| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
C Instruments [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.
(14)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Easy Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.
(8)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Little Classical Fake Book - 2nd Edition Piano solo - Intermediate Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard
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| Jumbo Easy Piano Songbook Easy Piano [Sheet music] - Easy Hal Leonard
200 Songs for All Occasions. Easy Piano Songbook (Easy arrangements for piano an...(+)
200 Songs for All Occasions. Easy Piano Songbook (Easy arrangements for piano and voice). Size 9x12 inches. 514 pages. Published by Hal Leonard.
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| The Rite of Spring Clarinet and Piano Carl Fischer
(Movements I and II Arranged for Clarinet in Bb and Piano). Composed by Igor Fyo...(+)
(Movements I and II Arranged for Clarinet in Bb and Piano). Composed by Igor Fyodorovich Stravinsky. Arranged by David Dutkanicz. For Bb clarinet, piano. 8 2 pages. Duration 7 minutes. Published by Carl Fischer
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| Christmas Duets For All (e-flat Alto Saxophone E-flat Saxes And E-flat Clarinets) Saxophone, Clarinet (duet) [Sheet music] Alfred Publishing
Christmas Duets for All (Holiday Songs from Around the World) (Alto Saxophone (E...(+)
Christmas Duets for All (Holiday Songs from Around the World) (Alto Saxophone (E-Flat Saxes and E-Flat Clarinets)). Arranged by William Ryden. For Alto Saxophone (E-Flat Saxes and E-Flat Clarinets). Duet or Duo; Mixed Instruments - Flexible Instrumentation. Christmas; Winter. Book. 24 pages. Published by Alfred Music Publishing
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| Ultimate Movie Instrumental Solos Clarinet [Sheet music + CD] - Intermediate Alfred Publishing
(Clarinet). For Clarinet. Book; CD; Instrumental Series; Play-Along. Ultimate Po...(+)
(Clarinet). For Clarinet. Book; CD; Instrumental Series; Play-Along. Ultimate Pop Instrumental Solos Series. Movie. Grade 2; Grade 3. 84 pages. Published by Alfred Music Publishing
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sleep, My Child [Score] - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2.5 SKU: CF.YAS186F Shlof, Mayn Kind. Composed by Larry Clark. Young String Orchestra (YAS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS186F. Published by Carl Fischer Music (CF.YAS186F). ISBN 9781491151884. UPC: 680160909384. 9 x 12 inches. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a violin solo on the song. It them develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest-conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness, so a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57 as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say, Everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $8.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sleep, My Child - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2.5 SKU: CF.YAS186 Shlof, Mayn Kind. Composed by Larry Clark. Young String Orchestra (YAS). Set of Score and Parts. With Standard notation. 8+5+2+8+5+5+3+12 pages. Duration 2018. Carl Fischer Music #YAS186. Published by Carl Fischer Music (CF.YAS186). ISBN 9781491151518. UPC: 680160909018. 9 x 12 inches. Key: D minor. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a violin solo on the song. It them develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest-conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness, so a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57 as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say, Everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Touch of Dreams Theodore Presser Co.
Chamber Music Clarinet, Piano, tenor voice SKU: PR.111402220 Composed by ...(+)
Chamber Music Clarinet, Piano, tenor voice SKU: PR.111402220 Composed by Martin Kennedy. Arranged by Sandburg. Text by Carl Sandburg. Set of Score and Parts. With Standard notation. 20+8 pages. Duration 10 minutes. Theodore Presser Company #111-40222. Published by Theodore Presser Company (PR.111402220). UPC: 680160605675. Letter inches. Text: Carl Sandburg. Carl Sandburg. Text by Carl Sandburg. Kennedy sets five Carl Sandburg poems effectively for voice, clarinet, and piano. For a 2006 performance, Kennedy wrote, Touch of Dreams is cyclical in design, with motifs recurring throughout the work. Most notably, a lullaby theme that is heard in the first song, I Sang, returns frequently throughout the piece to reinforce the 'nighttime story' theme of the poems. For advanced performers. Duration: c. 10'. $29.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Touch Of Dreams - 1 Score [Score] Theodore Presser Co.
