Arranged for Clarinet and String Quintet. Composed by Wolfgang Amadeus Mo...(+)
Arranged for Clarinet
and String Quintet.
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Arranged by
Michael Salamon and
Wilfried Gottwald.
Ensemble. Softcover.
Sikorski #SIK1746.
Published by Sikorski
(HL.50497680).
Orchestra SKU: HL.50480813 Parts. Composed by Antonio Vivaldi. Edi...(+)
Orchestra
SKU:
HL.50480813
Parts. Composed by
Antonio Vivaldi. Edited
by Angelo Ephrikian.
String. Classical. Set of
Parts. Composed 1989.
Ricordi #NR134910.
Published by Ricordi
(HL.50480813).
Concerto for Clarinet (Basset Clarinet) and Orchestra. Version for Basset Clarin...(+)
Concerto for Clarinet
(Basset Clarinet) and
Orchestra. Version for
Basset Clarinet. By
Wolfgang Amadeus Mozart.
Edited by Franz Giegling.
For Clarinet Solo, Flute
(2), Bassoon (2), Horn
(2), Strings. Score;
Urtext Edition. KV 622.
Duration 21'30".
Published by
Baerenreiter-Ausgaben
(German import). (BA4773
01)
(A Revolutionary Method for Beginning Musicians (B-Flat Bass Clarinet)). By Robe...(+)
(A Revolutionary Method
for Beginning Musicians
(B-Flat Bass Clarinet)).
By Robert Sheldon, Peter
Boonshaft, Dave Black,
and Bob Phillips. Concert
Band. For B-Flat Bass
Clarinet. Band Method;
Book; CD; DVD;
Method/Instruction. Sound
Innovations. Beginner. 48
pages
(A Revolutionary Method for Beginning Musicians (B-Flat Clarinet)). By Robert Sh...(+)
(A Revolutionary Method
for Beginning Musicians
(B-Flat Clarinet)). By
Robert Sheldon, Peter
Boonshaft, Dave Black,
and Bob Phillips. Concert
Band. For B-Flat
Clarinet. Band Method;
Book; CD; DVD;
Method/Instruction. Sound
Innovations. Beginner. 48
pages
(A Revolutionary Method for Early-Intermediate Musicians (B-Flat Clarinet)). By ...(+)
(A Revolutionary Method
for Early-Intermediate
Musicians (B-Flat
Clarinet)). By Robert
Sheldon, Peter Boonshaft,
Dave Black, and Bob
Phillips. Concert Band.
For B-Flat Clarinet. Band
Method; Book; CD; DVD;
Method/Instruction. Sound
Innovations. Early
Intermediate. 48 pages.
Published by Alfred Music
Publishing
Clarinet - Level 6 SKU: KU.OCT-10355_KLAR Composed by David Philip Hefti....(+)
Clarinet - Level 6
SKU:
KU.OCT-10355_KLAR
Composed by David Philip
Hefti. Edited by David
Philip Hefti. DIN-A4.
Staple Bound. Solo part.
28 pages. Duration 26
minutes. Edition
Kunzelmann
#OCT-10355_KLAR.
Published by Edition
Kunzelmann
(KU.OCT-10355_KLAR).
For Clarinet. Classical (orchestral). Includes a high-quality printed music scor...(+)
For Clarinet. Classical
(orchestral). Includes a
high-quality printed
music score and a compact
disc containing a
complete performance in
split-channel stereo,
with the soloist on the
right channel; and a
second performance in
full stereo minus the
soloist. Published by
Music Minus One.
By Arnold Schoenberg. For 4 (2 piccolo) 3 (english horn) 4 (e|,bass clarinet) 3 ...(+)
By Arnold Schoenberg. For
4 (2 piccolo) 3 (english
horn) 4 (e|,bass
clarinet) 3
(contrabassoon) 4331
timpani, percussion,
celesta, harp, strings.
Op.16.New Version reduced
for normal-sized
orchestra by the
composer. Duration 20'.
Published by C.F. Peters.
By Wolfgang Amadeus Mozart. Edited by Martin Schelhaas. Arranged by Timothy Brow...(+)
By Wolfgang Amadeus
Mozart. Edited by Martin
Schelhaas. Arranged by
Timothy Brown; Dennis
Brain. For Horn Solo,
Clarinet (B Flat) (2),
Bassoon (2), Strings.
Piano Reduction/Vocal
Score; Single Part;
Urtext Edition. KV 447.
