganini (14 Caprices); Pierné (Pièce in G minor); Prokofiev (Visions Fugitives); Reger (Sonata Nos. 1 & 2); Reinecke (Sonata, Undine); Saint-Saëns (Sonata in Eb major); Schumann (Fantasy Pieces, 3 Romances); Spohr (Concerto Nos. 1-4); Stravinsky (3 Pieces for Clarinet Solo); Wagner (Adagio for Clarinet & Strings); Weber (Fantasia & Rondo, Grand Duo Concertante) Easy Duets Book 1: works by Fodor, Pleyel, Volckmar, Wanhal; Book 2: works by Mazas, Bruni, Campagnoli, Gebauer, Geminiani, Haydn, Pleyal, Viotti Album of Short Solos by Various Composers: 30 familiar works arranged for clarinet, including Brahms (Cradle Song), Dvorák (Humoreske), Fibich (Poéme), Handel (Largo), Giordani (Caro mio bien), Richter (Seppl-Polka), Schubert (Ave Maria), Schumann (Träumerei), Weber (Bauernwalzer), and more Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1200+ pages The Clarinet Methods, Studies & Ensembles collection makes available eight essential clarinet methods, studies and exercises, as well as over 30 works for clarinet with instruments including duos, trios and quartets by 20 familiar and lesser-known composers from the 18th, 19th and early 20th centuries. Scores and parts are included for many ensemble works. Methods, Studies & Exercises include: Baermann (Complete Method for Clarinet, Op. 63); Klosé (Conservatory Method, 25 Daily Exercises, 30 Studies after Aument); Langenus (Complete Method for Clarinet); Rose (32 Etudes for Clarinet) Ensembles include: Amberg (Fantasiestücke, Suite for Flute, Oboe, Clarinet & Piano); Beethoven (Quintet for Piano and Winds); Brahms (Quintet for Clarinet & Strings, Trio for Clarinet, Cello & Piano); Bruch (8 Piece for Clarinet, Cello & Piano); Cavallini (Rêverie Russe for Flute, Clarinet, and Piano); d'Indy (Trio for Piano, Clarinet, and Cello); Fibich (Quintet for Clarinet, Violin, Cello, Horn, & Piano); Glinka (Trio Pathétique, for Clarinet, Cello, & Piano); Hummel (Serenade No. 1 for Flute, Clarinet, Viola, & Cello); Liadov (8 Russian Folk Dances); Mozart (Twelve Minuets for 2 Clarinets or Basset Horns, Five Divertimenti for 2 Clarinets & Bassoon), Quintet for Clarinet & Strings, Quintet for Piano & Winds, Trio for Clarinet, Viola & Piano); Ravel (Intruduction & Allegro); Reger (Quintet for Clarinet & Strings); Rimsky-Korsakov (Quintet for Piano & Winds); Saint-Saëns (Tarantella for Flute, Clarinet & Piano); Schubert (Der Hirt auf dem Felsen); Schumann (Märchenerzählungen, for Clarinet, Viola & Piano); Spohr (Fantasy & Variations); Titl (Serenade for Violin, Clarinet & Piano); Zemlinsky (Trio for Clarinet, Violin & Cello) Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2100+ pages Published by: CD Sheet Music. $24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Adagio, WoO 35 Bassoon, Piano (duet) Schott
Bassoon (Cello, Violin, Flute, or Clarinet) and Piano. Composed by Louis ...(+)
Bassoon (Cello, Violin, Flute, or Clarinet) and Piano. Composed by Louis Spohr (1784-1859). Edited by Wolfgang Birtel. Schott. Schott Music #ED20988. Published by Schott Music (HL.49018690).
$20.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Duo No. 1 (1992) |flute|bassoon| [Score and Parts] Doblinger
For Flute and Bassoon. By Gernot Wolfgang. Chamber Music (Winds). For flute and ...(+)
For Flute and Bassoon. By Gernot Wolfgang. Chamber Music (Winds). For flute and bassoon. Score and set of parts. 32 pages. Published by Doblinger (Austrian import).