Chamber Music Clarinet, Piano, tenor voice SKU: PR.11140222S Composed by ...(+)
Chamber Music Clarinet, Piano, tenor voice SKU: PR.11140222S Composed by Martin Kennedy. Text by Carl Sandburg. Score. With Standard notation. 20 pages. Duration 10 minutes. Theodore Presser Company #111-40222S. Published by Theodore Presser Company (PR.11140222S). UPC: 680160605606. 8.5 x 11 inches. Text by Carl Sandburg. Kennedy sets five Carl Sandburg poems effectively for voice, clarinet, and piano. For a 2006 performance, Kennedy wrote, Touch of Dreams is cyclical in design, with motifs recurring throughout the work. Most notably, a lullaby theme that is heard in the first song, I Sang, returns frequently throughout the piece to reinforce the 'nighttime story' theme of the poems. For advanced performers. Duration: c. 10'. $19.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Robert Burns Song Book Volume II Piano, Voice [Sheet music] - Intermediate Mel Bay
by Robert Burns; researched and arranged by Serge Hovey. For Vocal. songbook. Sc...(+)
by Robert Burns; researched and arranged by Serge Hovey. For Vocal. songbook. Scottish. Level: Intermediate. Book. Size 8.75x11.75. 240 pages. Published by Mel Bay Publications, Inc.
$34.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Comic Symphony Clarinet and Piano Potenza Music
Clarinet and piano SKU: P2.30093 Composed by Maurice Saylor. Solo music, ...(+)
Clarinet and piano SKU: P2.30093 Composed by Maurice Saylor. Solo music, 20th century. Published by Potenza Music (P2.30093). The titular confusion of this work came about in this way: the tunes first appeared in a 1991 musical I wrote based on Moliere's Le Malade Imaginaire (The Imaginary Invalid). Lacking faith in the musical but liking the tunes, I fashioned a few of them into the symphony - a comic symphony. Yet, it seemed to lack luster. When the opportunity came to write a work for my friend and fellow Snark Ensemble performer Ben Redwine, I decided what the material lacked was a solo voice. The tunes are still there, but now greatly elaborated and expanded upon. The final work is still very much a symphony - and no other title seems to suit it - but symphonies are generally for orchestra. Still, the size and the instrumentation for the form we call symphony have varied greatly over the years, so perhaps it's the nature of the music that makes it a symphony and not the scoring. $32.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Two German Songs Clifton Edition
Voice, Clarinet & Piano SKU: ST.C397 Composed by Franz Lachner. Chamber m...(+)
Voice, Clarinet & Piano SKU: ST.C397 Composed by Franz Lachner. Chamber music. Clifton Edition #C397. Published by Clifton Edition (ST.C397). ISBN 9790570813971. 1. Auf Flügeln des Gesanges (On Wings of Song)
The text is from Lyrisches Intermezzo of 1823 by Heinrich Heine (1797-1856) and tells of melody’s power to transport lovers to the most beautiful night garden, with bright and fragrant flowers, gazelles, a murmuring stream, and a palm tree, under which they can dream. It is well known in the setting by Mendelssohn, written in 1834.
2. Seit Ich Ihn Gesehen (Since I First Saw Him)
The text is from Adelbert von Chamisso’s set of poems Frauen-Liebe und Leben, most famously set by Schumann in 1840. A young girl cries that she has been blinded by the vision of a gentleman who has unknowingly lifted her from darkness. Overwhelmed by the new emotions of adoration and infatuation, she retreats into isolation.
This new edition supersedes the Nova Music publication of 1982 (NM249) and the European Archive edition (EMA119), originally edited by Georgina Dobrée, both now out of print. This edition is fully re-edited and includes the option of a second clarinet in place of the voice.
Voice, clarinet & piano (or two clarinets & piano) Former Spartan Press Cat. No.: NM249.
