Composed by Larry Clark.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor.
Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 20 pages. Carl
Fischer Music #YPS212F.
Published by Carl Fischer
Music (CF.YPS212F).
ISBN 9781491152997.
UPC:
680160910496.
Takin
g its title from a poem
about grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Violin, piano SKU: FG.55011-466-1 Composed by Armas Jarnefelt. Fennica Ge...(+)
Violin, piano
SKU:
FG.55011-466-1
Composed by Armas
Jarnefelt. Fennica
Gehrman #55011-466-1.
Published by Fennica
Gehrman (FG.55011-466-1).
ISBN
9790550114661.
Arma
s Jarnefelt (1869-1958)
was a Finnish composer
and conductor. Jarnefelt
studied in Berlin in
1890-91 with Albert
Becker as his teacher. In
addition to composing
studies, Jarnefelt fully
enjoyed the life that a
bustling metropolis could
offer to a young man -
concerts, operas, cafe
life etc. Romanze,
composed for Geraldine
Morgan, was premiered in
Helsinki in February
1892. According to
critics (notably Bis
Wasenius) the work was
un-Finnish, perhaps
echoing the continental
winds Jarnefelt had
experienced in Berlin.
That aside, Jarnefelt's
future brother-in-law,
Jean Sibelius, analyzed
the Romanze in a letter
to his fiancee, Aino,
sister of Armas: I think
Romanze is a fine
technical accomplishment,
even the structure works
well, given the theme as
it is. But Armas
certainly can do better
than this, he should not
waste his efforts in
small-scale [salon]
music. - Armas will find
his own way and will be
hailed as the greatest
musician of this
country..
Horovitz composed this work during February and March 1969 as a tribute to E. H....(+)
Horovitz composed this
work during February and
March 1969 as a tribute
to E. H. Gombrich on his
60th birthday. In this
one-movement quartet the
opening thematic material
is deliberately based on
the decadent chromatic
gestures prevalent in
early twentieth century
Viennese music. Healthier
diatonic discords tear
into these themes during
a long development
section, and, in a way,
finally cleanse them. The
melodies of the first
section are entirely
based on the intervals of
the third and sixth, but
with garish appendages of
extra chromaticism
(produced by means of
bi-tonality between the
upper and lower
instruments). After the
conflict these intervals
emerge in their true and
elemental role as
essential pillars of a
major key
Choir - Medium / medium acc. SKU: JK.19970 Composed by Janice Kapp Perry....(+)
Choir - Medium / medium
acc.
SKU: JK.19970
Composed by Janice Kapp
Perry. Difficulty Medium.
Christian, Inspirational.
Jackman Music Corporation
#19970. Published by
Jackman Music Corporation
(JK.19970).
Hymn singing is
an important part of our
heritage as members of
The Church of Jesus
Christ of Latter-day
Saints. Elder Boyd K.
Packer, in October 1991
General Conference, said:
If we will listen,
[hymns] are teaching the
gospel, for the hymns of
the Restoration are, in
fact, a course in
doctrine! In his landmark
speech entitled The Arts
and the Spirit of the
Lord, Elder Packer
stated:
Our hymns
speak the truth as far as
they go. They could speak
more of it if we had more
of them specifically
teaching the principles
of the restored gospel of
Jesus Christ. If I had my
way there would be many
new hymns with lyrics
near scriptural in their
power, bonded to music
that would inspire people
to worship. Think about
how much we could be
helped by another
inspired anthem or hymn
of the Restoration. (BYU,
February 1,
1976)
In response
to Elder Packer's
invitation, we have been
writing new hymns during
the past decade based on
favorite general
conference sermons. Our
hope was that once the
central theme of each
address was set to music
it might serve as another
witness of the inspired
message, and would be
sung in homes, in choirs,
and in conjunction with
the Teachings For Our
Time lessons in Relief
Society and Priesthood
meetings.
Janice
Kapp Perry David B.
Larsen
This
songbook contains a
Topical Index
The
hymns offered by Prime
Recordings Inc. are
neither made, provided,
approved nor endorsed by
Intellectual Reserve,
Inc., The Church of Jesus
Christ of Latter-day
Saints or its leaders.
Any content or opinions
expressed, implied or
included in, or with this
book from Prime
Recordings Inc., are
solely those of David B.
