Flute, oboe and bassoon (Solo instrument, Orchestra) SKU: BA.BA04589-01 C...(+)
Flute, oboe and bassoon
(Solo instrument,
Orchestra)
SKU:
BA.BA04589-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Franz Giegling. This
edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series V, Volume 14,
No. 3. Musikwissenschaft,
Klassik (Critical
Commentary, Classical).
Complete edition, Score,
anthology. Baerenreiter
Verlag #BA04589_01.
Published by Baerenreiter
Verlag (BA.BA04589-01).
ISBN 9790006451272.
33.1 x 26 cm
inches.
Urtext der
Neuen Mozart-Ausgabe.
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 SKU: HL.14047797 Oboe Part. Composed by John Tavener. Music S...(+)
Oboe
SKU:
HL.14047797
Oboe
Part. Composed by
John Tavener. Music Sales
America. Classical.
Softcover. 15 pages.
Chester Music #CH7108201.
Published by Chester
Music (HL.14047797).
UPC: 888680642815.
9.5x14 inches.
John
Tavener 's Kaleidoscopes
is a tribute to Mozart
for Solo Oboe, Percussion
and four String Quartets,
lasting approximately 30
minutes. The work was
commissioned by the
Britten Sinfonia, and
first performed by them
with soloist Nicholas
Daniel on 6th November
2006 at the Queen
Elizabeth Hall, London.
This is the Solo Oboe
part. In the composer's
note, Tavener
explains his high
regard for Mozart, and
how in Kaleidoscopes
he attempts to take
Mozart's music and
meditate upon it in four
main cycles. He states
that all the music has
its source in Mozart,
whether it be rhythmic,
harmonic or
contrapuntal. .
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra
SKU: PR.11641373S
Composed by Peter
Schickele. Full score.
Duration 24 minutes.
Theodore Presser Company
#116-41373S. Published by
Theodore Presser Company
(PR.11641373S).
UPC:
680160680344.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large ...(+)
Orchestra Orchestra
SKU: PR.11641373L
Composed by Peter
Schickele. Large Score.
Duration 24 minutes.
Theodore Presser Company
#116-41373L. Published by
Theodore Presser Company
(PR.11641373L).
UPC:
680160680337.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.
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.
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.
La
memoire, fur viola solo
and und big ensemble.
Composed by Walter
Feldmann. (r)MONSTRUEUSE
VECUT DANS LE CADRE-.
Study score. Composed
2002-2004. 74 pages.
Duration 23 minutes.
Carus Verlag #CV
16.326/07. Published by
Carus Verlag
(CA.1632607).
ISBN
9790007108120. Language:
all
languages.
Commissi
oned by the Ensemble
Intercontemporain In 1989
I first discovered the
writings of Anne-Marie
Albiach. H II lineaires
especially impressed me,
on the one hand through
the sensual presence of
the words, and on the
other hand, above all,
through the spatial
disposition of the
typography. This is a
form of writing which has
nothing to do with all
that has existed before
it. This impression was
the starting point for a
creative work which has
since become a kind of a
project to which I will
dedicate myself
throughout my life. Since
that time of my first
discovery (in which
hundreds of pages of
sketches and a published
excerpt of a score of a
syntagma have been
composed, namely <<
monstrueuse vecut dans le
cadre >> la memoire) I
have attempted to develop
a new musical system that
encompasses all the
parameters of
composition. All of these
works which I have
composed are independent
from this enormous
project, but at the same
time they form the
experimental laboratory
for the all-encompassing
musical system towards
which I am working and
developing: a new system
of determining pitches,
metre, dynamics, musical
diction, manner of
performance, etc. With <<
monstrueuse vecut dans le
cadre >> la memoire it
appears that the research
for this project has been
concluded. After the two
large cycles << Les
Georgiques >> on texts
from Claude Simon and <<
Tristram Shandy >> from
Laurence Sterne, both
employing techniques from
my work with Albiach's
texts, I could finally
compose this work, which
was originally conceived
for voice and 6
instrumental groups - the
system was mastered, so
to speak. Anne-Marie
Albiach's establishes the
genetic code for the
piece, without the words
having to be spoken.. Her
text is, in the true
sense of the word,
measured from one
syntagma (syntactical
element), from one void
(space) to another, and
this results in temporal
structures of ensemble
texture. This is opposed
to another texture, which
is the temporal
measurement of a
recitation of the text by
the author: her voice,
using the range of her
voice, is the viola solo
- a recitation, in its
unique individuality, on
which the cold,
typographical structure
of the ensemble
superimposed. Every time
I read a text of
Anne-Marie Albiach, it
seems to me that she is
saying that which I do.
