| Fun with the Oboe Hautbois [Partition] - Débutant Mel Bay
By William T. Robinson, III. For Oboe. Method. Fun With. All Styles. Level: Begi...(+)
By William T. Robinson,
III. For Oboe. Method.
Fun With. All Styles.
Level: Beginning. Book.
Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.
$6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Oboemotions Hautbois GIA Publications
(What every oboe player needs to know about the body). By Stephen Caplan. For ob...(+)
(What every oboe player
needs to know about the
body). By Stephen Caplan.
For oboe. Method
book/text book
$33.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Compatible Trios for Winds (Flute/Oboe) Carl Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Flute /
Oboe. Compatible Trios
for Winds. Part book. 48
pages. Published by Carl
Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Albinoni ? Oboe Concerti B-flat, Op. 7 No. 3; D Major, Op. 7, No. 6; D Minor, Op. 9, No. 2 Hautbois [Partition + Accès audio] Music Minus One
Book/Online Audio Oboe SKU: HL.400379 Music Minus One Oboe. By Fra...(+)
Book/Online Audio Oboe
SKU: HL.400379
Music Minus One
Oboe. By Frantisek
Kimmel. By Tomaso
Giovanni Albinoni. Sheet
music. Music Minus One.
Classical. Softcover
Audio Online. 16 pages.
Music Minus One #MMO3400.
Published by Music Minus
One (HL.400379). ISBN
9781596153479. UPC:
884088188894.
9.0x12.0x0.056
inches. Italian
Baroque Master Tomaso
Albinoni is sometimes
overlooked due to his
fellow countryman
Vivaldi's immense
popularity, but this
collection demonstrates
the immense gifts which
Albinoni exhibited as a
composer. These three
concerti are
representative of his
beautiful Baroque style.
Includes a high-quality
printed music score and
recordings containing a
complete performance with
soloist, then a second
version with the
orchestral accompaniment,
minus the soloist.
Performed by Frantisek
Kimmel, oboe
Accompaniment: Czech
Symphony Chamber
Orchestra Conductor:
Mario Klemens Audio is
accessed online using the
unique code inside the
book and can be streamed
or downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right. (2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Look, Listen & Learn - Meet the Masters Hautbois, Piano (duo) De Haske Publications
Oboe and Piano - very easy, easy SKU: BT.DHP-1185921-404 Oboe. Arr...(+)
Oboe and Piano - very
easy, easy SKU:
BT.DHP-1185921-404
Oboe. Arranged by
Markus Schenk. Look,
Listen and Learn.
Classical. Book with Part
and Audio-Online.
Composed 2018. 36 pages.
De Haske Publications
#DHP 1185921-404.
Published by De Haske
Publications
(BT.DHP-1185921-404).
ISBN 9789043155014.
English. Look,
Listen & Learn sets
the bar for brass and
woodwind teaching
nowadays. These exciting
method book/CD packs for
beginners contain songs,
music puzzles and games
to increase the
pupils’
understanding of music,
information about their
instrument, and lots of
fun pieces to play. The
three volumes of the
method that form the
basis of this series are
enhanced by several books
with supplementary
material designed to
correspond with the
progress of the
method. In Meet the
Masters, the melodies
are arranged in
increasing order of
difficulty and can be
used in conjunction with
all three volumes of the
Look, Listen &
Learn method series.
Pupils takea journey
through music history and
meet the most important
composers of classical
music, from Tielman
Susato to Anton n Dvo
ák, together with
pertinent historical
commentary. The present
edition includes printed
music for piano
accompaniments, expertly
arranged at a moderate
level of difficulty,
which are also available
in recorded versions
online to stream or
download. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Repertoire Classics for Oboe Hautbois, Piano (duo) [Partition + CD] Carl Fischer
(30 Repertoire Classics with Piano Accompaniment Including Selected Solos by). E...(+)
(30 Repertoire Classics
with Piano Accompaniment
Including Selected Solos
by). Edited by Nancy
Clauter. For Oboe, Piano.
