Chamber Music Piano, Trombone, Voice SKU: PR.111402650 A Song Cycle fo...(+)
Chamber Music Piano,
Trombone, Voice
SKU:
PR.111402650
A
Song Cycle for Baritone
(or Mezzo-soprano),
Trombone, and Piano.
Composed by Eric Ewazen.
Set of Score and Parts.
With Standard notation.
52+16 pages. Duration 24
minutes. Theodore Presser
Company #111-40265.
Published by Theodore
Presser Company
(PR.111402650).
Angel of
Dreamers is a song cycle
for bass-baritone (or
mezzo-soprano) singer,
trombone, and either
string orchestra, string
quintet, or piano. It is
based on the
extraordinary poetry of
the Jamaican-American
poet, Lorna Goodison,
whom I have had the great
pleasure of getting to
know in the course of
writing this piece. The
work was commissioned by
a friend from my
undergraduate college
years at The Eastman
School of Music, Maury
Okun, trombonist and
director of the Detroit
Chamber Winds And
Strings. The work was
premiered in 2011 by
bass-baritone Daniel
Washington, trombonist
and U. of Michigan
faculty member David
Jackson, and the string
section of the Detroit
Chamber Winds and
Strings. Daniel and David
gave the second
performance of the work
with Lorna Goodison and
Maury Okun in attendance
at The Juilliard School
the following year. I was
approached by Maury Okun
and David Jackson to
write this piece as a
tribute to Maury's father
who had recently passed
away. They also
introduced me to their
colleague and friend
Lorna Goodison,
suggesting her poetry.
Reading several volumes
of her work, I was
absolutely captivated by
the vivid imagery and
beautiful messages of her
words. I chose five of
the poems, forming a
cycle about life and
death and home and
parents. Lorna is
originally from Jamaica,
and the rich, vivid
imagery, language and
story lines of her poems
beautifully reflect her
roots. The work, in the
tradition of Brahms'
songs for voice, viola,
and piano, features a
singer with an obligato
lyric instrumental line,
which, in my piece, is
the trombone, an
instrument that blends so
beautifully with the
sound of a bass singer.
The first song, O Love
You So Fear the Dark is
hopeful and uplifting,
describing enduring love
throughout the twists and
turns of our lives. The
music is strong and
declamatory, but also
tender. The second song,
God A Me actually
portrays a fish in
Jamaica which is almost
amphibious, flying up out
of the water onto the
land, and somehow,
magically, returning to
the water! For me this
poem depicts the
enjoyment of seeing parts
of life that are fun and
enjoyable and almost
magical! The third song,
All Souls Day depicts a
holiday, somewhat
magical, but also full of
life and energy. The
final two songs are a
tribute to our parents --
My Mother's Sea Chanty,
recalling a dream of
seeing one's mother, with
lyrics of tender love and
remembrance, and finally,
This is my Father's
Country which is a
tribute to the life of a
loving father, recalling
his spirit, his love of
the music Harry
Belafonte, and his
enduring spirit. Angel of
Dreamers was a special
piece for me to write:
for and with friends, old
and new, collaborating
with a poet whose
beautiful, meaningful,
and touching words were
so inspiring, performed
by fantastic musicians
who poured themselves
into the music, and
commissioned by a dear
friend from years gone
by. THIS is why we write
and perform music!.
Holderlin lesen
III. Composed by Hans
Zender. Chamber music;
stapled.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere: Museum
Island Hombroich, May 31,
1992. Music post-1945;
New music (post-2000).
Performance score.
Composed 1991. 36 pages.
Duration 24'. Breitkopf
and Haertel #KM 2432.
Published by Breitkopf
and Haertel (BR.KM-2432).
ISBN 9790004502020. 10
x 15 inches.
In den
alten Kulturen war das,
was wir heute ,,Musik und
,,Dichtung nennen, eine
Einheit. Denken wir nur
an die lotrijgn<'
[musike] der Griechen,
oder an Beschreibungen,
die wir in den
klassischen chinesischen
Schriften finden. Aber
naturlich:
Kulturgeschichte ist ein
Differenzierungsprozess,
und so finden wir zur
Zeit unserer europaischen
Klassiker den Vorstoss
der Musik zu ihrer
,,Autonomie - ihrer
offiziellen Scheidung von
dem Metier der Dichter.