An extremely rare
coincidence, like that
with the violist Odile
Auboin, the soloist, who
I think works in the same
manner and has the same
approach to things. Score
available separately -
see item CA.1632600.
Oboenkonzert.
Composed by Hugo
Schuncke. Oboenkonzert.
Single Part, Violin 1. 12
pages. Duration 25
minutes. Carus Verlag #CV
40.576/11. Published by
Carus Verlag
(CA.4057611).
ISBN
9790007219093. Key: A
minor. Language: all
languages.
An oboe
concerto from the
romantic era?
Embarassingly, due to the
small amount of solo
literature for the
instrument from this
period, this question
often asked of oboists,
must be answerded with a
reference to the few
small concert pieces and
sets of variations
available. The A minor
Concerto by Hugo
Schuncke, who was a
musician at the Court of
Stuttgart, fills a need.
The work consists of
three movements: a
virtuoso Allegro, a
pastorale Andante and a
rhythmic, exciting Bolero
in rondo form. Score and
part available separately
- see item
CA.4057600.
Oboenkonzert.
Composed by Hugo
Schuncke. Oboenkonzert.
Single Part, Viola. 8
pages. Duration 25
minutes. Carus Verlag #CV
40.576/13. Published by
Carus Verlag
(CA.4057613).
ISBN
9790007219116. Key: A
minor. Language: all
languages.
An oboe
concerto from the
romantic era?
Embarassingly, due to the
small amount of solo
literature for the
instrument from this
period, this question
often asked of oboists,
must be answerded with a
reference to the few
small concert pieces and
sets of variations
available. The A minor
Concerto by Hugo
Schuncke, who was a
musician at the Court of
Stuttgart, fills a need.
The work consists of
three movements: a
virtuoso Allegro, a
pastorale Andante and a
rhythmic, exciting Bolero
in rondo form. Score and
part available separately
- see item
CA.4057600.
Oboenkonzert.
Composed by Hugo
Schuncke. Oboenkonzert.
Single Part, Double Bass.
8 pages. Duration 25
minutes. Carus Verlag #CV
40.576/15. Published by
Carus Verlag
(CA.4057615).
ISBN
9790007219130. Key: A
minor. Language: all
languages.
An oboe
concerto from the
romantic era?
Embarassingly, due to the
small amount of solo
literature for the
instrument from this
period, this question
often asked of oboists,
must be answerded with a
reference to the few
small concert pieces and
sets of variations
available. The A minor
Concerto by Hugo
Schuncke, who was a
musician at the Court of
Stuttgart, fills a need.
The work consists of
three movements: a
virtuoso Allegro, a
pastorale Andante and a
rhythmic, exciting Bolero
in rondo form. Score and
part available separately
- see item
CA.4057600.
Oboenkonzert.
Composed by Hugo
Schuncke. Oboenkonzert.
Single Part, Violin 2. 12
pages. Duration 25
minutes. Carus Verlag #CV
40.576/12. Published by
Carus Verlag
(CA.4057612).
ISBN
9790007219109. Key: A
minor. Language: all
languages.
An oboe
concerto from the
romantic era?
Embarassingly, due to the
small amount of solo
literature for the
instrument from this
period, this question
often asked of oboists,
must be answerded with a
reference to the few
small concert pieces and
sets of variations
available. The A minor
Concerto by Hugo
Schuncke, who was a
musician at the Court of
Stuttgart, fills a need.
The work consists of
three movements: a
virtuoso Allegro, a
pastorale Andante and a
rhythmic, exciting Bolero
in rondo form. Score and
part available separately
- see item
CA.4057600.