Repertoire Classics. 48
pages. Published by Carl
Fischer
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Variations for Oboe & Piano Hautbois, Piano (duo) Clifton Edition
Oboe and piano SKU: ST.C461 Composed by Various. Wind & brass music. Clif...(+)
Oboe and piano SKU:
ST.C461 Composed by
Various. Wind & brass
music. Clifton Edition
#C461. Published by
Clifton Edition
(ST.C461). ISBN
9790570814619.
This edition replaces the
old Nova Edition NM394
and the subsequent but
also now defunct EMA142.
Both previous editions
are now out of print.
This is a freshly edited,
updated and greatly
improved
edition.
[bg_colla
pse view=link
color=#4a4949 icon=arrow
expand_text=Show More
collapse_text=Show Less
]
Gioacchino
Rossini: Variations for
Oboe and Piano Rossini
was still a student at
the Liceo Filarmonico in
Bologna when he wrote
these Variations at the
age of 18. Originally
thought to have been
written for Clarinet in C
and Orchestra, recent
scholarship, culminating
in Heinz Holliger’s
brilliant recording
(Philips 9500 564), has
provided many good
reasons why the oboe is
clearly the solo
instrument. Not only does
it ‘look like’ oboe
music but the writing
(within the oboe’s
exact range at that time)
ignores more than an
octave of the
clarinet’s potential
range. Also, it is most
unusual to find the solo
wind instrument
duplicated in the
accompanying orchestral
parts, thus providing
unnecessary competition
in
timbre.
Frédéric
Chopin: Variations on a
Theme by Rossini No
such ambiguity surrounds
the origin of Chopin’s
Variations on a Theme
from Rossini’s opera
La Cenerentola
— orginally for flute.
It is not definitely
known for whom they were
written, but they may
have been either for his
father (who played the
flute), or for his close
friend Matuszynski. They
date from 1826-30 and
here transposed from the
original E major into D
major for the oboe,
provide a valuable
addition to the
oboist’s nineteenth
century
repertoire.
[/bg_c
ollapse]
Arranged
by
Mark
Goddard Grades
7–8 Former Spartan
Press Cat. No.:
EMA142.
$14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Barcarolles for a Sinking City [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139S Composed
by Lowell Liebermann.
Full score. Duration 15
minutes. Theodore Presser
Company #116-41139S.
Published by Theodore
Presser Company
(PR.11641139S). UPC:
680160682119. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $48.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139L Composed
by Lowell Liebermann.
Large Score. Duration 15
minutes. Theodore Presser
Company #116-41139L.
Published by Theodore
Presser Company
(PR.11641139L). UPC:
680160682126. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Contextures: Riots - Decade '60 Orchestre Theodore Presser Co.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra SKU:
PR.11641867L Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L). UPC:
680160683215. Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death. $105.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Contextures: Riots - Decade '60 Orchestre [Conducteur] Theodore Presser Co.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra SKU:
PR.11641867S Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S). UPC:
680160683208. Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death. $43.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Adaptable Quartets for Oboe Hautbois - Facile Excelcia Music Publishing
Oboe - early intermediate SKU: XC.WB2015 21 Quartets for Any Wind & Pe...(+)
Oboe - early intermediate
SKU: XC.WB2015
21 Quartets for Any
Wind & Percussion
Instruments. Composed
by Various. Arranged by
Matthew R. Putnam and
Tyler Arcari. Concert and
Contest. Adaptable
Ensemble Series. Solo and
Ensemble. Ensemble,
Collection, Book.
Excelcia Music Publishing
#WB2015. Published by
Excelcia Music Publishing
(XC.WB2015). ISBN
9781644020487. 9 x 12
inches. Adaptable
Quartets contains 21
newly-composed or
arranged quartets that
can be flexibly used with
any combination of wind
and percussion
instruments, making them
an invaluable resource in
the modern band room!
