| Asleep in the Deep Clarinette - Facile Kjos Music Company
Band Eb clarinet solo - Grade 2 SKU: KJ.S807 Composed by Petrie. Edited b...(+)
Band Eb clarinet solo -
Grade 2 SKU:
KJ.S807 Composed by
Petrie. Edited by Forrest
Buchtel. Solos/ensembles.
Music book. Neil A. Kjos
Music Company #S807.
Published by Neil A. Kjos
Music Company (KJ.S807).
$2.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto for Bass Clarinet and Band Orchestre d'harmonie [Conducteur] Molenaar Edition
Composed by Kees Vlak (1938-). Clarinet Solo and Band/Solo Concerts/Little Solo ...(+)
Composed by Kees Vlak
(1938-). Clarinet Solo
and Band/Solo
Concerts/Little Solo
concerts. Solo and Band
Series. Recorded on Kees
Vlak, Composer and
Arranger (ML.311035720).
Score only. Duration 20
minutes, 30 seconds.
Published by Molenaar
Edition (ML.011872110-S).
$45.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Meditative Solos for Clarinet Clarinette [Partition + CD] - Intermédiaire Lillenas Publishing Co.
(Creative Solos for the Church Musician). Composed by Ed Hogan. Woodwind solo. F...(+)
(Creative Solos for the
Church Musician).
Composed by Ed Hogan.
Woodwind solo. For
clarinet, piano.
Meditative Solos.
Moderate. Score, enhanced
CD. Lillenas Publishing
Company #9780834177147.
Published by Lillenas
Publishing Company
$32.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 100 Solos: Clarinet Clarinette Amsco Wise Publications
Arranged by Robin de Smet. 100 Solos. Pop and Rock. Book Only. Wise Publicatio...(+)
Arranged by Robin de
Smet.
100 Solos. Pop and Rock.
Book
Only. Wise Publications
#MUSAM33689. Published by
Wise Publications
$27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 101 Jazz Songs for Clarinet Clarinette Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 104 pages. Published by...(+)
Composed by Various.
Instrumental Solo.
Softcover. 104 pages.
Published by Hal Leonard
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I Thank You, Lord Voix Moyenne [Vocal Score] Hope Publishing Company
Composed by Joseph M. Martin. For medium voice solo (key of C). General Worship,...(+)
Composed by Joseph M.
Martin. For medium voice
solo (key of C). General
Worship, Praise and
Worship, Thanksgiving and
Gratitude. Vocal score. 8
pages. Published by Hope
Publishing Company
$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Solos For Clarinet(100+) Clarinette Music Sales
| | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe, Percussion,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.44641192L
For 5 Percussionists
and Orchestra.
Composed by Ellen Taaffe
Zwilich. Contemporary.
Large Score. With
Standard notation.
Composed 2003. 72 pages.
Duration 30 minutes.
Theodore Presser Company
#446-41192L. Published by
Theodore Presser Company
(PR.44641192L). UPC:
680160610860. 11 x 14
inches. One of my
greatest pleasures in
writing a concerto is
exploring the new world
that opens for me each
time I enter the
sometimes alien, but
always fascinating, world
of a solo instrument or
instruments. For me, the
challenge is to discover
the deepest nature of the
solo instrument (its
karma, if you will) and
to allow that essential
character to guide the
shape and form of the
work and the nature of
the interaction between
soloists and orchestra.
In recent years, many of
us have become more aware
of the musical world
outside the Western
tradition of musics that
follow different
procedures and spring
from other aesthetics.
And contemporary
percussionists have
opened many of these
worlds to us, as they
have ventured around the
globe, participating in
Brazilian Samba schools,
studying Gamelan and
African drumming with
local experts, collecting
instruments from Asia and
Africa and South America
and the South Pacific,
widening our horizons in
the process. I will never
forget our first meeting
in Toronto when Nexus
invited me into their
world of hundreds of
exciting percussion
instruments. The vast
array of instruments in
the collection of the
Nexus ensemble is truly
global in scope as well
as offering a thrilling
sound-universe. I was
inspired by the
incredible range of sound
and moved by the fact
that so many of these
instruments were musical
reflections of a
spiritual dimension.
