Fur Elise Clarinette et Piano - Intermédiaire Kendor Music Inc.
By Ludwig van Beethoven (1770-1827). Arranged by Lloyd Conley. For clarinet solo...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Lloyd Conley. For
clarinet solo with piano
accompaniment. Grade 4.
Score and part. Duration
3 minutes. Published by
Kendor Music Inc
Clarinet and Piano SKU: ST.C143 Composed by Alexander Glazunov. Wind & br...(+)
Clarinet and Piano
SKU: ST.C143
Composed by Alexander
Glazunov. Wind & brass
music. Clifton Edition
#C143. Published by
Clifton Edition
(ST.C143).
ISBN
9790570811434.
Alex
ander Konstantinovich
Glazunov (1865-1936)
trained under Rimsky-
Korsakov and became the
most illustrious Russian
composer and conductor
immediately succeeding
Tchaikovsky. Glazunov’s
close affinity with the
Saint Petersburg
Conservatory, of which
institution he would
later become Director for
more than two decades,
placed him ideally to
assist in the
Institute’s transition
to the Petrograd
Conservatory in the
immediate wake of the
Bolshevik Revolution of
1917. For the last six
years of his life,
Glazunov left the USSR,
feeling hemmed in by
propagandist restrictions
and at the same time out
of kilter with the
Modernist
movement.
He lived
in exile for a time,
touring the USA, before
eventually settling in
Paris, though his stoical
brand of Russian
Romanticism never waned.
Despite being partly
remembered for having
taught Shostakovich,
Glazunov was never known
as a revolutionary
composer, more inclined
to align himself with
19th century ideologies
than with the thrusting
new compositional paths
forged by Prokofiev and
others. Indeed, the
nationalistic movement so
successfully espoused by
Balakirev found a new
energy in Glazunov’s
hands, and he discovered
an opulence of scale
which leaned more in the
direction of
Borodin.
There can
be no doubting
Glazunov’s technical
mastery, which
successfully drew
together contrapuntal,
lyrical and virtuosic
skills, and which were
admired by the likes of
Liszt. Glazunov steered a
steady course at a time
when it was most sorely
needed; one need only
hear the marvellous
Violin Concerto in A
minor to experience the
full power and authority
of his writing, though he
possessed an enviable
touch with more intimate
forms too, such as those
readily to be heard in
these three charming
Miniatures
Op.42, originally
composed for
piano. Clarinet and
Piano Transcribed by
M
ark Tanner Grades
6 & 7 (Trinity Grades
6 & 7
syllabuses) Former
Spartan Press Cat. No.:
SP1360.
Clarinet, Piano Accompaniment (Clarinet) SKU: HL.14008418 Composed by Sir...(+)
Clarinet, Piano
Accompaniment (Clarinet)
SKU: HL.14008418
Composed by Sir Peter
Maxwell Davies. Music
Sales America. Post-1900.
Sheet Music, Score. With
Text language: English.
32 pages. Chester Music
#CH55902. Published by
Chester Music
(HL.14008418).
UPC:
884088809034.
8.5x11.75x0.114
inches.
This work,
which was written shortly
after the Trumpet Sonata
and the Five Pieces For
Piano, was first
performed by Georgina
Dobree and the composer
at the 1957 Darmstadt
Festival. The score was
subsequently lost, but
was rediscovered by Kevin
Corner in 1983. 'This is
a dramatic, emphatic and
at times extravagant
piece. The first movement
is a Moderato reaching
through wide-flung
clarinet lines and keen
piano gestures to a great
climax near the end. Then
comes a quick movement, a
kind of demonic scherzo,
including a cadenza for
the clarinettist. The
finale is an Adagio that
gradually achieves a sort
of simplicity, though not
before exceedingly
testing times for both
players. Duration c.
25mins.
Clarinet and Piano SKU: ST.C129 Composed by Mark Tanner. Wind & brass mus...(+)
Clarinet and Piano
SKU: ST.C129
Composed by Mark Tanner.
Wind & brass music.
Clifton Edition #C129.
Published by Clifton
Edition (ST.C129).
ISBN
9790570811298.
As I
sit myself down to write
this brief foreword, I
ask myself can there be
music more stirring than
these old Cornish folk
melodies? Though not
Cornish myself (I confess
to being born a little
further up the road, in
Bristol), I feel I have
spent sufficient time in
these 'ere parts to
resonate with the sturdy
brass band tradition that
continues to permeate
this incomparably
beautiful, rugged county.
One can almost detect a
French 'accent' when
listening to the piano
music of Debussy, and
likewise, speaking as a
lapsed brass player,
there is undoubtedly
something of the Cornish
twang about Trelawny when
played on a cornet or
euphonium. Then again,
one gets a different, yet
entirely convincing
effect upon hearing these
melodies rendered on
woodwind instruments;
hence, with a little
gamesmanship on my part,
I am pleased to see my
collection of these
fifteen delectable
ditties come to fruition
in the form of
arrangements for treble
clef brass instruments
(in B flat and E flat),
trombone and tuba (bass
clef), horn in F, flute,
clarinet and bassoon.
While many will find
themselves humming the
likes of Going up
Camborne Hill, Lamorna or
The Helston Furry Dance
even before they have
turned to the first page
- for these are indelibly
intertwined with Cornish
culture – I wonder if I
might draw your attention
to The Cornish Squire,
The Pool of Pilate and
Cold Blows the Wind Today
Sweetheart, which are
quite simply sublime
melodies, perhaps needing
that extra bit of help in
bringing them to mind
nowadays. In the best
tradition of musical
hand-me-downs, Cornish
folk music works equally
ideally sung and played,
and only by doing so on a
regular basis can such
traditions hope to
continue forward with
vigour and authority. A
legitimate way of
achieving this is to
revitalise the harmonic
scheme of these ancient
tunes and bring them up
to date for a modern
audience; after all, it
was such an approach that
fuelled the imagination
of Benjamin Britten and
Ralph Vaughan Williams in
decades past, while
skilfully paying homage
to the underlying charm
and, for want of a better
word, simplicity, of the
original music. But this
is only a start – for
without an energetic
response from younger
generations, Cornish folk
music is destined to
wither on the vine in
much the same way as is
happening with the
Cornish dialect. So, put
your instrument to your
lips and proceed, not
with caution, but with
enthusiasm and a smile,
for your great
grandparents (and perhaps
even their grandparents)
would surely raise a
glass if they could hear
you doing your bit to
ensure the survival of
this splendid
heritage. Timeless
Cornish melodies, cooked
up for hungry clarinet
players Grades
1–4 Former Spartan
Press Cat. No.:
SP1218.