(Noch 1739 hatte
Mattheson in seinem
Vollkommenen
Capellmeister von jedem
Musiker ,,Gewandtheit in
der Dicht-Kunst und
genaueste Kenntnis der
Verslehre verlangt.)Seit
dieser Scheidung sind nun
die Musiker sehr eifrig
damit beschaftigt, eine
autonome Grammatik und
Syntax der ,,Tonkunst,
wie die Musik jetzt
genannt wird, zu
entwickeln, wahrend in
der Dichtung - besonders
naturlich in der
experimentellen, von Jean
Paul und Mallarme bis zu
Joyce und Celan - gerade
das ,,Musikalische in der
Poesie gesucht wird.
Hierunter ist oft der
Wunsch verborgen, die
Verhartung, welche die
Wortsprache durch ihre
begriffliche Fixierung -
extrem in der
Wissenschaft! - erfahrt,
wieder aufzuheben und sie
in einen ,,musikalischen
Zustand von
Unbestimmtheit, von
Offenheit zuruck zu
versetzen.Oberflachlich
betrachtet entwickeln
sich die beiden Kunste in
der Moderne also
auseinander; eine
Beruhrung zwischen ihnen
wird immer schwieriger.
Zu gross die Gefahr, dass
die muhsam errungene
Autonomie der einen
wieder der Ubermacht der
andern geopfert wird!
Entweder wird die Musik,
wenn sie schwach ist, zu
blosser Illustration und
Stimmungskulisse; oder
sie verschlingt in ihrer
klanglichen und
zeitlichen Ausformung den
eigenen Klang und
Rhythmus der
Dichtung.Manche Musiker
haben in den letzten
Jahrzehnten dieses
Problem noch
verinnerlicht und eine
Art Bilderverbot auch
innerhalb der Musik
aufgestellt: Gestik,
Expressivitat,
Assoziationsfahigkeit der
musikalischen Strukturen
wurden unterdruckt. Ich
halte das fur ein
neurotisches Verhalten
und ausserdem fur
irrefuhrend. Es gibt
schon seit jeher auch
eine musikalische
Semantik - das vergessen
manche vor lauter Syntax
und Grammatik; und es ist
kein Grund einzusehen,
warum in der Situation
der Autonomie nicht
musikalische und
sprachliche Semantik in
eine neue Art von
Verhaltnis treten
konnten. In der
Bach-Kantate, im
Schubert-Lied, in der
Wagnerischen Leitmotivik
waren das 1:1-Losungen;
aber schon Wagner hat
gezeigt, dass man diese
Identitat auch
dialektisch aufsprengen
kann.Und wie erst in der
Vielsprachigkeit der
heutigen Moderne! In
meiner Oper Stephen
Climax habe ich den
Hauptpersonen des Ulysses
von James Joyce bestimmte
- historisch ortbare -
Musiksprachen zugeteilt
(welche jeweils wieder
bestimmte intervallische
und rhythmische
Struktureigenschaften
zeigen, welche ihrerseits
wieder seriell oder
statistisch geordnet sind
- es geht bis ins
kleinste Detail ganz
,,autonom zu!!); der
Kosmos unserer
europaischen
Musikgeschichte wird
sowohl dem Kosmos der
Joyceschen Figuren
(ihrerseits
,,geschichtstrachtig!)
wie auch dem aktuellen
musikalischen Bewusstsein
zugeordnet, aber eben oft
auch uber Kreuz, paradox,
mehrschichtig, mehrdeutig
... Die Tatsache, dass
diese spezifische
Moglichkeit einer
neuartigen Einheit von
Sprache und Musik von den
berufenen Musikologen
noch kaum bemerkt worden
ist, zeigt nicht nur
deren Langsamkeit,
sondern auch die Dominanz
des ,,bildlosen Denkens
in der - jetzt
abgelaufenen - Phase der
Neuen Musik.In meinen
Holderlin lesen-Stucken
ging es mir darum, Wege
zu finden, die gewaltigen
Sprachstrukturen
Holderlins so in die
zeitliche Form der Musik
zu integrieren, dass sie
Funktionen der
musikalischen Form
ubernehmen, ohne in ihrer
Eigenkraft (sowohl
akustisch wie auch im
Sinne expressiver
,,Deutung) im geringsten
geschmalert zu werden.