After long consideration,
I decided that it would
not only be impossible,
but even undesirable for
this
Western-tradition-steeped
composer to attempt to
use these instruments in
a culturally authentic
way. My goal was an
existential kind of
authenticity: searching
instead for universal
ideas that would be true
to both myself and the
performers while
acknowledging the
traditional uses of the
instruments. Since many
percussion instruments
are associated with
various kinds of ritual,
I decided that I would
allow that concept to
shape my piece. Rituals
is in four movements,
each issuing from a
ritual associated with
percussion, but with the
orchestral interaction
providing an essential
element in the musical
form. I. Invocation
alludes to the traditions
of invoking the spirit of
the instruments, or the
gods, or the ancestors
before performing. II.
Ambulation moves from a
processional, through
march and dance to
fantasy based on all
three. III. Remembrances
alludes to traditions of
memorializing. IV.
Contests progresses from
friendly competition
games, contests to a
suggestion of a battle of
big band drummers, to
warlike exchanges. In the
2nd and 4th movements,
another percussion
tradition, improvisation,
is employed. Written into
these movements are a
number of seeds for
improvisation.
Indications in the score
call for the soloists to
improvise in three
different ways, marked A
for percussion alone;
marked B for percussion
with and in response to
the orchestra; and C
where the percussionists
are free to add and
embellish the written
parts. These
improvisations should
grow out of and embellish
previous motives and
gestures in the
movement. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Lonely Travelers - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet,
Euphonium, Euphonium
T.C., Flute, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Spoons,
Timpani, Trombone,
Trumpet, Tuba, Washboard,
Whistle, alto Saxophone
and more. - Grade 2
SKU: CF.YPS231
Composed by Travis
Weller. Folio. Yps. Set
of Score and Parts.
8+2+8+2+2+5+2+2+8+4+3+3+2
+3+2+1+2+3+16 pages.
Duration 2 minutes, 14
seconds. Carl Fischer
Music #YPS231. Published
by Carl Fischer Music
(CF.YPS231). ISBN
9781491157831. UPC:
680160916436. 9 x 12
inches. The life of
railroad worker in the
early days of expansion
was lonely, and the need
for music to bolster
spirits was of great
importance. The character
singing 900 Miles is
looking forward to being
reunited with his family
after being separated
from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
songa900 Milesaand they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song--900 Miles--and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song—900
Miles—and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human
experience.While the
music paints a picture of
someone who is alone,
that is not a feeling I
want for any young
student in our schools
today. Band is one of the
few places where students
can discover that sense
of belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region.The opening flute,
clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lonely Travelers [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet,
Euphonium, Euphonium
T.C., Flute, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Spoons,
Timpani, Trombone,
Trumpet, Tuba, Washboard,
Whistle, alto Saxophone
and more. - Grade 2
SKU: CF.YPS231F
Composed by Travis
Weller. Sws. Yps. Full
score. 16 pages. Duration
2 minutes, 14 seconds.
Carl Fischer Music
#YPS231F. Published by
Carl Fischer Music
(CF.YPS231F). ISBN
9781491157824. UPC:
680160916429. 9 x 12
inches. The life of
railroad worker in the
early days of expansion
was lonely, and the need
for music to bolster
spirits was of great
importance. The character
singing 900 Miles is
looking forward to being
reunited with his family
after being separated
from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
songa900 Milesaand they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song--900 Miles--and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song—900
Miles—and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human
experience.While the
music paints a picture of
someone who is alone,
that is not a feeling I
want for any young
student in our schools
today. Band is one of the
few places where students
can discover that sense
of belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region.The opening flute,
clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Confessio Clarinette Basse Bote and Bock
Bass Clarinet SKU: HL.48025211 Bass Clarinet Solo. Composed by Bre...(+)
Bass Clarinet SKU:
HL.48025211 Bass
Clarinet Solo.
Composed by Brett Dean.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 8 pages.