$29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 7 Impromptus Flute, Bassoon (duet) [Score] Schott
For Flute and Bassoon. By Jean Francaix. (Score). Schott. Size 9x12 inches. 32 ...(+)
For Flute and Bassoon. By Jean Francaix. (Score). Schott. Size 9x12 inches. 32 pages. Published by Schott.
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| 15 Intermediate Classical Solos Bassoon, Piano (duet) [Sheet music + CD] - Intermediate Anglo Music
Bassoon and Piano - intermediate SKU: BT.AMP-382-400 Bassoon and Piano...(+)
Bassoon and Piano - intermediate SKU: BT.AMP-382-400 Bassoon and Piano. Arranged by Philip Sparke. Anglo Music Play-Along Series. Classical. Book with CD. Composed 2014. 16 pages. Anglo Music Press #AMP 382-400. Published by Anglo Music Press (BT.AMP-382-400). ISBN 9789043135801. 9x12 inches. English-German-French-Dutch. Part of the ANGLO MUSIC PLAY-ALONG Series, Philip Sparkes 15 INTERMEDIATE CLASSICAL SOLOS is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkes 15 EASY CLASSICAL SOLOS. Specifically tailored to suitthe individual instrument, this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles, from Handel to Tchaikovsky and from Clementi to Brahms. The book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD. Philip Sparkeâ??s 15 Intermediate Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die ongeveer anderhalf octaaf kan spelen. Het boek is een vervolg op Sparkeâ??s 15 EasyClassical Solos en het sluit qua instrumentaal bereik en gebruikte toonsoorten aan bij het Expert Level van Hal Leonards Essential Elements ®, maar het kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieën, diespecifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen: van Handel tot Tsjaikovski en van Clementi tot Brahms.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd metpianobegeleiding en een cd met demo- en meespeeltracks. 15 INTERMEDIATE CLASSICAL SOLOS ist als Ergänzung zur bewährten ANGLO MUSIC PLAY-ALONG Reihe gedacht und richtet sich an Schüler, die ungefähr einen Tonumfang von eineinhalb Oktaven beherrschen. Es schlieÃ?t an Sparkes 15 EASY CLASSICAL SOLOS an undentspricht dem Niveau des Expert Levels der ESSENTIAL ELEMENTS Methode von Hal Leonard, kann aber auch unabhängig davon verwendet werden. Genau auf jedes Instrument zugeschnitten, ermöglichen die sorgfältig ausgewählten Melodien noch mehr Spielerfahrung mit klassischer Musik. Die Stücke umfassen verschiedene Stilrichtungen und Komponisten wie z.B. Händel, Tschaikowsky, Clementi undBrahms. Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen. 15 Intermediate Classical Solos, de Philip Sparke, est un ouvrage qui sâ??adresse aux jeunes musiciens, maîtrisant un peu plus dâ??une octave et demie. Il fait suite au recueil 15 Easy Classical Solos, et a été conçu pour être joué en corrélation avec la série Expert Level de la collection Essential Elements ®, publiée par les éditions Hal Leonard. Mais il peut également être utilisé indépendamment.Spécifiquement adapté chaque instrument, ce volume rassemble quinze mélodies écrites par des compositeurs aussi variés que Hændel, Tcha kovski, Clémenti et Brahms.Comprenant les parties dâ??accompagnement de piano et une version dâ??accompagnement sur compactdisc, ces ouvrages représentent une source complémentaire inestimable toute méthode pédagogique. Part of the Anglo Music Play-along Series, Philip Sparkeâ??s 15 Intermediate Classical Solos is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkeâ??s 15 Easy Classical Solos.Specifically tailored to suit the individual instrument, this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music fromthe 17th to the 19th century and cover a wide variety of styles, from Handel to Tchaikovsky and from Clementi to Brahms.The book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and ademo/play-along CD. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. 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). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Three Diversions for Wind Quintet Woodwind Quintet: flute, oboe, bassoon, clarinet, horn [Score and Parts] Rosewood Publications
By Joan Trimble. Winds. For flute, oboe, clarinet, horn and bassoon (wind quinte...(+)
By Joan Trimble. Winds. For flute, oboe, clarinet, horn and bassoon (wind quintet). Effective, worthwhile piece. First edition.. 20th Century. Score and parts. Published by Rosewood Publications . Score and Parts. 20th Century.