Larsen and Janice Kapp
Perry, and not those of
Intellectual Reserve,
Inc., The Church of Jesus
Christ of Latter-day
Saints or its
leaders. *** Some
Janice Kapp Perry
products may require a
few days additional
shipping time. Thank
you!
Oboe, Piano Accompaniment SKU: HL.14028681 Composed by Esa-Pekka Salonen....(+)
Oboe, Piano Accompaniment
SKU: HL.14028681
Composed by Esa-Pekka
Salonen. Music Sales
America. Post-1900. Sheet
Music, Instrumental Work.
With Text language:
English. 32 pages.
Chester Music #CH60917.
Published by Chester
Music (HL.14028681).
UPC: 884088810481.
8.5x11.0x0.094
inches.
Composer's
Note Second Meeting was
written in January 1992.
The first performance
took place in Stockholm
in February (Bengt
Rosengren, oboe and
Stefan Bojsten, piano).
The work belongs to a
planned series of
virtuoso duos,
ââ¬ÅmeetingsÃ
â¬Â. The first
one (from 1982) is
written for clarinet and
harpsichord. Formally,
Second Meeting is very
close to a familiar
ââ¬Åtheme and
variationsââ¬Â
category, although there
are seven themes, or
melodies, all quite
closely related. In the
autumn of the same year I
decided to write a
version of the piece for
oboe and a small
orchestra, trying to
remain reasonably
faithful to the original
(a la Ravel, perhaps).
The orchestral version is
called Mimo 1). Esa-Pekka
Salonen.
Woodwinds (2.2.cor ang.2.B-clar.2 - 4.2.2flhn.3.1 - timp - hp - str) SKU: BR....(+)
Woodwinds (2.2.cor
ang.2.B-clar.2 -
4.2.2flhn.3.1 - timp - hp
- str)
SKU:
BR.OB-5328-30
Urtext. Composed
by Cesar Auguste Franck.
Edited by Peter Jost.
Folder.
Orchester-Bibliothek
(Orchestral Library). A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use. Symphony; Romantic.
Set of parts. 232 pages.
Duration 37'. Breitkopf
and Haertel #OB 5328-30.
Published by Breitkopf
and Haertel
(BR.OB-5328-30).
ISBN
9790004333877. 10 x 12.5
inches.
Cesar
Franck wrote his Symphony
in D minor in 1887/88; in
spite of the work's
lukewarm reception at its
world premiere on 17
February 1889, the work
was published during his
lifetime. It was not
until a few years later
that the established
conductors dared perform
this work more frequently
. It marked the
inevitable triumph of a
work which had once
caused such a furor and
whose individuality of
conception burst the
framework of the genre
(double tonality of D and
F minor in the opening
movement; the combination
of Andante and Scherzo in
the central one; the
recapitulation of the
main themes and motifs of
the previous movements in
the finale). The work was
finally accepted into the
concert repertoire for
good around the turn of
the century, not least
through the good offices
of influential critics
and composers.Just as
with the previously
published Carnival of the
Animals (PB/OB 5321) by
Saint-Saens, Franck's
work also raises many
questions concerning its
origin and history. Peter
Jost based his work on
the first edition (the
autograph was destroyed
in a fire in 1935) as
well as on the piano
reduction (four-handed)
by the composer.
A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use.
Viola (2.2.cor ang.2.B-clar.2 - 4.2.2flhn.3.1 - timp - hp - str) SKU: BR.OB-5...(+)
Viola (2.2.cor
ang.2.B-clar.2 -
4.2.2flhn.3.1 - timp - hp
- str)
SKU:
BR.OB-5328-19
Urtext. Composed
by Cesar Auguste Franck.
Edited by Peter Jost.
Stapled.
Orchester-Bibliothek
(Orchestral Library). A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use. Symphony; Romantic.
Part. 16 pages. Duration
37'. Breitkopf and
Haertel #OB 5328-19.
Published by Breitkopf
and Haertel
(BR.OB-5328-19).
ISBN
9790004333846. 10 x 12.5
inches.