Duration 600 seconds.
Bote & Bock #M202536957.
Published by Bote & Bock
(HL.48025211). UPC:
196288133391.
9.0x12.0x0.067
inches. With his
opera Hamlet, which
premiered in Glyndebourne
in 2017, the composer
Brett Dean added a new,
modern analysis to the
certainly numerous
artistic ones of the
famous subject - with
enormous success, as the
press reviews and many
subsequent stage
productions attested. The
composer's and his
librettist Matthew
Jocelyn's fruitful
examination of
Shakespeare's text
material yielded both the
full-length opera and
several concertante
“by-productsâ€
: And once I played
Ophelia for soprano and
string quartet, From
Melodious Lay, an
orchestral poem with solo
soprano and solo tenor,
the suite Gertrude
Fragments for
mezzo-soprano and guitar,
and Confessio for solo
bass clarinet. Confessio
describes an appearance
by Hamlet's uncle
Claudius: In the castle
chapel he deliversa short
monologue – rather
a reflection than a
prayer or confession.
Claudius reveals to
himself the deep fear of
the consequences of his
murderous deed - and a
vague, though hardly
justifiable, hope for
mercy. $10.99 - Voir plus => Acheter | | |
| 100 More Pop Solos For Clarinet Clarinette Music Sales
| | |
| World Favorites: Student Editions, 41 Easy Selections (1st-3rd year) Clarinette [Partition + CD] - Facile Music Minus One
For Clarinet. Classical (with piano accompaniment). Includes a high-quality prin...(+)
For Clarinet. Classical
(with piano
accompaniment). Includes
a high-quality printed
music score and a compact
disc with stereo
accompaniments to each
piece minus you, the
soloist. Published by
Music Minus One
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Elegy for Tuba and Wind Ensemble Potenza Music
Composed by Edward J. Madden. Chamber music, 20th century. Published by Potenza ...(+)
Composed by Edward J.
Madden. Chamber music,
20th century. Published
by Potenza Music
(P2.W0014).
$99.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto For Flute And Orchestra Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flu...(+)
Orchestra Bassoon 1,
Bassoon 2, Celesta,
Clarinet 1, Clarinet 2,
Contrabass, Flute, Flute
1, Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone 1,
Trombone 2, Trombone 3,
Trumpet 1, Trumpet 2,
Trumpet 3 and more.
SKU: PR.41641515L
Composed by Behzad
Ranjbaran. Premiered by
the Philadelphia
Orchestra, Yannick
Nezet-Seguin, Music
Director, Jeffrey Khaner,
flute; Verizon Hall,
Philadelphia.
Contemporary. Large
Score. With Standard
notation. Composed 2013.
Duration 28 minutes.
Theodore Presser Company
#416-41515L. Published by
Theodore Presser Company
(PR.41641515L). UPC:
680160621750. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions. In writing my
flute concerto, I aimed
not only to highlight the
modern flautist's ability
to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages. Two prominent
characters permeate the
first movement of my
concerto. They are marked
in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively. The
lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others. In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. The solo flute is
left out in an agitated
middle section that
references the first
movement. In the third
section of the movement
the solo flute returns in
meditative fashion
culminating in a duet
with the harp. The third
movement is written as
one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
Some of the materials
from the earlier
movements are presented
again with joyous
character. The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. Â In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions.In writing my
flute concerto, I aimed
not only to highlight the
modern flautist’s
ability to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages.Two prominent
characters permeate the
first movement of my
concerto. Â They are
marked in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively.
 The lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
 Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others.In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. Â The solo
flute is left out in an
agitated middle section
that references the first
movement. Â In the
third section of the
movement the solo flute
returns in meditative
fashion culminating in a
duet with the harp.The
third movement is written
as one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
 Some of the materials
from the earlier
movements are presented
again with joyous
character. Â The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. $160.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String quartet no. 1 (2015) - Score & parts Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Fennica Gehrman
String quartet SKU: FG.55011-775-4 Composed by Alex Freeman. Classical, c...(+)
String quartet SKU:
FG.55011-775-4
Composed by Alex Freeman.