$20.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 6 Duos, Op. 74 2 Clarinets (duet) [Sheet music] Schott
For 2 Clarinets - Performance Score. Composed by Fran�§ois Devienne....(+)
For 2 Clarinets - Performance Score. Composed by Fran�§ois Devienne. Edited by Rudolf Mauz. Woodwind Ensemble. Softcover. 24 pages. Schott Music #KLB94. Published by Schott Music (HL.49044526).
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Drei Duos WoO 27 Clarinet, Bassoon (duet) Breitkopf & Härtel
By Ludwig van Beethoven. For Clarinet (Flute/Oboe) and Bassoon. This edition: pa...(+)
By Ludwig van Beethoven. For Clarinet (Flute/Oboe) and Bassoon. This edition: paperback. Edition Breitkopf. 68 pages. Published by Breitkopf and Haertel (German import).
$35.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Wedding Music - Flute/Bassoon Duet (with CD) Flute, Bassoon (duet) [Sheet music + CD] - Intermediate Editions Marc Reift (Swiss import)
Wedding March / Trumpet Voluntary / Aria / Trumpet Tune / Bridal Chorus. For flu...(+)
Wedding March / Trumpet Voluntary / Aria / Trumpet Tune / Bridal Chorus. For flute, bassoon & CD accompaniment. Swiss import. Play Along. Level: 3. Sheet music and accompaniment CD. Published by Editions Marc Reift. (EMR 931C)
$26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Minuet Flute, Bassoon (duet) - Intermediate Cimarron Music Press
By Domenico Scarlatti (1685-1757). Arranged by Paul Morgan. Woodwind quartet. Fo...(+)
By Domenico Scarlatti (1685-1757). Arranged by Paul Morgan. Woodwind quartet. For 3 flutes and bassoon. Grade 3
$15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| There Will I Be - SATB score and parts Violin, Cello (duet) [Score] Beckenhorst Press
Composed by Craig Courtney. For violin and cello (or flute and bassoon). Full sc...(+)
Composed by Craig Courtney. For violin and cello (or flute and bassoon). Full score and parts. Published by Beckenhorst Press
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Time Pieces for Bassoon, Volume 1 Bassoon, Piano (duet) ABRSM Publishing
By Various. Edited by I. Denley. For Bassoon, Piano. Time Pieces for Bassoon Vol...(+)
By Various. Edited by I. Denley. For Bassoon, Piano. Time Pieces for Bassoon Volume 1 (Music through the Ages in 2 Volumes). Grades 1-3
$16.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Pas De Quatre Bassoon, Piano (duet) [Set of Parts] Boosey and Hawkes
For Flute, Oboe, Clarinet, Bassoon and Piano. By Malcolm Williamson. (Parts). B...(+)
For Flute, Oboe, Clarinet, Bassoon and Piano. By Malcolm Williamson. (Parts). Boosey and Hawkes Chamber Music. 74 pages. Published by Josef Weinberger.
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| Traveller’s Joy for Ob. & Pf. Oboe, Piano (duet) Clifton Edition
Oboe and piano SKU: ST.C550 Composed by Mary Chandler. Wind & brass music...(+)
Oboe and piano SKU: ST.C550 Composed by Mary Chandler. Wind & brass music. Clifton Edition #C550. Published by Clifton Edition (ST.C550). ISBN 9790570815500. Traveller’s Joy — Two Walking Tunes for Oboe and Piano was composed in 1956. This is the first time the piece has been published.