$19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Through Shadows I Can Hear Ancient Voices Clarinet, Orchestra [Score] Fennica Gehrman
Clarinet and orchestra SKU: FG.55011-133-2 Concerto for clarinet and o...(+)
Clarinet and orchestra SKU: FG.55011-133-2 Concerto for clarinet and orchestra. Composed by Kai Nieminen. Score. Published by Fennica Gehrman (FG.55011-133-2). ISBN 979-0-55011-133-2. The Clarinet Concerto immerses the listener in the dream-like world of Nieminen's music. From the very first bars the soloist is like a snake-charmer hypnotising all around. $92.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Phaedrus Violin and Piano Theodore Presser Co.
Chamber Music Clarinet, Piano, Violin SKU: PR.164002390 Composed by Dan W...(+)
Chamber Music Clarinet, Piano, Violin SKU: PR.164002390 Composed by Dan Welcher. Set of Score and Parts. With Standard notation. Composed 1995. 26+14+14 pages. Duration 14 minutes. Theodore Presser Company #164-00239. Published by Theodore Presser Company (PR.164002390). UPC: 680160038091. I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration. $85.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Classical Music Fake Book
C Instruments [Fake Book] Music Sales
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque and Classical Period. Fake book (softcover). With melody line (no accompaniment included) and chord names. 128 pages. Music Sales #AM92350. Published by Music Sales
(7)$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| A Letter to Santa Concert band [Score] - Beginner FJH
Concert Band Concert Band - Grade 1; Grade 1.5 SKU: FJ.B1724S Score On...(+)
Concert Band Concert Band - Grade 1; Grade 1.5 SKU: FJ.B1724S Score Only. Composed by Traditional. Arranged by Timothy Loest. Concert Band. FJH Beginning Band. Christmas; Holiday Pops. Score. Duration 4:00. The FJH Music Company Inc #98-B1724S. Published by The FJH Music Company Inc (FJ.B1724S). English. This magical work for student narrator(s) and band brings to life the centuries old tradition of writing a letter to Santa. Beginning with Jolly Old St. Nicholas and ending with We Wish You a Merry Christmas, each gift request is followed by a delightfully arranged carol including Ring Little Bells, Jingle Bells, I Saw Three Ships, Silent Night, O Christmas Tree, I Have a Little Dreidel, and Auld Lang Syne. An adorable yuletide gem destined to be the hit of your next holiday program! About FJH Beginning Band Appropriate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1. $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Letter to Santa Concert band - Beginner FJH
Concert Band Concert Band - Grade 1; Grade 1.5 SKU: FJ.B1724 Composed by ...(+)
Concert Band Concert Band - Grade 1; Grade 1.5 SKU: FJ.B1724 Composed by Traditional. Arranged by Timothy Loest. Concert Band. FJH Beginning Band. Christmas; Holiday Pops. Score and Part(s). Duration 4:00. The FJH Music Company Inc #98-B1724. Published by The FJH Music Company Inc (FJ.B1724). UPC: 241444386118. English. This magical work for student narrator(s) and band brings to life the centuries old tradition of writing a letter to Santa. Beginning with Jolly Old St. Nicholas and ending with We Wish You a Merry Christmas, each gift request is followed by a delightfully arranged carol including Ring Little Bells, Jingle Bells, I Saw Three Ships, Silent Night, O Christmas Tree, I Have a Little Dreidel, and Auld Lang Syne. An adorable yuletide gem destined to be the hit of your next holiday program! About FJH Beginning Band Appropriate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spirit Theodore Presser Co.