Das hiess zunachst:
Sprechen, nicht singen! -
Aber das wurde nur
bedeuten, dass es nicht
um die Musikalisierung
von Text geht; ebenso
wichtig ist es, dass es
auch nicht um
melodramatisch
,,erzahlende Musik geht.
Sondern: Zwei autonome
Kunste durchdringen sich
auf diaphane Weise, ohne
sich zu uberformen oder
auszuloschen; es handelt
sich um einen Dialog,
nicht um eine
Vereinnahmung durch
Hierarchisierung.Ein
weiteres Thema, das in
der musikalischen
Diskussion der letzten
Jahrzehnte zu kurz
gekommen ist und deswegen
jetzt neu am Horizont
erscheint, ist die
Rhetorik. Inwieweit kann
musikalische Form nicht
nur logisch bzw.
syntaktisch, sondern auch
rhetorisch verstanden
werden? Rhetorik und
Satztechnik z.B. hangen
zusammen. Ich kann diese
Problematik (die ich in
meinem vierteiligen,
abendfullenden Shir
Hashirim ,,auskomponiert
habe) hier nur
andeuten.Musik steht
zwischen Zahl und Wort;
sie hat an beidem teil.
So konnte sie das Zentrum
der ,,Sieben Freien
Kunste in alten Zeiten
bilden ... (Heinrich
Schutz sagte, dass sie zu
diesen - also zu den
mathematisch-astronomisch
en und den literarischen
Kunsten - wie die ,,Sonne
zu den Planeten sich
verhalte.) Mir scheint,
dass wir die Komposition
seit 50 Jahren zu
einseitig nur von der
Zahl her definieren; sie
hat geschichtlich ebenso
viel mit Sprachstruktur
zu tun. Wir konnen
Neuland gewinnen, wenn
wir als heutige Musiker
dies neu durchdenken.Es
handelt sich hier um
meinen dritten Versuch
einer Annaherung an das
Problem einer
,,Verzeitlichung der
Holderlinschen Texte d.h.
einer Moglichkeit, diese
Texte in einer
Performance darzustellen:
da die Musik das
eigentliche Element der
zeitlichen Darstellung
ist, werden die
Holderlinschen Worte mit
Tonen konfrontiert.Im
Fall von denn
wiederkommen geht es um
neun Zeilen aus
Holderlins Patmos-Hymne.
Je eine solche Zeile wird
einem Formabschnitt der
Musik zugeordnet (das
Stuck ist also, wie meine
Lo-Shu-Stucke,
neunteilig). Die
betreffende Zeile
erklingt nicht nur
einmal, sondern wird, in
der gleichen Weise wie
auch das musikalische
Material, nach einem
chaotischen
Repetitionsprinzip
mehrfach
wiederholt.Auffallig ist
ferner, dass fur jeden
der neun Teile ein von
einem der vier
Quartettspieler
festgehaltener ,,Grundton
gewahlt wurde; durch
diese orgelpunktartige
Wirkung wird jeder der
neun Teile
zusammengehalten, und der
Horer kann die langsame
Bewegung der Grossform im
unmittelbaren Horprozess
mitvollziehen.Die neun
Satze von Holderlin
lauten:1. Furchtlos gehen
die Sohne der Alpen uber
den Abgrund weg auf
leicht gebaueten
Brucken...2. Sie horen
ihn und liebend tont es
wieder von den Klagen des
Manns...3. Im goldenen
Rauche bluhte schnell
aufgewachsen mit
Schritten der Sonne, mit
tausend Gipfeln duftend,
mir Asia auf, und
geblendet...4. Gegangen
mit dem Sohne des
Hochsten, unzertrennlich,
denn es liebte der
Gewittertragende die
Einfalt des Jungers...5.
Wenn aber stirbt alsdenn,
an dem am meisten die
Schonheit hing...6.
Eingetrieben war wie
Feuer in Eisen das, und
ihnen ging zur Seite der
Schatten des Lieben. Drum
sandt er ihnen den Geist
und freilich bebte das
Haus und die Wetter
Gottes rollten
ferndonnernd...7. Uber
die Berge zu gehn allein,
wo zwiefach erkannt, war
einstimmig und
gegenwartig der
Geist...8. Und hier ist
der Stab des Gesanges,
niederwinkend, denn
nichts ist gemein. Die
Toten wecket er auf...9.
