Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Viol...(+)
Edited by Briana
Ackerman. Arranged by
Daniel Kelley. For Flute
(or Oboe or Violin) and
Viola. Duets. Music for
Two. Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Oboe Solo SKU: IS.O6029EM Composed by Charles Camilleri. Woodwinds - Oboe...(+)
Oboe Solo
SKU:
IS.O6029EM
Composed
by Charles Camilleri.
Woodwinds - Oboe.
Metropolis Music
Publishers #O6029EM.
Published by Metropolis
Music Publishers
(IS.O6029EM).
ISBN
9790365060290.
Char
les Camilleri (1931 -
2009) was a Maltese
composer. As a teenager,
he composed a number of
works based on folk music
and legends of his native
Malta. He moved from his
early influences by
Maltese folk music to a
musical form in which
nothing is fixed and his
compositions evolve from
themselves with a sense
of fluency and
inevitability. He
composed over 100 works
for orchestra, chamber
ensemble, voice and solo
instruments. Camilleri's
work has been performed
throughout the world and
his research of folk
music and improvisation,
the influences of the
sounds of Africa and
Asia, together with the
academic study of
European music, helped
him create a universal
style. Camilleri is
recognized in Malta as
one of the major
composers of his
generation. He died on 3
January 2009 at the age
of 77. His funeral took
place two days later at
Naxxar, his long-time
town of residence. Flags
across Malta were flown
at half-mast in tribute
to him.
11 Duets for Flute 2 Flûtes traversières (duo) [Partition + CD] - Intermédiaire Mel Bay
For 2 Flutes or Clarinet and Flute. Composed by Matthias Petzold. Clarinet, ...(+)
For 2 Flutes or Clarinet
and
Flute. Composed by
Matthias
Petzold. Clarinet, Flute,
Fife and Oboe, Music
Styles and
Regions, Classical, Jazz,
Solos and Duets. Book and
Insert with CD. 52 pages.
Published by Mel Bay
Publications, Inc
Score (Study Score) SKU: HL.49045775 Study Score. Composed by Kurt...(+)
Score (Study Score)
SKU: HL.49045775
Study Score.
Composed by Kurt Weill.
Study Score. Classical.
Softcover. Universal
Edition #UE35538.
Published by Universal
Edition (HL.49045775).
ISBN 9783702471132.
UPC: 803452068235.
7.0x10.0x0.436
inches.
Kurt Weill
developed his creative
energies mainly within
the world of musical
theater, where he proved
to be an immensely
productiveand imaginative
innovator, but he also
left behind a small body
of work for the concert
hall. The Concerto for
Violin and Wind Orchestra
op. 12 dates from the
spring of 1924. Scored
for two flutes,
clarinets, bassoons,
horns, one oboe and
trumpet, percussion and
four contrabasses, the
concerto comprises three
movements. While
composing the work, Weill
informed his publisher:
'I am workingon a
concerto for violin and
wind orchestra that I
hope to finish within two
or three weeks. The work
is inspired by the idea -
one never carried out
before - of juxtaposing a
single violin with a
chorus of winds.' The
specific character of
Weill's concerto as music
written for chamber
orchestra (with an often
soloistic treatment of
instruments) leads to a
transparency that
requires utmost precision
in the ensemble playing.
In the quest for an
overall sonic balance,
the coarser-sounding wind
instruments need to
explore all dynamic
nuances. The solo part is
challenging not only from
a technical standpoint
but also from an acoustic
one (it is crucial to
make the violin 'sound').
In spite of these
challenges - or precisely
because of them - critics
in the 1920s called the
solo parthighly idiomatic
and extremely rewarding.
Since then the concerto
has become a 'modern
classic' in concert halls
around the world. (Elmar
Juchem, August 2010). The
score is based on the
critical text of the Kurt
Weill Edition Ser. II,
Vol. 2.
Oboe, clarinet, viola, harp SKU: OU.9780193588769 Composed by Howard Skem...(+)
Oboe, clarinet, viola,
harp
SKU:
OU.9780193588769
Composed by Howard
Skempton. Mixed Ensemble.
44 pages. Duration 8'.
Oxford University Press
#9780193588769. Published
by Oxford University
Press (OU.9780193588769).