Duration 15'. Published
by Baerenreiter-Ausgaben
(German import). (BA5312
90)
Chamber Music Clarinet, Flute, Piano SKU: PR.114417570 For Flute, Bb C...(+)
Chamber Music Clarinet,
Flute, Piano
SKU:
PR.114417570
For
Flute, Bb Clarinet, And
Piano. Composed by
Edvard Grieg. Arranged by
Michael Webster. Sws
each. See the program
notes on pages two and
three of the full score.
Set of Score and Parts.
With Standard notation.
Composed 2008. 40 8 8
pages. Duration 18
minutes. Theodore Presser
Company #114-41757.
Published by Theodore
Presser Company
(PR.114417570).
ISBN
9781491107867. UPC:
680160636013. 9x12
inches.
The famous
set of dances by Norway's
greatest composer were
written for piano duet.
Grieg later created a
piano solo version, but
refused to orchestrate
the set. After some study
of Grieg and his music,
Michael Webster has
arranged the four dances
for Flute, Clarinet, and
Piano in a faithful
setting, using the piano
duet version as a guide.
This lively Grieg classic
will be a welcome new
addition to performance
programs. For advanced
performers.______________
_________________________
Text from the scanned
back cover:Born in 1944,
MICHAEL WEBSTER made his
New York recital debut at
Town Hall in 1968 with
his eminent father,
Beveridge Webster, as
pianist. In the same
year, he won the Young
Concert Artists
International Competition
and succeeded his
teacher, Stanley Hasty,
as Principal Clarinet in
the Rochester
Philharmonic, a position
he held for twenty years.
Webster has performed
with the Chamber Music
Society of Lincoln
Center, the 92nd Street
Y, with the Tokyo,
Cleveland, Muir, Ying,
Enso, and Dover String
Quartets, and with the
festivals of Marlboro,
Santa Fe, Norfolk,
Chamber Music Northwest,
Angel Fire, Steamboat
Springs, Park City,
Sitka, Kapalua, Bowdoin,
Orcas Island,
Skaneateles, La Musica di
Asolo, Stratford,
Victoria, and Domaine
Forget.As soloist he has
appeared with many
orchestras, including the
Philadelphia Orchestra
under Aaron Copland and
the Boston Pops under
John Williams. His
travels have taken him as
performer and teacher to
most of the 50 states, as
well as Canada,
Mexico,Puerto Rico,
Central and South
America, Europe, Japan,
China, Australia, and New
Zealand. Webster was
Acting Principal Clarinet
of the San Francisco
Symphony, and has served
on the clarinet and/or
conducting faculties of
New England Conservatory,
Boston University,
University of Michigan,
and the Eastman School,
from which he earned his
three degrees. Currently
he is Professor of Music
at Rice Universityâ??s
Shepherd School of Music
and Artistic Director of
the Houston Youth
Symphony, which has won
multiple first prizes in
national performance
competitions.With his
wife, flutist Leone
Buyse, and pianist Robert
Moeling, he plays in the
Webster Trio, which has
recorded his arrangements
on Tour de France and
World Wide Webster for
Crystal Records.
Otherarrangements were
recorded for Nami and
Camerata Tokyo in Japan
with pianist Chizuko
Sawa. Webster has also
recorded for Albany,
Arabesque, Beaumont,
Bridge, Centaur, CRI, and
New World. He has played
at many ClarinetFests for
the International
Clarinet Association and
written a column entitled
â??TeachingClarinetâ?
in The Clarinet Magazine
since 1998. Michael
Webster is a Buffet
artist-clinician,
performing on Buffet
clarinets
exclusively. NORWEGIAN
DANCES (Grieg)Michael
Websterâ??s
transcriptions for Flute,
Clarinet, and Piano have
created the core
literature for this
instrumental genre.
Working directly from
Griegâ??s original piano
four-hands version of the
charmingly familiar
Norwegian Dances, Webster
has given flutists and
clarinetists another
addition to the
ensembleâ??s
repertoire.
Composed by Ralph Vaughan Williams (1872-1958). Edited by David Matthews. For tu...(+)
Composed by Ralph Vaughan
Williams (1872-1958).
Edited by David Matthews.
For tuba and orchestra
(tuba solo, 2 flutes,
oboes, 2 clarinets,
baritone, 2 horns, 2
trumpets, 2 tuba,
timpani, 2 percussion
(snare drum, cymbals,
triangle, bass drum),
strings). This edition:
second edition. Study
score. 72 pages. Duration
13'. Published by Oxford
University Press
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.