(Oboe With Piano Accompaniment) SKU: HL.48181518 Composed by Eugene Bozza...(+)
(Oboe With Piano
Accompaniment)
SKU:
HL.48181518
Composed
by Eugene Bozza. Leduc.
Classical. Softcover. 8
pages. Alphonse Leduc
#AL21152. Published by
Alphonse Leduc
(HL.48181518).
UPC:
888680842055.
9.0x12.25x0.077
inches.
The great
Italian Fantasy is a
piece composed by Eugene
Bozza for Oboe and Piano.
Quite difficult, it
requires some advanced
skills to be executed
perfectly. Starting
Moderato, it opens with a
cadenza which includes
some solo Oboe sections
and continues with a
short and lyrical melody.
It closes on a nice
rhythmic section in
Allegro. Really nice to
play and to listen to,
Italian Fantasy would
make for a fantastic
demonstration of your
skills and technical
abilities during a
recital and a concert.
Eugene Bozza won
different prizes at the
Conservatoire de Paris,
such as the First Prizes
for the Violin,
conducting and
composition, as well as
the Grand Prix de Rome.
He composed several
operas, chamber works and
ballets among
others..
By Wolfgang Amadeus Mozart. Edited by Martin Schelhaas. Arranged by Dennis Brain...(+)
By Wolfgang Amadeus
Mozart. Edited by Martin
Schelhaas. Arranged by
Dennis Brain; Timothy
Brown; Dominic Nunns. For
Horn Solo, Oboe (2), Horn
(2), Strings. Piano
Reduction/Vocal Score;
Single Part; Urtext
Edition. KV 495. Duration
17'. Published by
Baerenreiter-Ausgaben
(German import). (BA5313
90)
Bassoon SKU: SU.94010764 For Bassoon. Composed by James Lee III. W...(+)
Bassoon
SKU:
SU.94010764
For
Bassoon. Composed by
James Lee III. Woodwinds,
Bassoon. Score. Subito
Music Corporation
#94010764. Published by
Subito Music Corporation
(SU.94010764).
Dedicated to
Bryan Young, Principal
Bassoon, Baltimore
Chamber OrchestraBassoon
Duration: 5'3 Composed:
2020 Published by: Subito
Music Publishing PROGRAM
NOTE: The year 2020
has definitely been a
very challenging year
with many upheavals.
During this time of the
COVID-19 health crisis,
wearing masks, and high
racial tensions, I
decided to compose four
short solo woodwind works
for flute, oboe,
clarinet, and bassoon,
which represent the core
woodwind section in an
orchestra. I was inspired
to compose these short
pieces after I first
heard Igor Stravinsky's
three short pieces for
clarinet, which totals a
little more than four
minutes in duration. I
thought that it would be
nice to highlight and
honor my African-American
male colleagues in the
orchestral music world. I
wanted to celebrate the
fact that they are the
principal player in the
section of their
respective orchestras.
The short pieces are as
follows: Principal
Brother No. 1 for flute
solo for Demarre McGill,
Principal Flute of the
Seattle Symphony
Orchestra, Principal
Brother No. 2 for oboe
solo for Titus Underwood,
Principal Oboe of the
Nashville Symphony
Orchestra, Principal
Brother No. 3 for
clarinet solo for Anthony
McGill, Principal
Clarinet of the New York
Philharmonic, and
Principal Brother No. 4
for bassoon solo for
Bryan Young, Principal
Bassoon of the Baltimore
Chamber Orchestra. These
works all begin with
notes that are
representative of their
name; D for Demarre, B
for Titus (ti in
solfège starting on
C), A for Anthony, and Bb
for Bryan. There is also
a rhythmic figure in the
opening measures of each
piece, which represent
the utterance of their
names. All four of these
works are rhapsodic in
nature with elements of
improvisation. - James
Lee III.
Concert Band SKU: YM.GTW01101395 NSB: New Sounds in Brass for Concert ...(+)
Concert Band
SKU:
YM.GTW01101395
NSB: New Sounds in
Brass for Concert
Bands. Composed by
Joe Hisaishi. Studio
Ghibli. Anime Song;
J-Pop. Book. Yamaha Music
Media #GTW01101395.
Published by Yamaha Music
Media (YM.GTW01101395).
