SKU: OU.9780193412545

ISBN 9780193412545. 12 x 8 inches.

for counter-tenor, clarinet in A, and 16-part SATB choir
The piece sets extracts from the philosopher Ludwig Wittgenstein's Tractatus Logico-Philosophicus, and is made up of six choral movements, including a substantial solo role for countertenor. Between these movements come five interludes for solo clarinet. Wittgenstein himself played the instrument, so here is a different projection of aspects of the philosopher. The countertenor's part may be sung in English or German.

SKU: HL.48186484

UPC: 888680828844. 9x12 inches.

“English Horn (or flute or clarinet or alto), Violin & Cello Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri's Lyric Interlude: 'A Study in Pastoral Style'. When, in 2008, the composer received the commission for a piece with English horn from Cecilia Benner, patron of the Chamber Music Society of Detroit, he immediately thought of the duo between this instrument and the oboe that Berlioz, in the Symphonie fantastique, placed at the beginning of the 'Scène aux champs', making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 at one of the Scarab Club Concerts in Detroit, the Lyric Interlude for English horn, violin and cello (Op.110a) nonetheless proclaims another tradition: that of British pastoralism, illustrated by the music of Ralph Vaughan Williams (1872-1958), the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint, the undulating lament of the beginning, rhythmically supple, evokes the waving wheat, as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion, briefly interrupted by a scherzo in 6/8, again pours out, making the work evolve towards a slow, ecstatic atmosphere, close to the last of the English composer's Three Preludes on Welsh Hymn Tunes. Far from bucolic, postcard clichés and servile imitation, this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English horn (or flute, clarinet, or viola) and piano, Op.110b (AL 30 750)&rdquo.

SKU: HL.326717

ISBN 9781540080790. UPC: 888680988357. 11.0x14.0x0.436 inches.

The FANFARE was commissioned and premiered by the Washington Festival Orchestra in 1978. Other orchestras which performed the FANFARE requested additional movements, resulting in the addition of the INTERLUDE and FINALE a few years later, premiered by the Twin Cities Symphony in 1983. This short fanfare has a lively theme in mixed meters (often juxtaposing 2/2 and 3/8) with a slow middle section which leads back to a return of the theme. FANFARE, INTERLUDE AND FINALE was the first orchestral work composed by Gwyneth Walker after her years of conservatory training, and a spirit of freshness and enthusiasm of a composer starting her professional career can be heard in her approach.

SKU: HH.HH005-FSC

ISBN 9790708024101.

Sparingly scored, these miniatures are full of surprise and delight. The work consists of nine short sections played continuously. In Mixture 1 Incantation, linear counterpoint for high woodwind and low strings is interspersed by distinctive brass figures and percussion motives. A brief Solo for double bass leads into Interlude 1 where harmonic writing is broken by short woodwind fragments before Duet where a simple rhythmic cell is developed by the brass instruments. Mixture 2 Exultation alternate block chords with active rhythmic activity. The Trio for flute, clarinet and percussion is followed by Interlude 2 where woodwind and string counterpoint is interrupted by static chords. After a short Quartet for trumpet and strings, Mixture 3 Apotheosis combines the techniques of the earlier movements. An original and rewarding work.

SKU: HH.HH005-IPT

ISBN 9790708024705.

Sparingly scored, these miniatures are full of surprise and delight. The work consists of nine short sections played continuously. In Mixture 1 Incantation, linear counterpoint for high woodwind and low strings is interspersed by distinctive brass figures and percussion motives. A brief Solo for double bass leads into Interlude 1 where harmonic writing is broken by short woodwind fragments before Duet where a simple rhythmic cell is developed by the brass instruments. Mixture 2 Exultation alternate block chords with active rhythmic activity. The Trio for flute, clarinet and percussion is followed by Interlude 2 where woodwind and string counterpoint is interrupted by static chords. After a short Quartet for trumpet and strings, Mixture 3 Apotheosis combines the techniques of the earlier movements. An original and rewarding work.

SKU: HL.14040592

French.

Parts. 4 English Horns, 4 Trumpets, 3 Trombones, Tuba and Timbale.

SKU: HL.48186632

Jean-Maurice Mourat: Interlude (Guitar solo).

SKU: HL.48188142

UPC: 888680847319. 7.0x10.5x0.206 inches.

Pinchard Interlude Pour L'odyssee Cpj11 Score/Parts.

SKU: CF.FAS110F

ISBN 9781491151785. UPC: 680160909285. 9 x 12 inches.

Featuring long phrases in a slow tempo, Interlude Nightfall is a?perfect composition to teach musicianship with young students using dramatic harmonies. Yukiko Nishimura's musical imagery provides a great opportunity for string orchestras to showcase their musical phrasing and expression.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like risoluto. The second section from m. 29 is a kind of chorale, so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like arisoluto.a The second section from m. 29 is a kind of achorale,a so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like arisoluto.a The second section from m. 29 is a kind of achorale,a so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like risoluto. The second section from m. 29 is a kind of chorale, so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well.This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like “risoluto.” The second section from m. 29 is a kind of “chorale,” so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion.Please enjoy the thick harmonies.