SKU: BT.DHP-1185892-404
ISBN 9789043154529. English.
Look, Listen & Learn sets the bar for brass and woodwind teaching nowadays. These exciting method book/CD packs for beginners contain songs, music puzzles and games to increase the pupils’ understanding of music, information about their instrument, and lots of fun pieces to play. The three volumes of the method that form the basis of this series are enhanced by several books with supplementary material designed to correspond with the progress of the method.
In My First Opera, famous arias, choruses, and overtures have been arranged in increasing order of difficulty so that they can be used in conjunction with all three volumes of the Look, Listen& Learn method series. Some of the loveliest melodies ever written for opera have been collected together with accompanying historical commentary. Pupils can accompany themselves using the piano recordings, which are available online to stream or download. The edition also includes printed music for piano accompaniments, expertly arranged at a moderate level of difficulty.
SKU: HL.49018403
ISBN 9790001175708. UPC: 841886016415. 9.25x12.0x0.052 inches.
A 'Last Night of the Proms' without this march - unthinkable! 'Pomp and Circumstance Military March No. 1' with its middle section, the hymn-like 'Land of Hope and Glory' by Edward Elgar (1857-1934), belongs to the finale of the London music event like the Radetzky March usually played as last piece to the New Year's Concert of the Vienna Philharmonic Orchestra. The fame and popularity of the other four military marches composed by Elgar between 1901 and 1907 fade in comparison to this secret national anthem of Great Britain (although strongly rivalled by 'Rule, Britannia!'). It is, indeed, an equally rousing and catchy piece of music, and the catchy tune in the middle has just become a classical 'hit'. Thanks to the present edition, all those who do not have a large symphony orchestra at home can now play this rousing march by themselves.
SKU: M7.DUX-1104
ISBN 9783868491388.
24 nationale und internationale Weihnachtslieder. Von Alle Jahre wieder über The Little Drummer Boy bis Last Christmas - alles was das Herz begehrt ... und natürlich wurde Stille Nacht, heilige Nacht nicht vergessen. Die passende Playalong Doppel-CD ist mit der Bestellnummer D1100 separat erhältlich.
SKU: ST.C143
ISBN 9790570811434.
Alexander Konstantinovich Glazunov (1865-1936) trained under Rimsky- Korsakov and became the most illustrious Russian composer and conductor immediately succeeding Tchaikovsky. Glazunov’s close affinity with the Saint Petersburg Conservatory, of which institution he would later become Director for more than two decades, placed him ideally to assist in the Institute’s transition to the Petrograd Conservatory in the immediate wake of the Bolshevik Revolution of 1917. For the last six years of his life, Glazunov left the USSR, feeling hemmed in by propagandist restrictions and at the same time out of kilter with the Modernist movement.He lived in exile for a time, touring the USA, before eventually settling in Paris, though his stoical brand of Russian Romanticism never waned. Despite being partly remembered for having taught Shostakovich, Glazunov was never known as a revolutionary composer, more inclined to align himself with 19th century ideologies than with the thrusting new compositional paths forged by Prokofiev and others. Indeed, the nationalistic movement so successfully espoused by Balakirev found a new energy in Glazunov’s hands, and he discovered an opulence of scale which leaned more in the direction of Borodin.There can be no doubting Glazunov’s technical mastery, which successfully drew together contrapuntal, lyrical and virtuosic skills, and which were admired by the likes of Liszt. Glazunov steered a steady course at a time when it was most sorely needed; one need only hear the marvellous Violin Concerto in A minor to experience the full power and authority of his writing, though he possessed an enviable touch with more intimate forms too, such as those readily to be heard in these three charming Miniatures Op.42, originally composed for piano.Clarinet and PianoTranscribed by Mark TannerGrades 6 & 7 (Trinity Grades 6 & 7 syllabuses)Former Spartan Press Cat. No.: SP1360.