Written at an accessible
1.5-3 grade level,
Adaptable Adaptable
Quartets contains 21
newly-composed or
arranged quartets that
can be flexibly used with
any combination of wind
and percussion
instruments, making them
an invaluable resource in
the modern band room!
Written at an accessible
1.5-3 grade level,
Adaptable Quartets follow
the popular Adaptable
Duets and Adaptable Trios
books by the same
composers. Tyler Arcari
and Matthew R. Putnam
bring with them a wealth
of educational experience
as music educators to
craft quartets that are
fun to play and musically
stimulating. Adaptable
Quartets are sure to
become an instant
favorite.
Table of
Contents Biographies,
Abide with me, Agincourt
Carol, The Barber of
Seville, Be Thou My
Vision, Capstone March,
Chorale - From Jupiter,
Country Gardens, Curse of
Tortuga, Dawn of the
Century March, Fortune
Favors the Bold, Gesu
Bambino, Go Tell it on
the Mountain,
Greensleeves, Home on the
Range, In the Hall of the
Mountain King, Les
Toreadors, Scimitar!, Sea
Shanty, Song Without
Words, The Emperor Waltz,
When Johnny Comes
Marching Home. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Compatible Duets for Winds 2 Flûtes traversières (duo) Carl Fischer
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(31 Duets That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. For Flute,
Oboe. 48 pages. Published
by Carl Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Look, Listen and Learn 3 Oboe Hautbois [Partition + Accès audio] De Haske Publications
Oboe SKU: BT.DHP-1023238-404 Method for Oboe. By Philip Sparke. Lo...(+)
Oboe SKU:
BT.DHP-1023238-404
Method for Oboe.
By Philip Sparke. Look,
Listen and Learn. Method.
Book with Online Audio.
Composed 2002. 52 pages.
De Haske Publications
#DHP 1023238-404.
Published by De Haske
Publications
(BT.DHP-1023238-404).
ISBN 9789043162760.
English. Edited by
acclaimed educator Philip
Sparke, these exciting
method books with online
audio access for
beginners contain songs,
music puzzles, games to
increase your
understanding of music,
information about your
instrument, andlots of
fun pieces to
playâ??either with the
audio tracks provided or
with other students.
Books include helpful
diagrams and fun
illustrations
throughout. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Look, Listen and Learn 1 Oboe Hautbois [Partition + Accès audio] De Haske Publications
Oboe SKU: BT.DHP-1002009-404 Method for Oboe. By Philip Sparke. Lo...(+)
Oboe SKU:
BT.DHP-1002009-404
Method for Oboe.
By Philip Sparke. Look,
Listen and Learn. Method.
Book with Online Audio.
Composed 2000. 56 pages.
De Haske Publications
#DHP 1002009-404.
Published by De Haske
Publications
(BT.DHP-1002009-404).
ISBN 9789043163699.
English. Edited by
acclaimed educator Philip
Sparke, these exciting
method books with online
audio access for
beginners contain songs,
music puzzles, games to
increase your
understanding of music,
information about your
instrument, andlots of
fun pieces to
playâ??either with the
audio tracks provided or
with other students.
Books include helpful
diagrams and fun
illustrations
throughout. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Look, Listen and Learn 3 Oboe Hautbois [Partition + CD] De Haske Publications
Oboe SKU: BT.DHP-1023238-400 Method for Oboe. By Nynke Jaarsma and...(+)
Oboe SKU:
BT.DHP-1023238-400
Method for Oboe.
By Nynke Jaarsma and
Philip Sparke. By Jaap
Kastelein and Michiel
Oldenkamp. Look, Listen
and Learn. Educational
Tool. Book with CD.
Composed 2002. 52 pages.
De Haske Publications
#DHP 1023238-400.
Published by De Haske
Publications
(BT.DHP-1023238-400).
ISBN 9789043115988.