Classical, contemporary.
Score & parts. Fennica
Gehrman #55011-775-4.
Published by Fennica
Gehrman (FG.55011-775-4).
ISBN
9790550117754. Alex
Freeman found initial
inspiration for his
string quartet (2015) in
a series of photographs a
geologist friend showed
him of en échelon
veins in rock formations.
The open strings
punctuated with pizzicato
unisons that begin the
single-movement work call
to mind something
crystalline and
shimmering, which is
immediately infused with
tumbling lyrical lines in
something of a rapid
caccia technique
throughout. The middle of
the work becomes more
suspended in slower
material loosely based on
a technique of prolation
canon, comprises layers
of free, expressive,
lyrical, and even elegiac
music moving at different
speeds. As the work
concludes, the materials
converge in a
rhythmically pulsating
stasis and an almost
chorale-like statement.
Duration: c. 13'
This product
includes the score and
the parts (A4 sized).
American-Finn
ish composer Alex Freeman
(b.1972) has established
himself among the
foremost composers of
choral music in Finland.
A dedicated citizen of
his musical community, a
teacher, and a choral
singer himself, he
composes music that
reflects an appreciation
for a wide range of
aesthetics and a passion
for communicating with
listeners and performers.
In his choral works, in
particular, we find music
that aims to be sonorous,
melodic, and resonant,
but is always crafted to
carefully avoid the
cliches that can burden
conventional tonality.
His instrumental
works run the gamut: a
cantata with orchestra
based on poetry of
Whitman; a significant
body of solo piano works
that reveal deep roots in
everything from austere
absolute music to soaring
elegaic rhetoric (see
Albany Records, Inner
Voice); his chamber work
Blueshift (Navona
Records), which is a kind
of paean to Reich and
Adams in miniature;
open-ended modular works,
like various iterations
of his Slow All Clocks
for electronic media,
solo clarinet, and mixed
choirs of kanteles; and,
recently, some new
directions in microtonal
music. $48.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Prairie Light Theodore Presser Co.
Dan Welcher’s most enduringly and frequently played orchestral work, Prai...(+)
Dan Welcher’s most
enduringly and frequently
played orchestral work,
Prairie Light is a
fascinating musical
companion to three of
Georgia
O’Keeffe’s
most unusual paintings,
Light Coming on the
Plains, Canyon with
Crows, and Starlight
Night. This work is ideal
for performances using
visual projections of the
paintings, and is
frequently programmed for
subscription concerts as
well as those for
educational settings.
Duration: 14’
Parts available on
rental. This work for
full orchestra was
inspired by three
paintings of the noted
Americanartist Georgia
O’Keeffe. These
three watercolors were
done in 1917 while the
artist was living in
Canyon, Texas (near
Amarillo), and deal
primarily with color and
shape. Consequently, the
music is primarily
concerned with broad
lines and shapes rather
than rhythms, with subtle
washes of color rather
than constant harmonic
movement, and with
arching melody instead of
linear counterpoint.The
first movement, Light
Coming on the Plains, is
an elliptical-shaped
painting, deep blue to
indigo with a
“horizon†at
the bottom that seems
flat and unchanging. The
sun hasn’t risen
yet, although it does in
the course of this
movement, but it seems
instead to be providing
light from behind the
canvas. The music is
unmoving in terms of
rhythm or harmony
(although there is a
modulation midway
through), a color-infused
mantra of sound that is
almost Eastern.At the
height of the sun, we
proceed to the second
movement, entitled Canyon
with Crows. The canyon is
red-orange, with black
crows circling above
friendly unfolding hills.