Chamber Music Clarinet SKU: PR.114419200 For solo Bb Clarinet. Com...(+)
Chamber Music Clarinet SKU: PR.114419200 For solo Bb Clarinet. Composed by Shulamit Ran. Solo part. With Standard notation. 8 pages. Duration 7 minutes. Theodore Presser Company #114-41920. Published by Theodore Presser Company (PR.114419200). ISBN 9781491114223. UPC: 680160671731. 9 x 12 inches. Spirit was composed in memory of the renowned clarinetist Laura Flax. Laura commissioned Ran’s first solo clarinet work, For an Actor: Monologue for Clarinet, to premiere with the Da Capo Chamber Players in 1978. Ran returned to the clarinet in many compositions over the years, sometimes as a lead instrument and at other times as an important voice, yet always inspired by Laura’s rich sound, blazing technique, and the “brain and guts†that she brought to her playing. As a memorial, Spirit is not about absence, but rather a celebration displaying a wide range of emotions, with at least a tiny glimpse of Laura’s brilliant spirit and spiritedness. Only in the work’s final stretch does the sense of parting and loss take over. SPIRIT was composed in memory of Laura Flax (1952-2017), the renowned New York-based clarinetist and my cherished friend. Our musical and personal association began in 1977 when Laura invited me to compose a solo clarinet work, For an Actor: Monologue for Clarinet, in memory of her mother, Hazel Flax, whom I had known.After composing For an Actor for Laura I came back to the clarinet in many of my compositions over the years, sometimes as a lead instrument and at other times as an important voice. In all of my clarinet music Laura is present. The rich sound, blazing technique, the “brain and guts†that she brought to her playing, and her remarkable person, have inspired me in so many ways during the four decades of our friendship, and beyond.I did not want Spirit to be about absence, though. I wanted the piece to exhibit a wider range of emotions, as well as capture at least a tiny glimpse of Laura’s brilliant spirit and spiritedness. Only in the work’s final stretch does the sense of “parting,†and of loss, take over.Upon completing Spirit on October 21, 2017 I found myself compelled to add at the bottom of the score the words “To Laura, always in my heart,†as though in an effort to reach out, for a brief moment, and touch the unreachable.—Shulamit Ran. $9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Joy Of Organ Music Organ Yorktown Music Press
Joy Of. Book Only. 80 pages. Yorktown Music Press #YK21095. Published by Yor...(+)
Joy Of. Book Only. 80 pages.
Yorktown Music Press #YK21095.
Published by Yorktown Music
Press
$18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Abgang and Kaddish Quartet Merion Music
Chamber Music Cello, Clarinet, Piano, Violin SKU: PR.144407280 Composed b...(+)
Chamber Music Cello, Clarinet, Piano, Violin SKU: PR.144407280 Composed by Ellen Taaffe Zwilich. Set of Score and Parts. 20+8+8+8 pages. Duration 12 minutes. Merion Music #144-40728. Published by Merion Music (PR.144407280). ISBN 9781491136607. UPC: 680160680047. Faced with the same instrumentation as Messiaen’s iconic Quartet for the End of Time, composed in a POW camp during World War II, Ellen Taaffe Zwilich was moved to give voice to those less fortunate prisoners who would never return home. Zwilich’s chilling memorial quotes music created in concentration camps, drawing on two short excerpts to create an artistic view of a death march and song of grieving. The German word “Abgang†has an innocent meaning of “exit,†but the Nazis used it as a signal that concentration camp prisoners were there to be sent off and murdered.My first movement, Abgang, is based on two musical fragments. It begins with a quote of a Hebraic melody that Viktor Ullmann used as a basis for variations in his Piano Sonata No. 7 that he was working on while in Theresienstadt. Next is a short quote of a fox trot that was arranged by a composer (only identified by his prisoner-number) for performance in Auschwitz. What follows is a purely musical, but deeply personal exploration.After finishing the movement, I felt it necessary to add a second movement, Kaddish, which is a prayer recited in mourning, without a single mention of death, but celebrating God, peace, and life. The Kaddish appears in the score and parts in an English translation (along with some Aramaic). It is not meant to be spoken or sung, but to guide the performers in giving meaning to the musical phrases. $35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Flowersongs Version 2012 For Flute, Oboe And Clarinet Score [Score] Wilhelm Hansen