ISBN 9780193588769. 12
x 8 inches.
For
oboe, clarinet, viola,
harp The opening movement
of this five-movement
work features the oboe,
being a setting of a solo
piece written by the
composer in memory of
Barbara Hepworth. The
second is a lyrical canon
for oboe, clarinet, and
viola, the third and
fourth movements are
formal and chorale-like
whilst, the last is a
sprightly, rather quirky
march.
(Chorale cantata). Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited b...(+)
(Chorale cantata).
Composed by Felix
Bartholdy Mendelssohn
(1809-1847). Edited by
Oswald Bill. For SATB
choir, 2 violins, viola,
cello/contrabass, [flute
or oboe or clarinet].
Stuttgart Urtext Edition.
German title: Christe, du
Lamm Gottes. Cantatas,
Mass sections, Lent and
Passiontide, Holy Week,
Eucharist, Communion.
Complete orchestral
parts. Language:
German/English. Composed
1827. A 5. Duration 7
minutes. Published by
Carus Verlag
Choralkantate. By Felix Mendelssohn. Edited by Bill, Oswald. For SATB Choir, 2 V...(+)
Choralkantate. By Felix
Mendelssohn. Edited by
Bill, Oswald. For SATB
Choir, 2 Violins, Viola,
Cello/Contrabass, [Flute
or Oboe or Clarinet].
Cantatas, Mass Sections;
Stuttgart Urtext
editions; Occasions:
Eucharist, Communion; Use
during church year: Lent
and Passiontide, Holy
Week. Score. Language:
German/English. Composed
1827. 20 pages. Duration
7 min. Published by Carus
Verlag (German import).
Choralkantate. By Felix Mendelssohn. Edited by Bill, Oswald. For SATB Choir, 2 V...(+)
Choralkantate. By Felix
Mendelssohn. Edited by
Bill, Oswald. For SATB
Choir, 2 Violins, Viola,
Cello/Contrabass, [Flute
or Oboe or Clarinet].
Full score available
separately - see item
CA.4018400. Cantatas,
Mass Sections; Stuttgart
Urtext editions;
Occasions: Eucharist,
Communion; Use during
church year: Lent and
Passiontide, Holy Week.
Organ reduction.
Language: German/English.
Composed 1827. 12 pages.
Duration 7 min. Published
by Carus Verlag (German
import).
(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm F...(+)
(Based on the Etudes of
Franz Whilhelm Ferling).
By John Walker, Franz
Wilhelm Ferling. Edited
by Amy Porter. Arranged
by Cyrille Rose. For
flute and piano. Carl
Fischer Classic Studies.
Book and CD. 44 pages.
Published by Carl Fischer
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Oboe and piano SKU: ST.C513 Composed by Mary Chandler. Wind & brass music...(+)
Oboe and piano
SKU:
ST.C513
Composed by
Mary Chandler. Wind &
brass music. Clifton
Edition #C513. Published
by Clifton Edition
(ST.C513).
ISBN
9790570815135.
Sonatina for
Oboe and Piano was
composed in 1967 and
given its first
performance by Dinah
Demuth, to whom it is
dedicated. The Sonatina
for Cor Anglais and Piano
of 1968 was also written
for Dinah Demuth, then a
member of the Midland
Light Orchestra, whose
broadcasts included solo
works such as these two
Sonatinas. This Sonatina
was originally published
by Phylloscopus
Publications in
1995.
Dr. Kristin
Leitterman is currently
the Assistant Professor
of Oboe at Arkansas State
University in Jonesboro,
Arkansas, USA, where she
teaches oboe and bassoon,
Double Reed Techniques,
and coaches small chamber
ensembles. She is also
the Director of the
Lucarelli Oboe Master
Class, a week-long
immersive oboe master
class founded by Bert
Lucarelli in 1996. As a
guest artist she has
presented master classes
at many institutions,
including the Manhattan
School of Music, New York
University, and the Hartt
School.
As a
researcher, Kirstin has
interests in the life and
works of Mary Chandler.
She has presented her
research at The Juilliard
School, Music by Women
Festival, the
International Double Reed
Society conferences, and
the Brazilian Double Reed
Society’s conference in
João Pessoa, Paraíba,
Brazil.