Mary Chandler was born in Kent in 1911. She studied music privately, and her teachers included Harry Farjeon (composition), Margaret Eliot and Leon Goossens (oboe) and Harold Craxton (piano). She read English at Oxford University and taught in London schools before joining the City of Birmingham Symphony Orchestra as principal oboist. She appeared with the CBSO as soloist (oboe and piano) and composer and gave broadcasts and recitals in the Midlands. Later, as a free-lance orchestral player, she formed the Mercian Trio (flute, oboe and piano) which gave concerts around the country.
In 1960 Mary became Area Director of the Kent Music School, in charge of its wind teaching and of the varied activities of its Tonbridge Music Centre. She conducted many student groups and composed and arranged music for them until she retired in 1971. She continued to be actively involved in music thereafter, examining, composing and organising concerts. She spent her later years in Gloucestershire and died in 1996.
Dr. Kristin Leitterman is currently the Assistant Professor of Oboe at Arkansas State University in Jonesboro, Arkansas, USA, where she teaches oboe and bassoon, Double Reed Techniques, and coaches small chamber ensembles. She is also the Director of the Lucarelli Oboe Master Class, a week-long immersive oboe master class founded by Bert Lucarelli in 1996. As a guest artist she has presented master classes at many institutions, including the Manhattan School of Music, New York University, and the Hartt School.
As a researcher, Kirstin has interests in the life and works of Mary Chandler. She has presented her research at The Juilliard School, Music by Women Festival, the International Double Reed Society conferences, and the Brazilian Double Reed Society’s conference in João Pessoa, Paraíba, Brazil.
$14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Bagatelle for Oboe & Piano Oboe, Piano (duet) Clifton Edition
Oboe and piano SKU: ST.C551 Composed by Mary Chandler. Wind & brass music...(+)
Oboe and piano SKU: ST.C551 Composed by Mary Chandler. Wind & brass music. Clifton Edition #C551. Published by Clifton Edition (ST.C551). ISBN 9790570815517. Bagatelle for Oboe and Piano was composed in 1950. This is the first time that the piece has been published.
Mary Chandler was born in Kent in 1911. She studied music privately, and her teachers included Harry Farjeon (composition), Margaret Eliot and Leon Goossens (oboe) and Harold Craxton (piano). She read English at Oxford University and taught in London schools before joining the City of Birmingham Symphony Orchestra as principal oboist. She appeared with the CBSO as soloist (oboe and piano) and composer and gave broadcasts and recitals in the Midlands. Later, as a free-lance orchestral player, she formed the Mercian Trio (flute, oboe and piano) which gave concerts around the country. In 1960 Mary became Area Director of the Kent Music School, in charge of its wind teaching and of the varied activities of its Tonbridge Music Centre. She conducted many student groups and composed and arranged music for them until she retired in 1971. She continued to be actively involved in music thereafter, examining, composing and organising concerts. She spent her later years in Gloucestershire and died in 1996.
Dr. Kristin Leitterman is currently the Assistant Professor of Oboe at Arkansas State University in Jonesboro, Arkansas, USA, where she teaches oboe and bassoon, Double Reed Techniques, and coaches small chamber ensembles. She is also the Director of the Lucarelli Oboe Master Class, a week-long immersive oboe master class founded by Bert Lucarelli in 1996. As a guest artist she has presented master classes at many institutions, including the Manhattan School of Music, New York University, and the Hartt School.
As a researcher, Kirstin has interests in the life and works of Mary Chandler. She has presented her research at The Juilliard School, Music by Women Festival, the International Double Reed Society conferences, and the Brazilian Double Reed Society’s conference in João Pessoa, Paraíba, Brazil.
$14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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