The music is gentle but
lively and more rhythmic,
with the birds
represented by solo oboe,
clarinet, and sometimes
flute. Halfway through,
the brass have a chorale
version of the opening
motive, played very
slowly, over the unending
triplets of woodwinds and
strings. At the end of
the movement, the
birds return for a
duo-cadenza, accompanied
by the dying rays of the
sun in muted strings and
the ongoing triplets of
the solo quartet.The
stage is set for the
final movement, Starlight
Night. In
O’Keeffe’s
painting, the stars are
represented by
regularly-spaced
rectangles of bright pale
yellow on a blue-black
sky, with the same shape
to the field of vision
and the horizon that is
found in Light Coming on
the Plains. The stars
become audible: harp,
celesta, glockenspiel,
and string pizzicati all
lend a sparkle while a
solo flute introduces a
slowly unfolding theme.
After this theme has been
heard twice and the sky
has begun to really
brighten, there is a
sudden interruption: a
xylophone and a piano
begin another
“mantra†in
brittle staccato chords.
This is the same
mechanical eternity as
O’Keeffe’s
regularly-spaced square
stars, and it continues
on its own as the night
progresses. The music
builds and grows as the
moon rises and arcs, then
falls as the pre-dawn
light that opened the
work returns to bring it
to a close. Acycle of
light, changing with the
movements of sun, moon,
and stars, appearing
differently from various
points of view
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto For Flute And Orchestra Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flu...(+)
Orchestra Bassoon 1,
Bassoon 2, Celesta,
Clarinet 1, Clarinet 2,
Contrabass, Flute, Flute
1, Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone 1,
Trombone 2, Trombone 3,
Trumpet 1, Trumpet 2,
Trumpet 3 and more.
SKU: PR.416415150
Composed by Behzad
Ranjbaran. Spiral.
Premiered by the
Philadelphia Orchestra,
Yannick Nezet-Seguin,
Music Director, Jeffrey
Khaner, flute; Verizon
Hall, Philadelphia.
Contemporary. Study
Score. With Standard
notation. Composed 2013.
126+126 pages. Duration
28 minutes. Theodore
Presser Company
#416-41515. Published by
Theodore Presser Company
(PR.416415150). ISBN
9781598069020. UPC:
680160621743. 9 x 12
inches. Inspired by
the alluring, human-like
sound of the Ney (a
Persian bamboo flute),
Ranjbaran aims
not only to highlight
the modern
flutist’s ability
to play agile and
brilliant passages, but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo passages.
The three-movement
27-minute concerto was
commissioned by the
Philadelphia Orchestra
for its principal flutist
Jeffrey Khaner. The
piano reduction
(published separately)
was designed by the
composer to be practical
in
recital performances.
CONCERTO for Flute and
Orchestra has been
recorded for Naxos by
Érik Gratton
with the Nashville
Symphony conducted by
Giancarlo
Guerrero. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. Â In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions.In writing my
flute concerto, I aimed
not only to highlight the
modern flautist’s
ability to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages.Two prominent
characters permeate the
first movement of my
concerto. Â They are
marked in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively.
 The lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
 Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others.In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. Â The solo
flute is left out in an
agitated middle section
that references the first
movement. Â In the
third section of the
movement the solo flute
returns in meditative
fashion culminating in a
duet with the harp.The
third movement is written
as one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
 Some of the materials
from the earlier
movements are presented
again with joyous
character. Â The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acadia [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.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. 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. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 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 | | |
| Everglades (River of Grass) [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.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. 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 | | |
| Re: Person I Knew Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem Soli, choeur mixte et accompagnement [Vocal Score] Carus Verlag
By Giuseppe Verdi (1813-1901). Edited by Norbert Bolin. For Solo SMsTB, SATB cho...(+)
By Giuseppe Verdi
(1813-1901). Edited by
Norbert Bolin. For Solo
SMsTB, SATB choir,
piccolo, 2 flutes, 2
oboes, 2 clarinets, 4
bassoon, 4 horns, 4
trumpets, 4 offstage
trumpets, 3 trombones,
ophicleide, timpani,
percussion, 2 violins,
viola, cello, contrabass.
Stuttgart Urtext Edition.
German title: Requiem.
Requiem; Mourning, death.
Vocal score. Language:
Latin. 128 pages.
Duration 90 minutes.