Cesar
Franck wrote his Symphony
in D minor in 1887/88; in
spite of the work's
lukewarm reception at its
world premiere on 17
February 1889, the work
was published during his
lifetime. It was not
until a few years later
that the established
conductors dared perform
this work more frequently
. It marked the
inevitable triumph of a
work which had once
caused such a furor and
whose individuality of
conception burst the
framework of the genre
(double tonality of D and
F minor in the opening
movement; the combination
of Andante and Scherzo in
the central one; the
recapitulation of the
main themes and motifs of
the previous movements in
the finale). The work was
finally accepted into the
concert repertoire for
good around the turn of
the century, not least
through the good offices
of influential critics
and composers.Just as
with the previously
published Carnival of the
Animals (PB/OB 5321) by
Saint-Saens, Franck's
work also raises many
questions concerning its
origin and history. Peter
Jost based his work on
the first edition (the
autograph was destroyed
in a fire in 1935) as
well as on the piano
reduction (four-handed)
by the composer.
A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use.
Double bass (2.2.cor ang.2.B-clar.2 - 4.2.2flhn.3.1 - timp - hp - str) SKU: B...(+)
Double bass (2.2.cor
ang.2.B-clar.2 -
4.2.2flhn.3.1 - timp - hp
- str)
SKU:
BR.OB-5328-27
Urtext. Composed
by Cesar Auguste Franck.
Edited by Peter Jost.
Stapled.
Orchester-Bibliothek
(Orchestral Library). A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use. Symphony; Romantic.
Part. 12 pages. Duration
37'. Breitkopf and
Haertel #OB 5328-27.
Published by Breitkopf
and Haertel
(BR.OB-5328-27).
ISBN
9790004333860. 10 x 12.5
inches.
Cesar
Franck wrote his Symphony
in D minor in 1887/88; in
spite of the work's
lukewarm reception at its
world premiere on 17
February 1889, the work
was published during his
lifetime. It was not
until a few years later
that the established
conductors dared perform
this work more frequently
. It marked the
inevitable triumph of a
work which had once
caused such a furor and
whose individuality of
conception burst the
framework of the genre
(double tonality of D and
F minor in the opening
movement; the combination
of Andante and Scherzo in
the central one; the
recapitulation of the
main themes and motifs of
the previous movements in
the finale). The work was
finally accepted into the
concert repertoire for
good around the turn of
the century, not least
through the good offices
of influential critics
and composers.Just as
with the previously
published Carnival of the
Animals (PB/OB 5321) by
Saint-Saens, Franck's
work also raises many
questions concerning its
origin and history. Peter
Jost based his work on
the first edition (the
autograph was destroyed
in a fire in 1935) as
well as on the piano
reduction (four-handed)
by the composer.
A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use.
Violoncello (2.2.cor ang.2.B-clar.2 - 4.2.2flhn.3.1 - timp - hp - str) SKU: B...(+)
Violoncello (2.2.cor
ang.2.B-clar.2 -
4.2.2flhn.3.1 - timp - hp
- str)
SKU:
BR.OB-5328-23
Urtext. Composed
by Cesar Auguste Franck.
Edited by Peter Jost.
Stapled.
Orchester-Bibliothek
(Orchestral Library). A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use. Symphony; Romantic.
Part. 16 pages. Duration
37'. Breitkopf and
Haertel #OB 5328-23.
Published by Breitkopf
and Haertel
(BR.OB-5328-23).
ISBN
9790004333853. 10 x 12.5
inches.
Cesar
Franck wrote his Symphony
in D minor in 1887/88; in
spite of the work's
lukewarm reception at its
world premiere on 17
February 1889, the work
was published during his
lifetime. It was not
until a few years later
that the established
conductors dared perform
this work more frequently
. It marked the
inevitable triumph of a
work which had once
caused such a furor and
whose individuality of
conception burst the
framework of the genre
(double tonality of D and
F minor in the opening
movement; the combination
of Andante and Scherzo in
the central one; the
recapitulation of the
main themes and motifs of
the previous movements in
the finale). The work was
finally accepted into the
concert repertoire for
good around the turn of
the century, not least
through the good offices
of influential critics
and composers.Just as
with the previously
published Carnival of the
Animals (PB/OB 5321) by
Saint-Saens, Franck's
work also raises many
questions concerning its
origin and history. Peter
Jost based his work on
the first edition (the
autograph was destroyed
in a fire in 1935) as
well as on the piano
reduction (four-handed)
by the composer.
