SKU: PR.164002120

UPC: 680160037582.

Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings.   When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements.   The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence.   The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep.   The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes.   Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher.

SKU: HL.48187573

UPC: 888680840723. 9.0x12.5x0.178 inches.

“Bohuslav Martin? (1890-1959) was a prolific Czech composer, writing many large scale works. The composer moved to Paris in 1923 where he began experimenting in a variety of composition styles. His String Trio was published in 1951. Martin? himself was a violinist and many of his experiments in composing for solo instruments and small ensembles saw him write for his own instrument and for the familiar strings. String Trio is made up of two movements; 1) Allegro and 2) Poco moderato. With a typical performance lasting about 15 and a half minutes, the String Trio for Violin, Viola and Cello provides advanced string players with an exciting, challenging and inspiring ensemble work, addressing a variety of musical features. Martin?'s String Trio is essential to aspiring string ensembles.”.

SKU: BT.GOB-000258-010

Les Marteaux de La Marine was composed in 1999 as a commission by the Marine Band of the Royal Netherlands Navy.

The composition contains three static elements which interchange. Static in this case means that development of the material isnot pursued (by the composer).
The first element with which the piece begins is tranquil and colourful. The second element is sharp and incisive, while the third expresses energy. In all elements a repeated tone is the starting point whichexplains the hammers in the works title.The instrumentation is richly variegated with a harp also determining the palette of colours in the slower movements.

The composition opens with an atmospheric Larghetto containing fine harmonies in thesoft and subtly moving wood-winds. The introduction breathes an impressionistic atmosphere in which expressive cantilenas and soloistic agile motifs stand out. A strong setting is followed by an Allegro virtuoso containing fast motifs contrasted withshort and rhythmic stars of the various instrumental sections. Trumpets and horns add a virtuoso bugle-call motif.
After a short stringendosection, the transparent Larghetto returns with a varied setting of the opening elements. The beautifulleading roles in this section are reserved for cornet (trumpet) and horn. Subsequently, the flashing Vivo starts with continuous movements in triplets from both wood-winds and brass. Next, the opening Allegro re-appears once again and thus LesMarteaux de la Marine ends with a fast and virtuoso climax.

Les Marteaux de La Marine was selected as a compulsory grade 6 contest piece for symphonic bands in the Netherlands.

Les marteaux de la marine werd in 1999 gecomponeerd in opdracht van de Marinierskapel van de Koninklijke Marine.

De compositie kent drie statische elementen, elkaar afwisselend. Statisch wil in dit geval zeggen dat er geen ontwikkeling vanhet materiaal wordt nagestreefd.
Het eerste element waarmee het stuk begint is rustig en kleurrijk. Het tweede element is vinnig en scherp terwijl het derde energie verbeeldt. In alle elementen is de herhaalde toon het uigangspunt waarmee dehamers (martaux) verklaard kunnen worden. De instrumentatie is rijk geschakeerd waarbij in de langzame gedeelten een harp medebepalend is voor het kleurenpalet.

De compositie vangt aan met een sfeervol Larghetto met fraaie harmonieën in hetzachte, subtiel bewegende, houtregister. De inleiding ademt een impressionistische sfeer uit, waarbij expressieve cantilenes en solistische beweeglijke motieven naar voren komen.
Dan volgt een virtuoos Allegro met snelle motieven afgezet doorkorte, ritmische inzetten van de diverse instrumentengroepen. De trompetten en hoorns voegen een virtuoos signaalmotief toe. Na en kort stringendo-gedeelte keert het transparante Larghetto terug met een gevarieerde zetting van de beginelementen. Decornet (trompet) en hoorn vervullen in dit gedeelte een fraaie hoofdrol. Vervolgens zet het flitsende Vivo in met voortdurende trioolbewegingen in zowel hout als koper. Vervolgens duikt het Allegro van het begin nog op en Les marteaux de la marinebesluit met een snelle en virtuoze climax.

Gobelin Music Publications.

SKU: BT.9781408114612

ISBN 9781408114612. English.

Now in a third edition, Abracadabra Violin has a fresh and contemporary new look and is the perfect book for pupil and teacher.

This title offers an identical selection of repertoire to the other books in theAbracadabra Strings series, so they can be used in any combination for group or whole class lessons and mixed ensemble performances. Used alone, they remain ideal for individual tuition.

With tunes you know and want toplay, carefully graded in 20 learning steps, this new edition of the popular tutor also includes duets, trios and teacher's parts. Clear fingering and bowing diagrams and concise theory explanations help to teach thefundamentalsof the instrument, and each new technical aspect is reinforced by several pieces using that particular technique.

Abracadabra Violin now also includes two CDs of performance and backing tracks, featuringselected orchestral backings.