Denn wiederkommen sollt
es, zu rechter Zeit.
Nicht war es gut gewesen,
spater, und schroff
abbrechend...(Hans
Zender)CD:Salome Kammer
(voice), Arditti String
QuartetCD Montaigne MO
782094Bibliography:Nyffel
er, Max: Fluchtpunkt
Patmos. Hans Zenders
Komposition ,,Denn
wiederkommen. Holderlin
lesen III, in: Neue
Zeitschrift fur Musik 180
(2019), Heft 1, S.
44-47.ders.: Lesen,
Schreiben, Horen. Zum
Verhaltnis von Musik und
Sprache bei Hans Zender,
dargestellt an der
Komposition ,,,denn
wiederkommen`. Holderlin
lesen III, in: ,,Ein
Zeichen sind wir,
deutungslos. Holderlin
lesen, Ikkyu Sojun horen,
Musik denken, hrsg. von
Violetta L. Waibel,
Gottingen: Wallstein
2020, S. 299-329Waibel,
Violetta L.: Holderlin
Lesen, Ikkyu Sojun Horen,
Musik Denken, in:
Festivalkatalog Wien
Modern 29 (2016), Essays,
pp. 196-198.Zenck,
Martin: Holderlin lesen -
seiner ,,Stimme zuhoren.
Holderlin-Lekturen von
Klaus Michael Gruber,
Hans Zender und Bruno
Ganz, in: Neue
Zeitschrift fur Musik 172
(2011), Heft 6, pp.
25-29.Zender, Hans: Zu
meinem Zyklus ,,Holderlin
lesen, in: Mnemosyne.
Zeit und Gedachtnis in
der europaischen Musik
des ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
pp. 26-40.
World
premiere: Museum Island
Hombroich, May 31,
1992.
Chamber Music Violin 1, Violin 2, Viola, Cello, Piano SKU: PR.11441123S C...(+)
Chamber Music Violin 1,
Violin 2, Viola, Cello,
Piano
SKU:
PR.11441123S
Composed
by Samuel Adler. Score.
With Standard notation.
Theodore Presser Company
#114-41123S. Published by
Theodore Presser Company
(PR.11441123S).
UPC:
680160016303. 8.5 x 11
inches.
The Quintet
for Piano and String
Quartet was written for
the American String
Quartet in the summer of
2000. It is in one
movement but has two
distinct parts. The first
is a slow movement
characterized by dotted
rhythms. It is a fantasy
with some long flowing
lines interrupted by
short fragments usually
in the piano. After a
rather agitated section
in 6/8 time, this section
comes to a quiet close on
a G-sharp major chord.
The second section of
this thirteen-minute work
is marked Fast and
Energetic. It begins with
chords that recur
throughout the movement
and after two measures a
long main theme is
introduced which is
developed and altered
during the rest of the
fast portion of the work.
One could call this
second part a sort of
rondo form since this
long lyrical theme
returns always after
contrasts. When it does
return, it is treated
often by means of
imitation, but at the
climax returns played in
unison by the strings
while the piano renders
an energetic sixteenth
note background. The work
ends on an E-flat major
chord though the piece is
certainly not in any one
key, but rather features
quick modulations. One
might call this non-tonal
music which nevertheless
always feels like it has
a tonal center. --Samuel
Adler.
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Edited by
Doris Gazda. Arranged by
Larry Clark. For viola.
Compatible Duets for
Strings. Part book
(softcover). 48 pages.
Published by Carl Fischer
Chamber Music Violin SKU: CF.BF118 29 Duets That Can Be Played by Any ...(+)
Chamber Music Violin
SKU: CF.BF118
29 Duets That Can Be
Played by Any Combination
of String
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, Claude
Rouget de Lisle, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Hughie Cannon, Larry
Clark, Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Doris Gazda Larry
Clark. SWS. Collection.
With Standard notation.
48 pages. Carl Fischer
Music #BF118. Published
by Carl Fischer Music
(CF.BF118).
ISBN
9781491149812. UPC:
680160907311. 9 x 12
inches.
