Chamber Music oboe SKU: PR.114422520 Sonata for Oboe and Piano. Co...(+)
Chamber Music oboe
SKU: PR.114422520
Sonata for Oboe and
Piano. Composed by
Katherine Needleman. Set
of Score and Parts. 24+8
pages. Duration 15:45.
Theodore Presser Company
#114-42252. Published by
Theodore Presser Company
(PR.114422520).
ISBN
9781491134788. UPC:
680160683833.
After
decades as a renowned
oboe virtuoso, Katherine
Needleman was improvising
at the piano during the
quarantine summer of 2020
when her ideas congealed
in a powerful way. Within
a week she completed a
16-minute oboe sonata
inspired by the
world’s
overlapping crises. This
riveting three-movement
sonata bears the title
qua resurget ex favilla,
drawn from the Dies Irae
text referring to rising
back from ashes.
Needleman won the
International Double Reed
Society’s
Inaugural Commissioning
Competition by entering
her own recording of this
work, performing as
both oboist and pianist
from her living room. As
a result, IDRS
commissioned her to
compose a new work for
English horn and piano
which was premiered at
their 2021 Virtual
Symposium and programmed
for the live 2022
convention. I’m
not exactly sure how, in
a life consumed by music,
I never put anything on
paper between the time I
stopped at age 10 and the
age of 42. I mean, I have
some ideas why, but that
could easily dissolve
into a feminist manifesto
or a condemnation of my
musical education and the
overwhelming culture of
American oboe playing,
the vehicle through which
I’ve made a living
my entire adult life.
Rather than go there, I
will just say this is the
first piece I put on
paper in my adult
life.Six months into
COVID-19 lockdown in the
US, the world was feeling
pretty weird. I had
familiarized myself with
the music notation
program, Sibelius, for
recent arranging
projects. I had written
some mockeries of A.M.R.
Barret oboe etudes in
response to an assignment
I was given (and did
appropriately first).
When I descended into a
dark chorale in the
middle of the fourth
mockery, I realized I
needed a new vehicle. I
wrote a short, ridiculous
piece for my
husband’s
birthday, and then, the
next night, when
improvising at the piano,
like I’ve done
since I was seven years
old, this piece came to
me. However, this time, I
sketched it out into
Sibelius. Over the course
of the next week, I found
notating and picking
permanent, official notes
to enter into the
computer challenging. But
it was all done on paper
in seven days, and I took
another few for dynamics
and articulations
thinking they might be
useful for someone else,
if I would ever be lucky
enough for someone else
to play it.I don’t
have much to say about
the music of qua resurget
ex favilla itself.
It’s a personal
statement couched in the
feelings of that time.
The US presidential
election was looming
large and ugly in my
mind, well, that and the
end of life as we knew
it, but I also had some
bizarre feeling that
everything would be
okay.
Mystic Journey Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Robert Sheldon. Music by Robert Sheldon. For Concert Band. Concert Band. Cha...(+)
By Robert Sheldon. Music
by Robert Sheldon. For
Concert Band. Concert
Band. Challenger Band
Series. Level: Grade 1.5.
Conductor Score & Parts.
Published by Alfred
Publishing.
SATB, Flute, Clarinet, Percussion SKU: HL.14042212 Composed by John Taven...(+)
SATB, Flute, Clarinet,
Percussion
SKU:
HL.14042212
Composed
by John Tavener. Music
Sales America. Classical.
Softcover. Chester Music
#CH77198. Published by
Chester Music
(HL.14042212).
For Flute
(doubling Piccolo),
Clarinet in B flat*, Very
large Tam-Tam (sounding
from a high gallery), and
Choir (SSATTBB). *
Notated in C in the
score.
'According
to Hindu Cosmology,
welive at the end of a
cycle, the Kali Yuga -
the Dark Age. There are
two important sayings of
Christ that should
accompany his disciples
always during these
challenging
times.
The first
is The Gates of Hell
shall not prevail against
my Church (Matthew 16, v.
18); and the second I am
with you always unto the
end of the world (Matthew
28, v. 20).
<
/span>These sayings form
the basis of this work,
which falls into two main
sections, each with the
same structure and with
linked material. Each
section begins with Kali
Yuga, which I havetried
to represent in a
chaotic, unstructured
way, in contrast to the
cosmic Cries of Humanity
to Christ (Kyrie eleison
- Lord, have mercy), and
Christ's responses from
Saint Matthew's
Gospel.
The work
ends with a serene'Coda'
of the sacred
monosyllable OM,
representing the peace
and beatitude of God's
presence. The
intermingling of
Christianity and Hinduism
is an important simile
for our times; in the
same way, early
Christianity did
nothesitate to
incorporate Jewish and
Greek
thought.' - John
Tavener
Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225).
ISBN
9781491152515. UPC:
680160910014.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F).
ISBN
9781491153192. UPC:
680160910694.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.