SKU: PR.11641737S
ISBN 9781491136133. UPC: 680160688432.
Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
SKU: PR.114424380
ISBN 9781491138076. UPC: 680160693467. 18 x 12 inches.
If you love playing Eric Ewazen’s flute sonatas or horn chamber music, or if you are fan of Brahms’s chamber music, then this exhilarating work is for you! Among Ewazen’s most performed works, the TRIO, inspired by the Brahms horn trio and originally for Violin, Horn, and Piano, has been adapted by the composer for Flute, Horn, and Piano. With a rollicking scherzo and beautiful melodic movements, this 21-minute work is a joy to play and to listen to.I’ve always been fascinated and inspired by chamber works offering several instrumental versions of the same piece, resulting in a new feel and color. One famous example is the great Franck Sonata, originally for violin and piano, and beautifully arranged for flute and piano by Jean-PIerre Rampal. Subsequently other versions of the piece were created for an array of instruments: cello, oboe, clarinet, saxophone, and even tuba! Creating this flute version of my TRIO (flute replacing the original violin part), considered the range, allowing the flute to sometimes sing in a bright, higher register than the original violin part; passages where there were double stops in the violin now have arpeggiated figurations. The original scoring for Horn, Violin, and Piano was commissioned by and gratefully dedicated to Chamberosity, representing an homage to one of my favorite chamber pieces of all time, the Trio for Horn, Violin, and Piano by Brahms. Having both performed (on piano) and analyzed that work, I so loved Brahms’ wonderful weaving of the colors of the instruments, creating an almost orchestral color palette. For years I wanted to write a trio for the same combination, and when my friends in Chamberosity were enthusiastic about me writing that piece for them, I was delighted. The four movements are modeled after the Brahms, with a slow-fast-slow-fast scheme to the entire work. A gentle, somewhat mysterious first movement accumulates depth and momentum as it proceeds, only to return to the gentle world of the opening. The second movement is a rip-roaring scherzo, a true energetic dance with melodies tossed back and forth from the violin to the horn, while the piano provides a resonant accompaniment, inserting its own lively melodies as counterpoint to the violin and horn. The third movement is filled with melancholy, with long lyric melodies appearing sometimes as solos, sometimes as duets, and sometimes as a chorale with all three instruments singing their soulful songs. The final movement, following an austere, dramatic introduction, turns into a grand fugue, with a jumping fugue theme full of life and excitement, culminating in the themes heard in augmentation, strong and bold.
SKU: PR.144405710
UPC: 680160609918.
Martin reflects on the sonata form, crafting his eighth quartet of familiar aspects - the second movement as variations, with the third as a variation of the first. Through this vehicle, his use of atonal and post-tonal writing is more approachable to classical listeners. For advanced performers. Duration: 16'.
SKU: PR.14440571S
UPC: 680160609932.
SKU: CY.CC3063
ISBN 9790530110386. 8.5 x 11 in inches.
The Five Divertimenti K. 439b consists of 25 pieces originally scored for two clarinets or basset horns and bassoon. It is assumed that Mozart wrote these works for the Stadler brothers, Anton (famous for the Clarinet Concerto) and Johann. Originally scored in C major (Mr. Sauer has arranged them in keys that are more suitable for the Trombone), the 25 pieces were grouped into five movements each. The styles of the movements include Sonata-allegro, Minuet and Trio, Larghetto, Adagio, Rondo and even a Polonaise. This collection of the Five Divertimenti is an immense amount (about 45 minutes total) of very entertaining music, all beautifully arranged by Ralph Sauer for three advanced Trombonists.
SKU: CY.CC3070
ISBN 9790530110478. 8.5 x 11 in inches.
The Five Divertimenti K. 439b consists of 25 pieces originally scored for two clarinets or basset horns and bassoon. It is assumed that Mozart wrote these works for the Stadler brothers, Anton (famous for the Clarinet Concerto) and Johann. Originally scored in C major (Mr. Sauer has arranged them in keys that are more suitable for the Euphonium), the 25 pieces were grouped into five movements each. The styles of the movements include Sonata-allegro, Minuet and Trio, Larghetto, Adagio, Rondo and even a Polonaise. This collection of the Five Divertimenti is an immense amount (about 45 minutes and 120 pages total) of very entertaining music, all beautifully arranged by Ralph Sauer for three advanced performers. The third part may be performed on the Tuba.
SKU: PR.416416190
UPC: 680160642823. 9 x 12 inches.
Pittsburgh Symphony Orchestra violist Randolph Kelly had premiered Adler's Viola Concerto in 2000, but the orchestra's artistic management preferred that he not perform a contemporary work for his next solo appearance. With that guideline, Kelly contacted Adler, the master of orchestration, to arrange the Brahms Sonata in F minor, Opus 120 for viola and orchestra. In this new setting, The piece promises to bring the lush romantic strains of the famous sonata to a larger audience without upsetting the purists. (Andrew Druckenbrod, Pittsburgh Post-Gazette Classical Music Critic).