Continuing
on the success of the
popular Compatible
series,Compatible Duets
for Strings, Volume II
contains 29 duets in
avariety of styles
(classical, folk music,
new original pieces)
thatcan be played with
any combination of two
string
instruments.Students can
develop their chamber
ensemble skills
whileplaying with their
friends, no matter what
string instrumentthey
play. Ranging from grade
levels 2–3,
Compatible Duetsfor
Strings, Volume II is
perfect for orchestra
directors to buyfor use
in the classroom, and its
flexibility makes it a
musthavefor any string
player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options since all ofthe
books in this series are
compatible. As former
long time music educators
we alwayshad student that
wanted to come to the
music room during lunch
or after school and
theyjust wanted to play
with their friends. That
was not possible since
there is very little
duetmaterial available
that is compatible with
all of the string
instruments. This book
and thefirst volume in
the series takes care of
that. A student can now
grab their friend no
matterwhat instrument
they play and have hours
of fun playing duets
together. Most
importantthey will learn
something in the
process.The duets have
been generally placed in
the book in order of
difficulty and cover a
rangeof keys that are
appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems and the
point size of the music
wasconsidered for ease of
reading.It is our hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.We hope it is
a useful tool for you for
years to come.
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Arranged
by Larry Clark. For bass.
Part book (softcover).
Published by Carl Fischer
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Arranged
by Larry Clark. For
cello. Part book
(softcover). Published by
Carl Fischer
Chamber Music String Quartet SKU: PR.114410380 Composed by Lowell Lieberm...(+)
Chamber Music String
Quartet
SKU:
PR.114410380
Composed
by Lowell Liebermann.
Saddle, Tape Junction.
Set of Score and Parts.
With Standard notation.
Composed 1998. Opus 60.
48 + 92 pages. Duration
30 minutes. Theodore
Presser Company
#114-41038. Published by
Theodore Presser Company
(PR.114410380).
UPC:
680160015160. 9.5 x 13
inches.
My second
String Quartet was
written twenty years
after the first, Opus 4
from 1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so. The
Second Quartet is in four
movements: Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement. An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no such
programmatic intent while
writing the quartet, it
was not an entirely
incorrect assessment of
the work's intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness. The
second movement's scherzo
is an aggressively
animated piece of musical
machinery. The third
movement's Variations
unfold into a greater
variety of moods than the
others - but the moments
of lyricism are countered
by aggressive or ironic
outbursts. The final
movement's attempt at
triumph quickly subsides
into a return of the
first movement, before
being transformed onto a
sense of resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major. The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th
1998. My second String
Quartet was written
twenty years after the
first, Opus 4 from
1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so.The
Second Quartet is in four
movements:Â Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement.An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no
such programmatic intent
while writing the
quartet, it was not an
entirely incorrect
assessment of the
work’s intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness.Â
The second
movement’s scherzo
is an aggressively
animated piece of musical
machinery. The third
movement’s
Variations unfold into a
greater variety of moods
than the others –
but the moments of
lyricism are countered by
aggressive or ironic
outbursts. The final
movement’s attempt
at triumph quickly
subsides into a return of
the first movement,
before being transformed
onto a sense of
resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major.The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th 1998.
Chamber Music Violin SKU: CF.BF115 Composed by Johann Sebastian Bach. Edi...(+)
Chamber Music Violin
SKU: CF.BF115
Composed by Johann
Sebastian Bach. Edited by
Rachel Barton Pine. SWS.
Collection. With Standard
notation. 80 pages. Carl
Fischer Music #BF115.
Published by Carl Fischer
Music (CF.BF115).
ISBN
9781491150993. UPC:
680160908493. 9x12
inches.
Johann
Sebastian Bach’s
(1685—1750)
SixSonatas and Partitas
have captivated
violinistsfor centuries.
Rachel Barton
Pine—havingspent
decades studying the
music of Bach,his
contemporaries, and his
predecessors—now
offers this unparalleled
edition completewith
detailed historical
notes,
performancesuggestions,
and downloadable study
materialsincluding a new
Urtext edition and a
speciallyprepared
manuscript. Pine’s
interpretationis informed
by thorough historical
study, which has been
polished byyears of
performance insight, but
also encourages those
studying
Bach’srepertoire
to craft their own unique
interpretation of these
timelessmasterpieces.
This edition closely
follows Pine’s
critically acclaimed
2016recording
“Testament:
Complete Sonatas and
Partitas for Solo Violin
byJ.S. Bach†(Avie
2360) making it an
invaluable resource for
any student,teacher, or
performer enthralled with
J.S. Bach’s long
standing legacy.Ms. Pine
holds the distinction of
being the only American
and youngestperson to win
the gold medal at the
J.S. Bach International
ViolinCompetition in
Leipzig, Germany,
1992. here is no one
right way to play Bach.