A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use.
SATB Choir a Cappella SKU: HL.14023340 Composed by Per Norgard. Music Sal...(+)
SATB Choir a Cappella
SKU: HL.14023340
Composed by Per Norgard.
Music Sales America.
Classical. Vocal Score.
26 pages. Music Sales
#KP01444. Published by
Music Sales
(HL.14023340).
ISBN
9788759871911.
8.25x11.75x0.115 inches.
English.
To
Nocturner (2001) - for
Chamber Choir (12 or 24
Voices). Texts by Ole
Sarvig and Ib Michael.
English version
available: KP01444E
Programme note: These two
choral pieces for 12
voices consists of
radical recompositions on
of earlier themes: in
Summer's Sleep we hear
new combinations of two
'Sarvig melodies' from
the 1970s (one of which
is now in the Danish
Hymnbook under the title
aret, The Year):
Michael's Night is based
on an earlier, simple
choral song (Star
Mirror,1987), now for 12
voices and composed such
that an original idea of
simultaneously displaced,
opposite motions cf. the
poem) comes out as
desired. Of the Nocturnes
Norgard writes: Summer's
Sleep wascomposed to
stanzas of Ole Sarvig's
poem The Year (from the
collection Forstadsdigte
('Suburban Poems')) and
forms the picture of the
summer of life, which is
asleep - while the heaven
seed waits for the summer
wind (invisible to every
mind). The many layers of
text are expressed
musically in a
multilayered choral
texture with 'looks' up
and down through the
various tempo and
time-worlds: summer
sleep, summer dream. The
second nocturne,
Michael's Night, takes
its name from the author
Ib Michael, whose poem
Star Mirror (from the
collection
Himmelbegravelse ('Sky
Funeral') (1986) I
pushed/coaxed him to
expand from one to nine
stanzas. The four
selected stanzas set in
the nocturne focus on the
pan-erotic elements of
the moonlit, starlit
night. With the titles I
have chosen I have
stressed the mythic layer
of the text, the summer
night not as a dream but
as sensual reality. The
two nocturnes are
dedicated to Ivan Hansen
on the occasion of his
fiftieth birthday on 25th
February 2003, out of
gratitude for over a
quarter of a century of
inspiring
collaboration.
Composed by Carl Maria
von Weber. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Along with Mozart's
B-flat major Concerto K.
191 (186e), Weber's
bassoon concerto is one
of the most popular and
frequently played
concertos for this low
woodwind instrument. Solo
concerto; Romantic. Part.
8 pages. Duration 20'.
Breitkopf and Haertel #OB
4867-16. Published by
Breitkopf and Haertel
(BR.OB-4867-16).
ISBN
9790004323304. 10 x 12.5
inches.
Carl Maria
von Weber wrote the
present concerto in 1811
for the Munich bassoon
player Georg Friedrich
Brandt. The date of the
world premiere is not
known; what is
ascertained, however, is
a performance in Prague
on 19 February 1813 by
Brandt, to whom the work
was dedicated.Along with
Mozarts B-flat major
Concerto K. 191 (186e),
Webers bassoon concerto
is one of the most
popular and frequently
played concertos for this
low woodwind instrument.
Weber illustrates the
instruments qualities by
using a different form in
each movement, as we can
see in its primary
themes: the opening
movement is dominated by
a rhythmically striking
theme; cantabile passages
set the tone for the more
lightly scored Adagio;
and in the closing Rondo.
Allegro, the soloist can
demonstrate his
virtuosity from the very
beginning through large
intervallic leaps and
rapid runs.
Along
with Mozart's B-flat
major Concerto K. 191
(186e), Weber's bassoon
concerto is one of the
most popular and
frequently played
concertos for this low
woodwind instrument.
Composed by Carl Maria
von Weber. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Along with Mozart's
B-flat major Concerto K.
191 (186e), Weber's
bassoon concerto is one
of the most popular and
frequently played
concertos for this low
woodwind instrument. Solo
concerto; Romantic. Part.
8 pages. Duration 20'.
Breitkopf and Haertel #OB
4867-26. Published by
Breitkopf and Haertel
(BR.OB-4867-26).
ISBN
9790004323328. 10 x 12.5
inches.