SKU: BT.EMBZ15061
Zoltán Kocsis (1952 - 2016) was not just a phenomenal pianist. He was also regarded as a musical 'polymath' whose genius embraced the activities of a composer, conductor, editor, instrumentalist, and arranger. In the last capacity, he added some 150 works to symphonic, chamber, song and piano repertoire. He gladly adapted music of the turn of the 20th century, as appears from his transcriptions of Richard Strauss, Ravel, Rachmaninoff, Enescu, and above all, Debussy. (Many of these are distributed by Editio Musica Budapest.) 'In Debussy's case, (...) I was always interested in works that offered possibilities beyond the bounds of the piano, possibilities for orchestration.Just as with Liszt it was often possible to see that certain of his works had been written for piano for publication purposes, so with Debussy it is clear that mainly his song accompaniments exceeded the bounds of possibility for the piano,' Kocsis stated in one interview. Perhaps that recognition also encouraged him to arrange the popular piano work Valse romantique (1890) for clarinet and piano. The arrangement superbly pinpoints the sensitive, almost ingratiating tunefulness of the Waltz, adding a piece that sounds great and is rewarding to perform to the clarinet repertoire. Mit dem unlängst verstorbenen Zoltán Kocsis betrauert die Nachwelt nicht nur einen phänomenalen Pianisten, sondern auch einen 'Polyhistor der Musik': Sein außergewöhnliches Talent entfaltete sich ebenfalls in seiner Tätigkeit als Komponist, als Dirigent, als Herausgeber und nicht zuletzt auch als Arrangeur und Bearbeiter organisch. Durch letztere Aktivität bereicherte er die symphonische, Kammer-, Lied- und Klavierliteratur um etwa einhundertfünfzig Werke. Sehr gern adaptierte er die Musik aus der Zeit der Wende zum 20. Jahrhundert, wie auch seine Richard-Strauss-, Ravel-, Rachmaninov-, Enescu- und vor allem Debussy-Transkriptionen belegen. (Mehrere davon werden auch von unseremVerlag vertrieben.).
SKU: HL.48025033
ISBN 9783793143024. UPC: 196288019978.
The Shoa never was a theme in the works of Ursula Mamlok - with the exception of Ruckblick for saxophone and piano which she wrote in 2002 on commission of the Temple University in memory of Kristallnacht. The contrast between slow and fast movements is much moreelaborate than in her other works from that period, with the fast movements appearing somewhat driven while the piano part for a fewmoments adopts an otherwise unknown severity. Near the end of the third movement, cantabile and fleeting gestures are suddenly pushed toward each other. The first fast movement arises from the destruction of attempted cantability. The Elegy (2nd movement) dies away with a four-fold reminder of its initial motif, the last attempt remaining fragmentary. The fourth movement Lament concludes with a figure that returns to its beginning. In addition to the original version with alto saxophone, versions with bass clarinet or for clarinet in Bb are available.
SKU: HL.14028056
ISBN 9788759861592. English.
Throne (1988) for Clarinet and Piano was composed on a commission from the Swedish clarinetist Hakon Rosenberg. Structurally it is organized in an arch form. Although it begins in the piano, the work can be considered as one long clarinet solo, where the piano's role is that of extending and mirroring the clarinet, both in register and motif. As such the piano is treated as a monody throughout, until the last warm B Major chord embraces the final notes of the clarinet. On the title page the composer tells us that Throne is Elevation, Unity, Diamonds, Crown, Glory, Velvet, Frailty, Decline, Oblivion, Nothing. In short Throne is and abstract tone-poem on the transitoriness of Life. Poul Ruders 1988.
SKU: M7.DOHR-88835
ISBN 9790202098356.
There comes a time in life when your parents have passed on. What we are left with is the memories of their love, guidance, support, and the happy times together. Last August when my mum sadly passed away, I wrote an Elegy as part of my grieving. However, as a family we had happy times together and it seemed only right to compose a work which would celebrate this. So, I added a first and last movement to create a short concertino. The movements are: Prelude: Peter John Connell: The Cheeky Chap Elegy: Mavis June Connell (Time To Remember) Rondo: Family Fun (Adrian Connell) Performance note A version with accompaniment of string orchestra and Harp is also available (E.D. 88833). This version for clarinet and piano is also the piano reduction of that version.