SKU: PR.41641619L
UPC: 680160642830. 11 x 14 inches.
SKU: CN.S11242
Scenes from an English Landscape is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end of the work, both versions of the theme are stated together to bring the piece to a triumphant climax.This is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. I imagined a community of villagers coming out of church and filling a village square with their vibrant presence. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end o the work, both versions of the theme are stated together to bring the piece to a triumphant climax. Adam Gorb was born in Cardiff and started composing at the age of ten. His first work broadcast on national radio was written when he was fifteen. He studied at Cambridge University (1977-1980) and the Royal Academy of Music (1991-1993) where he graduated with the highest honours including the Principal's Prize. He has been on the staff at the London College of Music and Media, the junior Academy of the Royal Academy of Music and, since 2000 he has been the Head of School of Composition at the Royal Northern College of Music in Manchester . International recognition came in 1994 with the US Walter Beeler Prize for his work Metropolis . With it began what has developed into probably the most important wind ensemble catalogue by a contemporary composer, ranging from extremely challenging to the most accessible, at all technical levels, seized on by players internationally, widely recorded and now absolutely central to the world's wind repertoire. Equally important though are his works for dance, and concert pieces like the chamber orchestral Weimar , the Violin Sonata , a Clarinet Concerto for the Royal Liverpool Philharmonic Orchestra and Diaspora for strings (for the Goldberg Ensemble). Deceptively mainstream at first glance, they display the same inventive brilliance, pulsating sound world, striking use of rhythm and an undogmatic absence of stylistic hang-ups to embrace jazz and serialism in works where power, poetry, irony and pathos, often underlaid by a theatrical and deeply subversive element, coalesce in an integrated, highly individual musical voice. Gorb is also not afraid to draw on the vivid musical heritage of his Jewish roots, sometimes directly, often in a more subsumed or radically creative way. The crucial and consistent feature of Gorb's work though is that it communicates strongly without patronizing players or audiences. He firmly believes that if contemporary music - any music - does not impact on listeners then its message is irrelevant; it is lost.
SKU: HL.48013855
UPC: 073999138559. 9.0x12.0x0.022 inches.
SKU: SU.29130220
CF 24.Third Purgatory Sonata, After Dante Purgatory Canto 27. Italian title Ma per quel poco.English Horn, Clarinet, Bassoon, Horn, Harp, Violin, Viola & Contrabass Duration: 4' Composed: 1988 Published by: Christopher Fulkerson.
SKU: PR.UE038019
ISBN 9783702475895. UPC: 803452073000.
This Paert piano trio (UE030456) was written as a memorial to a violinist friend who had a special affinity for Mozart's works. Paert chose the deeply expressive Adagio movement from Mozart's Piano Sonata K.280 and layered string voices throughout in a sublime pairing of 18th and 20th century voices. The present edition substitutes a clarinet for the violin part.
SKU: CN.S11190
In 1969 I was teaching music at Cranleigh School in Surrey. I was asked to write a work for the orchestra and produced a four-movement piece entitled Concerto for School Orchestra. I have now reworked the music for wind band and re-titled it Perchance to Dream. the piece has a slow introduction followed by a loose sonata form movement in which the introductory material is reintroduced.
SKU: CN.R10190
SKU: HL.14010774
Trio (Op. 10) was composed c.1940 and first published in 1943. It is scored for Clarinet, Cello, and Piano. One of Frankel's earliest works, it is light and pleasing, showing how the composer was first influenced by jazz and classical chamber music before he later turned to larger symphonic works and started experimenting with serialism.
Benjamin Frankel (1906-1973) was a British composer and musician. He is best remembered for writing over one hundred film and television scores, including The Man In The White Suit and The Battle Of The Bulge, but he also wrote eight symphonies and many smaller works such as his ViolinSonata and Concerto, which were written for Max Rostal.
SKU: HL.50601598
8.0x11.75 inches.
The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996.In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from thecomposer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development,recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with soniceffects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova).
SKU: FT.FM874
ISBN 9790570487738. 21 x 30 cm inches.
About two years ago I was asked if I could write a companion piece to the Poulenc Trio for a group of concerts to be given by the Opera North Trio. Given the short notice (a matter of weeks!) I decided to take these three dance movements (two from my sonata for bass clarinet and piano, and one from my sonata for viola and piano) and arrange them for oboe, bassoon and piano. (With the Meltemi Ensemble in mind I also made a version with flute as an alternative to oboe.) Each dance is a sketch portraying a different 'Movie' genre; The black and white comedy of the silent era in the Foxtrot. Memories of Charlie Chaplain and Buster Keaton. The darkness of 'Film Noir' in the seductive Tango. (Humphry Bogart and Lauren Bacall). Finally, a lavish set; put on your top hat and tails, your beautiful dress, and dance before a huge studio orchestra!
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