Carl Maria
von Weber wrote the
present concerto in 1811
for the Munich bassoon
player Georg Friedrich
Brandt. The date of the
world premiere is not
known; what is
ascertained, however, is
a performance in Prague
on 19 February 1813 by
Brandt, to whom the work
was dedicated.Along with
Mozarts B-flat major
Concerto K. 191 (186e),
Webers bassoon concerto
is one of the most
popular and frequently
played concertos for this
low woodwind instrument.
Weber illustrates the
instruments qualities by
using a different form in
each movement, as we can
see in its primary
themes: the opening
movement is dominated by
a rhythmically striking
theme; cantabile passages
set the tone for the more
lightly scored Adagio;
and in the closing Rondo.
Allegro, the soloist can
demonstrate his
virtuosity from the very
beginning through large
intervallic leaps and
rapid runs.
Along
with Mozart's B-flat
major Concerto K. 191
(186e), Weber's bassoon
concerto is one of the
most popular and
frequently played
concertos for this low
woodwind instrument.
Composed by Carl Maria
von Weber. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Along with Mozart's
B-flat major Concerto K.
191 (186e), Weber's
bassoon concerto is one
of the most popular and
frequently played
concertos for this low
woodwind instrument. Solo
concerto; Romantic. Part.
8 pages. Duration 20'.
Breitkopf and Haertel #OB
4867-19. Published by
Breitkopf and Haertel
(BR.OB-4867-19).
ISBN
9790004323311. 10 x 12.5
inches.
Carl Maria
von Weber wrote the
present concerto in 1811
for the Munich bassoon
player Georg Friedrich
Brandt. The date of the
world premiere is not
known; what is
ascertained, however, is
a performance in Prague
on 19 February 1813 by
Brandt, to whom the work
was dedicated.Along with
Mozarts B-flat major
Concerto K. 191 (186e),
Webers bassoon concerto
is one of the most
popular and frequently
played concertos for this
low woodwind instrument.
Weber illustrates the
instruments qualities by
using a different form in
each movement, as we can
see in its primary
themes: the opening
movement is dominated by
a rhythmically striking
theme; cantabile passages
set the tone for the more
lightly scored Adagio;
and in the closing Rondo.
Allegro, the soloist can
demonstrate his
virtuosity from the very
beginning through large
intervallic leaps and
rapid runs.
Along
with Mozart's B-flat
major Concerto K. 191
(186e), Weber's bassoon
concerto is one of the
most popular and
frequently played
concertos for this low
woodwind instrument.
For Two Pianos. By Lowell Liebermann. 2 pianos, 4-hands. For Piano I, Piano II. ...(+)
For Two Pianos. By Lowell
Liebermann. 2 pianos,
4-hands. For Piano I,
Piano II. Premiered by
the Bradshaw and Buono
Duo, February 27, 1996.
Performance score.
Composed 1993. Opus 42.
41 pages. Duration 20:00.
Published by Theodore
Presser Company
Piano SKU: HL.50600925 For Piano. Composed by Bright Sheng. Piano....(+)
Piano
SKU:
HL.50600925
For
Piano. Composed by
Bright Sheng. Piano.
Classical. Softcover. 32
pages. G. Schirmer
#ED4625. Published by G.
Schirmer (HL.50600925).
ISBN 9781495095320.
UPC: 888680688592. 9x12
inches.
Composer
Note: In 1990, after
eight years in the United
States, I wrote my first
work for solo piano,
titled My Song,
commissioned for Peter
Serkin. At the time, my
primary compositional
concentration was to
develop a melodic and
harmonic style within the
boundaries of Chinese
folk music, which are
mostly in pentatonic
modes, and contemporary
Western Classical music.
As a result, all the four
movements in My
Song were either
based on existing Chinese
folk tunes or written in
their style. I was asked
recently by another
virtuoso pianist friend,
Yefim Bronfman, to write
a work for solo piano.
After the passing of 17
years, I wonder if there
is any change in my
writing. I therefore
titled the new suite
My Other
Song.
There
are four movements in the
composition, the first
three of which are brief
and provide contrast in
character. The theme of
the last movement, the
longest, is based on a
Buddhist chant heard at
the wake for my mother in
February
2005.–Bright
Sheng.