SKU: BT.ALHE31564
French.
Duo Concertante, Op. 351 by Darius Milhaud was composed in 1956 for the Paris Conservatoire Contest. Many influences can be recognised in this piece: from the Provence where he was born, to jazz and other melodies of SouthAmerica. Lasting approximately 7 minutes, Duo Concertante, Op. 351 is started by a fanfare with a strong energy reminiscent of the South of France, followed by a simple and moderate clarinet partly joined by piano chords. Theinitial theme is then repeated one last time for the finale. Darius Milhaud (1892-1974) was a French modernist composer and a teacher. He was also part of the Les Six and was strongly influenced by Jazz. His opus list ended at443.
SKU: P2.30014
Endorphins is the last of four works commissioned by and dedicated to 78 adventure-seeking tubists representing 30 states and three countries, who fearlessly joined the 2001 Solstice/Equinox Commissioning Consortium to commission James Grant to write four new recital pieces. As each Solstice and Equinox approached during the year 2001, a new piece was sent out to the participants. All four pieces (Stuff, High Autumn, Just A Thought, Endorphins) now exist in multiple versions for orchestral and band instruments and are programmed frequently at conferences and on student and faculty recitals throughout the year. Endorphins is marked aerobic and features, in its middle section, a recap of the principal themes from the first three recital pieces in the set, as well as a brief yet dramatic cadenza for the clarinet.
SKU: HL.48181481
UPC: 888680844462. 9.0x12.0x0.089 inches.
Claribel is a piece for Clarinet and Piano, composed by Eugene Bozza. Written for upper intermediate players as quite challenging, this melodic work is dedicated to Henri Dubois, a French professor at the Valenciennes Conservatoire. Divided into seven distinctive parts, Claribel begins with the Piano, the parts being in the following order: - Moderato - Andantino - Piu vivo - Vivo - Allegro Vivo ? on the last measures of the Clarinet Solo - Meno Mosso - Allegro Vivo ? for the final It also features a Clarinet solo starting at the number 11. Eugene Bozza won different prizes at the Conservatoire de Paris such as the First Prize for the Violin, conducting and composition, as well as the Grand Prix de Rome. He composed several operas, chamber works and ballets among others..
SKU: FG.55011-573-6
ISBN 9790550115736.
Kalevi Aho's (b. 1949) Clarinet concerto (2005) has five movements played without pause. The beginning Tempestoso is dramatic and powerful, but there is also a beautiful, slow middle section. The second movement consists of a virtuosic solo cadenza, which is dominated by mysterious tremolos on the clarinet.The cadenza leads to Vivace, con brio, which is the central climax of the concerto and the most virtuosic movement both for the orchestra and the soloist. Then follows the slow, melancholic and lyrical fourth movement Adagio molto. The Epilogue is slow, too; the atmosphere of the last movement is unreal, mysterious. The solo part at the end consists largely of broken, multiphonic clarinet sounds before the concerto fades out into a silence. The orchestral study score (ISMN 9790550096332) is available for sale and the orchestral material for hire.
SKU: HL.50601093
ISBN 9790080150610. UPC: 888680739355. 9.0x12.0x0.063 inches. Claude Debussy; Zoltan Kocsis.
Zoltán Kocsis was not just a phenomenal pianist. He is mourned also as a musical polymath, whose genius embraced the activities of a composer, conductor, editor, and not least instrumentalist and arranger. In the last capacity, he added some 150 works to the symphonic, chamber, song and piano repertoires. He gladly adapted music of the turn of the 20th century, as appears from his transcriptions of Richard Strauss, Ravel, Rachmaninoff, Enescu, and above all Debussy. (Many of these are distributed by Editio Musica Budapest.) This arrangement pinpoints superbly the sensitive, almost ingratiating tunefulness of the Waltz, adding to the clarinetist's repertoire a piece that plays well and is rewarding to perform.
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