More thanalmost any
repertoire, each
individual’s
interpretation isas
unique as their
personality. Though I
have spent
decadesstudying
Bach’s music as
well as that of his
contemporariesand
predecessors, my final
rationale for
artisticdecisions is
often taste and instinct.
Every violinist
whoundertakes a
lifetime’s journey
with this incredible
repertoireis continually
discovering new ideas.
Thus, theopinions on the
following pages may
evolve over time.However,
everything in the sheet
music closely follows
my2016 recording
“Testament:
Complete Sonatas and
Partitasfor Solo Violin
by J.S. Bach†(Avie
2360), which I trulyfeel
represents the
culmination of my
exploration intothese
extraordinary works.In
choosing to present this
edition, my hope is
thatyou will find useful
solutions to challenges
of fingering,bowing, and
polyphony, and helpful
information
aboutphrasing. I have
also included additional
dynamic suggestionswith
the hope that trying
these ideas will help
inspireyou to discover
your own. All of these
markings aredesigned to
work with a baroque
violin and baroque bow,a
modern violin and baroque
bow, or a modern
violinand modern bow.
While the information in
this editionis unusually
dense, there is much that
I did not include,such as
lifts, breaths,
articulations, whether to
play on oroff the string,
metronome markings,
details of timing,and
emphases other than
hemiolas.I offer this
book to you in the spirit
of Bach: “SoliDeo
Gloria.â€.
(Cello). For Cello. Book; CD; Play-Along; String Series. Ultimate Pop Instrument...(+)
(Cello). For Cello. Book;
CD; Play-Along; String
Series. Ultimate Pop
Instrumental Solos
Series. Movie. Grade 2;
Grade 3. 84 pages.
Published by Alfred Music
Publishing
(Viola). For Viola. Book; CD; Play-Along; String Series. Ultimate Pop Instrument...(+)
(Viola). For Viola. Book;
CD; Play-Along; String
Series. Ultimate Pop
Instrumental Solos
Series. Movie. Grade 2;
Grade 3. 84 pages.
Published by Alfred Music
Publishing
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown; Neal Peres Da Co...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown;
Neal Peres Da Costa. For
clarinet and piano. Score
with parts. Opus 120.
Published by Baerenreiter
Verlag
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown /
Neal Peres Da Costa. For
viola and piano. This
edition: urtext edition.
Paperback. Level 3. Score
with parts. Opus 120.
Published by Baerenreiter
Verlag
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra
SKU: PR.11641373S
Composed by Peter
Schickele. Full score.
Duration 24 minutes.
Theodore Presser Company
#116-41373S. Published by
Theodore Presser Company
(PR.11641373S).
UPC:
680160680344.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large ...(+)
Orchestra Orchestra
SKU: PR.11641373L
Composed by Peter
Schickele. Large Score.
Duration 24 minutes.
Theodore Presser Company
#116-41373L. Published by
Theodore Presser Company
(PR.11641373L).
UPC:
680160680337.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.
(32 Trios That Can Be Played by Any Combination of Instruments). By Larry Clark....(+)
(32 Trios That Can Be
Played by Any Combination
of Instruments). By Larry
Clark. Edited by Doris
Gazda. Arranged by Larry
Clark. For bass. Bass
part. 48 pages. Published
by Carl Fischer
(26 Trios That Can Be Played by Any Combination of String Instruments). By Doris...(+)
(26 Trios That Can Be
Played by Any Combination
of String Instruments).
By Doris Gazda. Arranged
by Doris Gazda. For
String Bass. Book. 48
pages. Published by Carl
Fischer
(26 Trios That Can Be Played by Any Combination of String Instruments). By Doris...(+)
(26 Trios That Can Be
Played by Any Combination
of String Instruments).
By Doris Gazda. Arranged
by Doris Gazda. For
Viola. Book. 48 pages.
Published by Carl Fischer
(26 Trios That Can Be Played by Any Combination of String Instruments). By Doris...(+)
(26 Trios That Can Be
Played by Any Combination
of String Instruments).
By Doris Gazda. Arranged
by Doris Gazda. For
Cello. Book. 48 pages.
Published by Carl Fischer