Flute, Clarinet and Oboe SKU: HL.14043012 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe SKU: HL.14043012 Composed by Hans Abrahamsen. Music Sales America. Classical. Softcover. Composed 2014. Edition Wilhelm Hansen #WH31940. Published by Edition Wilhelm Hansen (HL.14043012). ISBN 9788759829271. Hans Abrahamsen 's Flowersongs (2012 version) for Flute, Oboe and Clarinet. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word, but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen. $38.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Flowersongs Version 2012 For Flute, Oboe And Clarinet Parts [Set of Parts] Wilhelm Hansen
Flute, Clarinet and Oboe SKU: HL.14043011 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe SKU: HL.14043011 Composed by Hans Abrahamsen. Music Sales America. Classical. Softcover. Composed 2014. Edition Wilhelm Hansen #WH31940A. Published by Edition Wilhelm Hansen (HL.14043011). ISBN 9788759829288. 9.7x14.0x0.079 inches. Hans Abrahamsen 's Flowersongs (2012 version) for Flute, Oboe and Clarinet. Parts. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word, but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen. $50.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Les Hores: Dos poemes de S. Espriu for Voice and Clarinet [Score and Parts] Periferia Music
Voice and Clarinet SKU: AY.CM3202PM Composed by Joaquim Homs. Ensembles -...(+)
Voice and Clarinet SKU: AY.CM3202PM Composed by Joaquim Homs. Ensembles - Chamber Music. Score & Parts. Duration 3'30. Periferia Publishing #CM3202PM. Published by Periferia Publishing (AY.CM3202PM). ISBN 9790543574366. LES HORES Two songs for voice and clarinet about S. Espriu's poems)The 5th of January 1938, in the middle of the civil war, the excellent poet from Majorca Bartomeu Rossello- Porcel passed away in the Sanatorium of Brull (Osona) at the age of 24. His close friend Salvador Espriu was with him in his lasts days of life and expressed his awful experience in fifteen short poems under the title of Les hores, that were published in 1952. In 1955 I put music in two of them, Espera and Nova claror where only two melodic lines get crossed and composed, in a way that is similar to the exchange of sensations and feelings that express the poems. The music tends to suggest and to deepen in our spirit the emotive climate and the deep sadness that come from all the poems. The next year I composed five more songs of the same series for voice, flute, oboe and clarinet, and eventually in 1970, another six for voice and string quartet. The premiere of the last two series of songs took place in 1956 and 1974 respectively. The premier of the first series of 1955 took place the 21st of November 1988 by the Group L.I.M at the Contemporary Arts room of the Museum of Fine Arts of Bilbao within the framework of the Ninth Music Festival of the XXth Century. Joaquim Homs. $22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Idumea Choral SSAA [Octavo] Alliance Music Publications
Arranged by Richard Bjella. For SSAA choir, clarinet and violin. Octavo. Publish...(+)
Arranged by Richard Bjella. For SSAA choir, clarinet and violin. Octavo. Published by Alliance Music Publications
$2.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Freddie the Frog and the Jungle Jazz Shawnee Press
Choral (Performance/Accompanimen t CD) SKU: HL.35029507 A Musical Jazz...(+)
Choral (Performance/Accompaniment CD) SKU: HL.35029507 A Musical Jazz Adventure for Young Voices. Composed by Rosana Eckert and Sharon Burch. Musicals. Elementary, Jazz, Musicals. CD only. Published by Shawnee Press (HL.35029507). ISBN 9781480367708. UPC: 884088965310. 5x5 inches. Sharon Burch/Rosana Eckert. Freddie the Frog, Eli the Elephant, Babs Baboon and Micki Macaw join trumpet-playing elephants, trombone-sliding tigers, clarinet-playing monkeys and a flock of seagulls as they scat sing, swing and perform collective improvisation in this swingin' introduction to jazz. The musical includes five original songs and dialog with 26 speaking parts, along with unique “beginner band student” adaptations. The characters soon discover how embracing their differences creates the ultimate jungle jam! The enhanced Teacher Book/Singer CD-ROM includes piano accompaniments, dialog, detailed production guide, singer parts, and jazz combo charts. The Performance/Accompaniment jazz tracks feature The N'Awlins Gumbo Kings. In addition, there are recorded instrumental solos to scat sing along with, and tracks without recorded solos for scatting student-created phrases! Songs include: Jungle Jazz, We're the Best, Jungle Jam, I'm So Sorry My Friend, Let's Celebrate. 25 minutes. Suggested for Grades 2-5. $49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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