A Tchaikovsky Collection. Par TCHAIKOVSKI PIOTR ILITCH. Cette collection présente parfois des mélodies de toute la gamme et comprend des passages qui clarinettists trouverez dans certaines parties de clarinette orchestrale de Tchaïkovski. Les pièces doivent être traités comme des duos pour clarinette et Piano, avec les joueurs écouter attentivement. Arrangé par Thea King et Alan Frank. Comprend les scores et la partie. / Rép Classique / Répertoire / Clarinette

Par STAMITZ CARL. Clarinette Solo - 0. 2. 0. 0 - 2. 0. 0. 0 - Strings - Durée: 18 / oeuvre solo et Orchestre / Répertoire / Parties Orchestrales

This superb 2CD collection of 42 all-time favorite classical pieces features performances by the world's leading soloists and orchestras, including the Royal Philharmonic Orchestra and the National Philharmonic Orchestra. The audio CDs are accompanied by a specially produced book containing the same pieces for intermediate solo piano. / Piano

Piano Reduction including solo part. Par DENISOV EDISON. 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 the composer. 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 sonic effects. 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)/ Répertoire / Saxophone Alto et Piano

Par MOZART WOLFGANG AMADEUS. W. A. Mozart: Complete String Quintets With The Horn And Clarinet Quintets is a single volume study score containing all of Mozart 's standard instrumentation string quintets, from the Quintet in B-flat, K. 174 to the imposing Quintet in C, K. 515. Also included are the String Quintet in C Minor, K. 406; Quintet with Horn or Second Cello, K. 407; and Clarinet Quintet, K. 581./ Répertoire / Musique de Chambre

6 Pieces for beginner string orchestra/quartet. Violin 3 and Viola part are interchangeable / Ensemble A Cordes

for Strings and Clarinet Quintet. Par BRAHMS JOHANNES. Two sextets (Opp. 18, 36) two quintets (Opp. 88, 111, 116) and two quartets (Opp. 61, 67). Two sextets (Opp. 18, 36) two quintets (Opp. 88, 111, 116) and two quartets (Opp. 61, 67)./ Répertoire / Musique de Chambre

Composition de Harald Genzmer ' Divertimento di danza ' pour orchestre à cordes continue clairement la forme baroque de la divertimento. Cette musique ' light ' - dans le vrai sens du mot - consistait en une séquence de mouvements lâches avec les formes libres et les mouvements de danse alternat-ing successivement variées. Le divertimento composé de cinq à six mouvements. Genzmer gardé à tous ces faits, mais il introduit la nouvelle vie dans les formes anciennes. Bien qu'il n'a pas composé 'dans l'ancien style', il respecte certaines règles de la forme traditionnelle. / Orchestre A Cordes

Composition de Harald Genzmer ' Divertimento di danza ' pour orchestre à cordes continue clairement la forme baroque de la divertimento. Cette musique ' light ' - dans le vrai sens du mot - consistait en une séquence de mouvements lâches avec les formes libres et les mouvements de danse alternat-ing successivement variées. Le divertimento composé de cinq à six mouvements. Genzmer gardé à tous ces faits, mais il introduit la nouvelle vie dans les formes anciennes. Bien qu'il n'a pas composé 'dans l'ancien style', il respecte certaines règles de la forme traditionnelle. Les mouvements : Ouverture - Allegro (Fugato) - Adagio - Presto (sur une danse de l'ancien français) - Finale (sur un mouvement de danse anglais) / Orchestre A Cordes

Hungarian Rondo was composed by Zoltán Kodály in December 1917, drawing on material from the incidental music he had written for Zsigmond Móriczs play Pacsirtaszó (Skylarking). The rondo form is shaped out of four new-style Hungarian folk songs and an instrumental dance melody. Kodály prepared the piece in two somewhat different versions, one for two clarinets, two bassoons and string orchestra, and the other for cello and piano. The orchestral version received its first performance in Vienna on 12 January 1918 at a 'historical concert' organized by the War Ministry of the Austro-Hungarian Monarchy. The cello version was premi?red by Miklós Zsámboky and Ottó Herz at the Budapest Academy of Music on 4 November 1927. Neither version appeared in print in the composers lifetime. The version for string orchestra was edited in 1976 by Ferenc Farkas and István Máriássy (and is distributed as a hire material under the order number K-1). The cello version appears here in print for the first time. The publication is based on the composers surviving manuscript and a contemporary manuscript copy of this. The fingerings are by the editor. / Violoncelle Et Piano