ISBN 9784636110524.
8.25 x 11.75
inches.
New Sounds
in Brass is a series for
concert bands that
collects arrangements of
various musical genres,
including Studio Ghibli,
Disney, anime titles, and
J-Pop, arranged by the
best ensemble arrangers
in Japan. This
collection features four
particularly popular
pieces composed for Hayao
Miyazaki's animated films
from the works of
renowned Japanese
composer and maestro Joe
Hisaishi. The first half
opens with the delightful
and lively The Village in
May and the charming
stroll of Hey Let's Go
from My Neighbor Totoro.
The second half
transitions into the
melancholy and leisurely
sounds of Day of the
River from Spirited Away
and the wistful Departure
from Kiki's Delivery
Service. Arranged by
Kazuhiro Morita
Duration: 7 minutes and
30 seconds
Difficulty:
★★★
Solos: Oboe, Flute
Ensemble: 1st Flute (1),
2nd Flute & Piccolo (1),
Oboe (1), Bassoon (1),
Clarinet in E-flat (1),
1st Clarinet in
B-flat(3), 2nd Clarinet
in B-flat(3), Bass
Clarinet in B-flat(1),
1st Alto Saxophone in
E-flat(1), 2nd Alto
Saxophone in E-flat(1),
Tenor Saxophone in
B-flat(1), Baritone
Saxophone in E-flat(1),
1st Trumpet in B-flat(1),
2nd Trumpet in B-flat(1),
1st Horn in F (1), 2nd
Horn in F (1), 1st
Trombone (1), 2nd
Trombone (1), Euphonium
(1), Bass in C (1),
String Bass (1), Drums
(1), Glockenspiel (1),
Vibraphone & Xylophone
(1) Medley: The
Village in May, Hey Let's
Go, Day of the River, and
Departure.
Oboe or Cor Anglais - Grade 6-8 SKU: ST.C467 Composed by Ayser Vancin. Wi...(+)
Oboe or Cor Anglais -
Grade 6-8
SKU:
ST.C467
Composed by
Ayser Vancin. Wind and
brass music. Score.
Clifton Edition #C467.
Published by Clifton
Edition (ST.C467).
ISBN
9790570814671.
I
was inspired to create
this work after attending
a Greek mythology seminar
at the University of
Geneva: a collection of
solo oboe or English horn
pieces, allowing a
certain freedom of
improvisation to the
performer. The muses are
often shown in Ancient
Greek art, holding
musical instruments or
other associated
objects.
The Nine
Muses came to life
initially in 2006, thanks
to Phylloscopus
Publications and K. R.
Malloch.
Composed by Hugo
Schuncke. This edition:
Paperbound. German title:
Oboenkonzert. Full score.
120 pages. Duration 25
minutes. Carus Verlag #CV
40.576/00. Published by
Carus Verlag
(CA.4057600).
ISBN
9790007105976. Key: A
minor. Language: all
languages.
An oboe
concerto from the
romantic era?
Embarassingly, due to the
small amount of solo
literature for the
instrument from this
period, this question
often asked of oboists,
must be answerded with a
reference to the few
small concert pieces and
sets of variations
available. The A minor
Concerto by Hugo
Schuncke, who was a
musician at the Court of
Stuttgart, fills a need.
The work consists of
three movements: a
virtuoso Allegro, a
pastorale Andante and a
rhythmic, exciting Bolero
in rondo form.
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Zsigmond Szathmary....(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Arranged by
Zsigmond Szathmary. Free
organ music. German
title: 17 Kirchensonaten
fur Orgel solo. Free
organ music. Compact
Disc. Composed 1844. 700
pages. Carus Verlag #CV
18.067/99. Published by
Carus Verlag
(CA.1806799).
Flute SKU: SU.94010761 For Flute. Composed by James Lee III. Woodw...(+)
Flute
SKU:
SU.94010761
For
Flute. Composed by
James Lee III. Woodwinds,
Flute/Piccolo. Score.
Subito Music Corporation
#94010761. Published by
Subito Music Corporation
(SU.94010761).