English. Edited by
acclaimed educator Philip
Sparke, these exciting
method book/CD packs for
beginners contain songs,
music puzzles, games to
increase your
understanding of music,
information about your
instrument, and lots of
fun pieces to play -
either with the CD
provided or with other
students. Books include
helpful diagrams and fun
illustrations
throughout. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Composers (Flute / Oboe) [Partition + CD] - Débutant Curnow Music
Great Composers (Flute/Oboe - Grade 0.5). Arranged by James Curnow. Curnow Play-...(+)
Great Composers
(Flute/Oboe - Grade 0.5).
Arranged by James Curnow.
Curnow Play-Along Book.
Play Along. Grade 1/2.
Book with CD. 28 pages.
Curnow Music #053300.
Published by Curnow Music
(1)$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Accessible Solo Repertoire for Oboe Hautbois - Débutant Excelcia Music Publishing
Oboe - Grade 1.5-3 SKU: XC.WB2113 18 Festival Solos with Piano. Co...(+)
Oboe - Grade 1.5-3
SKU: XC.WB2113
18 Festival Solos with
Piano. Composed by
Various. Arranged by
Larry Clark and Tyler
Arcari. Solo with
Accompaniment. Accessible
Solo Reptertoire. Score
and part. Excelcia Music
Publishing #WB2113.
Published by Excelcia
Music Publishing
(XC.WB2113). ISBN
9781644020838. UPC:
812598038606. 9 x 12
inches. Accessible
Solo Repertoire for Flute
contains eighteen newly
composed or arranged
solos with piano
accompaniment written at
grades 2 to 2.5. Written
by one of the most
popular composers of
music for students, Larry
Clark, and the talented
up and coming composer
Tyler Arcari, these solos
will add something new,
fresh, and different to
your solo repertoire for
Flute. Larry and Tyler
use their experience as
music educators to write
solos that are fun to
play and musically
stimulating. These solos
are perfect for use at an
adjudicated solo festival
or recital. Each book
comes with beautifully
set solo parts. Piano
accompaniment parts, full
recordings, and piano
only recordings of each
piece are available for
download from the
Excelcia Music Publishing
website. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Epitaph Shawnee Press
Choral (Orchestra Accompaniment) SKU: HL.35029012 Composed by Joseph M. M...(+)
Choral (Orchestra
Accompaniment) SKU:
HL.35029012 Composed
by Joseph M. Martin.
Choral. Concert, Easter,
Memorial, Patriotic.
CD-ROM, Score and Parts.
Published by Shawnee
Press (HL.35029012).
UPC: 884088906573. 5x5
inches. Uses: Funeral, Memorial,
Patriotic,
Concert
Scriptu
re: Matthew 5:4; I
Thessalonians 4:14-17;
Romans 14:7-9
The
celebrated text,
“Do not stand at my
grave and weep” is
emotionally arranged into
a concert work of grief
and tears, hope and joy.
A lonely and longing
violin melds with a rich
and moving piano
accompaniment. The piece
begins quietly, builds
with intensity, and sings
into silence with the
text, “I am not
there. I did not
die.” Presented for
the first time with full
orchestra. Available
separately: SATB,
PianoTrax CD, StudioTrax
CD (Accomp., SplitTrax,
Perf.), Orchestration
(Score & Parts for Flt
1&2, Oboe, Clarinet 1&2,
Bassoon, Horn 1&2, Tpt 1,
Tpt 2&3, Tbone 1&2, Bass
Tbone/Tuba, Timp, Perc
1&2, Harp, Piano, Vln
1&2, Viola, Cello, Double
Bass). $69.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| First 50 Songs You Should Play on Oboe Hautbois Hal Leonard
A Must-Have Collection of Well-Known Songs, Including Oboe Features!. Composed...(+)
A Must-Have Collection of
Well-Known Songs,
Including
Oboe Features!. Composed
by
Various. Instrumental
Folio.
Pop, Standards.
Softcover.
Published by Hal Leonard
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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