Published by Carus Verlag
$24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I Thank You, Lord Hope Publishing Company
Choir; orchestra; rhythm (electric bass, drums, flute 1 & 2, oboe, clarinet 1 & ...(+)
Choir; orchestra; rhythm
(electric bass, drums,
flute 1 & 2, oboe,
clarinet 1 & 2, bassoon,
french horn 1 & 2,
trumpets 1, 2 & 3,
trombones 1 & 2, bass
trombone/tuba, timpani,
percussion 1 & 2, harp,
violins 1 & 2, viola,
cello, and double bass)
SKU: HP.C5614O
Composed by Joseph M.
Martin. Piano
Accompaniment with
Optional Orchestra. Vocal
Solo Sheet Music Series.
Thanksgiving, General
Worship, Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#C5614O. Published by
Hope Publishing Company
(HP.C5614O). UPC:
763628256142. Joseph M.
Martin. Philippians
2:10-11, Isaiah 12:4,
Acts 18:9, Psalms
19:1-14, Psalms 107:1-7,
Luke
17:11-19. Original
anthem From Joseph Martin
here is a gorgeous,
lyrical expression of
praise and thanksgiving.
The memorable melody and
personal text build to
the familiar quote, If
Christ is Lord of heaven
and earth, how can I keep
from singing? The
orchestration, by Stan
Pethel, heightens the
impact of this deeply
felt anthem of gratitude
useful for Thanksgiving
and general occasions.
This top-seller has been
newly re-voiced for SAB
voices. The Rhythm packet
contains parts for Drums
and Electric Bass. The
Orchestration includes a
Conductor's Score and
parts for: Electric Bass,
Drums, Flute 1 & 2, Oboe,
Clarinet 1 & 2, Bassoon,
French Horn 1 & 2,
Trumpets 1, 2 & 3,
Trombones 1 & 2, Bass
Trombone/Tuba, Timpani,
Percussion 1 & 2, Harp,
Violins 1 & 2, Viola,
Cello, and Double
Bass. $89.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| The Faithful Gazelle Peters
Other Woodwinds; Clarinet; Violin; Viola; Cello; Bass SKU: PE.EP73642 Com...(+)
Other Woodwinds;
Clarinet; Violin; Viola;
Cello; Bass SKU:
PE.EP73642 Composed
by Roxanna Panufnik.
Mixed Instruments -
Clarinet & String
Quartet; Solo Small
Ensembles. Edition
Peters. Contemporary;
Multicultural. Book. 88
pages. Edition Peters
#98-EP73642. Published by
Edition Peters
(PE.EP73642). ISBN
9790577022901. When
I started work on this
clarinet quintet, in
October 2021, the
3-month-old Taliban
takeover of Afghanistan
was very fresh in
everyones mind and there
seemed to be a collective
feeling of utter
helplessness as the
country descended into
chaos and fear, once
more. The idea for this
piece came in a
conversation with my
Afghan friend, Gulwali
Passarlay, in which he
was expressing the hope
that people would
continue to think about
Afghanistan and to
remember, violent
political upheaval aside,
what an incredibly rich,
beautiful and ancient
culture this country
has.
Part of this
wonderful culture are the
centuries-old, mythical
tales, often with a moral
message, that have been
passed down through many
generations. The Faithful
Gazelle tells of a Beggar
raised to riches by a
magical Gazelle, only to
lose everything again
when she becomes sick and
he ignores her pleas for
help.
The
clarinet with its
enormous scope of timbre
and pitch seemed the
perfect vehicle for the
Gazelle and the cello a
gruff, then majestic,
then gruff again Beggar!
I am deeply
grateful to West Cork
Chamber Festival for
commissioning this work
and to clarinettist Matt
Hunt and the Signum
Quartet for working so
patiently on it, with me.
Also to Gulwali Passarlay
and specialist Afghan
musicologists John Baily,
Katherine St John and Dr
Lloyd Miller for sharing
their immense knowledge
and love of Afghan music
and culture. Roxanna
Panufnik, 31 January 2022
This product is
Printed on Demand and may
take several weeks to
fulfill. Please order
from your favorite
retailer. $75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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