Dedicated to
Demarre McGill, Principal
Flute, Seattle Symphony
OrchestraFlute Duration:
6' Composed: 2020
Published by: Subito
Music Publishing PROGRAM
NOTE: The year 2020
has definitely been a
very challenging year
with many upheavals.
During this time of the
COVID-19 health crisis,
wearing masks, and high
racial tensions, I
decided to compose four
short solo woodwind works
for flute, oboe,
clarinet, and bassoon,
which represent the core
woodwind section in an
orchestra. I was inspired
to compose these short
pieces after I first
heard Igor Stravinsky's
three short pieces for
clarinet, which totals a
little more than four
minutes in duration. I
thought that it would be
nice to highlight and
honor my African-American
male colleagues in the
orchestral music world. I
wanted to celebrate the
fact that they are the
principal player in the
section of their
respective orchestras.
The short pieces are as
follows: Principal
Brother No. 1 for flute
solo for Demarre McGill,
Principal Flute of the
Seattle Symphony
Orchestra, Principal
Brother No. 2 for oboe
solo for Titus Underwood,
Principal Oboe of the
Nashville Symphony
Orchestra, Principal
Brother No. 3 for
clarinet solo for Anthony
McGill, Principal
Clarinet of the New York
Philharmonic, and
Principal Brother No. 4
for bassoon solo for
Bryan Young, Principal
Bassoon of the Baltimore
Chamber Orchestra. These
works all begin with
notes that are
representative of their
name; D for Demarre, B
for Titus (ti in
solfège starting on
C), A for Anthony, and Bb
for Bryan. There is also
a rhythmic figure in the
opening measures of each
piece, which represent
the utterance of their
names. All four of these
works are rhapsodic in
nature with elements of
improvisation. - James
Lee III.
Clarinet SKU: SU.94010763 For Clarinet. Composed by James Lee III....(+)
Clarinet
SKU:
SU.94010763
For
Clarinet. Composed by
James Lee III. Woodwinds,
Clarinet. Score. Subito
Music Corporation
#94010763. Published by
Subito Music Corporation
(SU.94010763).
Dedicated to
Anthony McGill, Principal
Clarinet, New York
PhilharmonicClarinet
Duration: 5'30 Composed:
2020 Published by: Subito
Music Publishing PROGRAM
NOTE: The year 2020
has definitely been a
very challenging year
with many upheavals.
During this time of the
COVID-19 health crisis,
wearing masks, and high
racial tensions, I
decided to compose four
short solo woodwind works
for flute, oboe,
clarinet, and bassoon,
which represent the core
woodwind section in an
orchestra. I was inspired
to compose these short
pieces after I first
heard Igor Stravinsky's
three short pieces for
clarinet, which totals a
little more than four
minutes in duration. I
thought that it would be
nice to highlight and
honor my African-American
male colleagues in the
orchestral music world. I
wanted to celebrate the
fact that they are the
principal player in the
section of their
respective orchestras.
The short pieces are as
follows: Principal
Brother No. 1 for flute
solo for Demarre McGill,
Principal Flute of the
Seattle Symphony
Orchestra, Principal
Brother No. 2 for oboe
solo for Titus Underwood,
Principal Oboe of the
Nashville Symphony
Orchestra, Principal
Brother No. 3 for
clarinet solo for Anthony
McGill, Principal
Clarinet of the New York
Philharmonic, and
Principal Brother No. 4
for bassoon solo for
Bryan Young, Principal
Bassoon of the Baltimore
Chamber Orchestra. These
works all begin with
notes that are
representative of their
name; D for Demarre, B
for Titus (ti in
solfège starting on
C), A for Anthony, and Bb
for Bryan. There is also
a rhythmic figure in the
opening measures of each
piece, which represent
the utterance of their
names. All four of these
works are rhapsodic in
nature with elements of
improvisation. - James
Lee III.
Composed by Rico Stover. Flute, Fife and Oboe,Guitar: Classical and Lute,Styl...(+)
Composed by Rico Stover.
Flute, Fife and
Oboe,Guitar:
Classical and
Lute,Style,Classical,Duet
s
and Ensembles,Chamber
Music.
Book and Insert and
Online
Audio. 44 pages.
Published by
Mel Bay Publications, Inc