24 pieces for piano. Composed by Peter Wolf. Contemporary Music. EMB. Classic...(+)
24 pieces for piano.
Composed by Peter Wolf.
Contemporary Music. EMB.
Classical. Softcover.
Composed 2019. 128 pages.
Editio Musica Budapest
#EMBZ15087. Published by
Editio Musica Budapest
Wind Quintet SKU: HL.14019938 Composed by John McCabe. Music Sales Americ...(+)
Wind Quintet
SKU:
HL.14019938
Composed
by John McCabe. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV360094.
Published by Music Sales
(HL.14019938).
Post
cards was
written in 1991 for the
Vega Wind Quintet, who
first performed it at the
Huddersfield Festival in
the same year. It is a
reworking of a set of
eight Bagatelles written
in 1965: each movement
has been rewritten and
enlarged to a greater or
lesser extent. The title
was chosen to emphasise
the nature of the pieces,
which are in a sense
brief postcards from
different genres (fugato,
dance, etc).
John
McCabe (1939-2015)
was a British composer,
pianist and music
administrator. He studied
at the Royal Manchester
College of Music and
built a career as a
virtuoso pianist.
However, he also wrote
several hundred musical
compositions,ranging from
large-scale orchestral
works to chamber music
and solo instrumental
pieces - it is said the
only classical genre he
did not write for was
opera.
Orchestra SKU: BT.YKM570369270 Composed by Robert Saxton. Score Only. Com...(+)
Orchestra
SKU:
BT.YKM570369270
Composed by Robert
Saxton. Score Only.
Composed 2021. 70 pages.
University of York Music
Press #YKM570369270.
Published by University
of York Music Press
(BT.YKM570369270).
A Hymn to the
Thames was commissioned
by James Turnbull and the
Music Director of the St
Paul’s Sinfonia, Andrew
Morley. It was begun in
2019 and completed early
in 2020. There are four
movements played without
a break, which follow the
Thames from its Cotswold
source to the North Sea.
As the first performance
took place in St
ALfege’s Church,
Greenwich, this seemed
appropriate. The solo
oboe represents both a
wanderer along the river
path and the spirit of
the river. The pitch
centres of the movements
spell out the musical
letters of the river
(tHAmES—B natural, A, E
and E flat) so that the
river’s name is
projected across the
whole work. In addition,
the musical letters found
in James Turnbull, Andrew
Morley and my wife,
Teresa Cahill ( who was
born in Maidenhead and
brought up by the river
in Rotherhithe) are
entwined in various
guises. The first
movement grows from the
depths, the soloist
entering with
fanfare-like gestures,
followed by lyrical music
and breaks into a dance
as the river gathers
momentum. The third
movement is slow and
sustained and
geographically the Thames
flows through Oxford. The
music is based on the
well-known In Nomine
‘head motif’ from the
Gloria tibi Trinitas Mass
by the early Tudor
composer, John Taverner,
who was the first
Director of Music at
Christ Church, Oxford.
The orchestra provides a
screen or veil above
which the solo oboe
dreams and ruminates.
This leads directly into
the fourth and final
movement which begins in
the depths once more,
interrupting the oboe’s
held note from the end of
the third movement. The
waters’ increasing
intensity and power are
represented throughout by
a moto perpetuo of quick,
steady semiquavers. Near
the close, the woodwind
play O Nata Lux by Thomas
Tallis, the great Tudor
composer who, with his
wife Joan, is buried in
St Alfege’s. Beneath
this, the lower strings
continue the fast
semiquaver movement of
the river and, above, the
violins are heard as a
halo of harmonics. At the
close, the oboe rises,
opening out to the
future, and celebrating
its voyage, while the
orchestra fades as the
river meets the sea. A
Hymn to the Thames lasts
approximately 17
minutes.
Amazing Grace Violon et Piano - Intermédiaire MorningStar Music Publishers
By Duane Funderburk. Arranged by Duane Funderburk. For violin, piano, optional o...(+)
By Duane Funderburk.
Arranged by Duane
Funderburk. For violin,
piano, optional oboe and
strings quintet. Organ
with Instruments.
General. Moderately
Difficult. Score and solo
part. 8 pages. Published
by MorningStar Music
Publishers
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F).
ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major.
IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels