| Complex City Ensemble Jazz [Conducteur et Parties séparées] Jazz Lines Publications
By The Jazz Interactions Orchestra. Edited by Rob Duboff and Jeffrey Sultanof. A...(+)
By The Jazz Interactions
Orchestra. Edited by Rob
Duboff and Jeffrey
Sultanof. Arranged by
Oliver Nelson. For big
band (Reed 1:
Clarinet/Alto Saxophone,
Reed 2: Flute/Alto
Saxophone, Reed 3:
Flute/English
Horn/Oboe/Tenor Saxophone
Reed 4: Clarinet/Tenor
Saxophone, Reed 5:
Flute/Bass
Clarinet/Baritone
Saxophone, 4 Trumpets, 2
Horns in F, 4 Trombones,
Tuba, Piano, 2 Bassists).
Recorded by the Jazz
Interactions Orchestra.
Contemporary/Swing.
Advanced. Score and
parts. Published by Jazz
Lines Publications
$56.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Contextures: Riots - Decade '60 Orchestre Theodore Presser Co.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra SKU:
PR.11641867L Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L). UPC:
680160683215. Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death. $105.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Contextures: Riots - Decade '60 Orchestre [Conducteur] Theodore Presser Co.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra SKU:
PR.11641867S Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S). UPC:
680160683208. Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death. $43.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Wolf-temperiertes Klavier Piano seul - Avancé EMB (Editio Musica Budapest)
24 pieces for piano. Composed by Peter Wolf. Contemporary Music. EMB. Classic...(+)
24 pieces for piano.
Composed by Peter Wolf.
Contemporary Music. EMB.
Classical. Softcover.
Composed 2019. 128 pages.
Editio Musica Budapest
#EMBZ15087. Published by
Editio Musica Budapest
$39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Christmas Jazz Pick & Mix. Flexible WW Ensemble Clifton Edition
Flexible Woodwind Ensemble SKU: ST.C402 Composed by Terry Cathrine. Wind ...(+)
Flexible Woodwind
Ensemble SKU:
ST.C402 Composed by
Terry Cathrine. Wind &
brass music. Clifton
Edition #C402. Published
by Clifton Edition
(ST.C402). ISBN
9790570814022. Content
s
- Jinglin’
Janglin’ Bells
- God Rest Ye
Swingin’
Gentlemen
- Hark the Herald
Angels Scat Sing
- Deck the Halls with
Swingin’ Music
- Good King Wenceslas
Freaked Out
- Silent Night, Bluesy
Night
- We
Three
Swingers
Seven jazzed up
Christmas tunes. The
WOODWIND and SAXOPHONE
books may combine,
providing duets for any
type of Saxophone with
Flute, Oboe or
Clarinet.
Parts I
& II are of equal
importance and either may
be played by any of the
listed
instruments.
It is
recommended that the
larger of the two
instruments plays the
lower of the two
parts(!)
Arranged
for Flexible Woodwind
Ensemble by Terry
Catherine. Grades
4–6 Former Spartan
Press Cat. No.:
SP424. $14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Christmas Jazz Pick & Mix. Sax Duet Clifton Edition
Saxophone SKU: ST.C403 Composed by Terry Cathrine. Wind & brass music. Cl...(+)
Saxophone SKU:
ST.C403 Composed by
Terry Cathrine. Wind &
brass music. Clifton
Edition #C403. Published
by Clifton Edition
(ST.C403). ISBN
9790570814039. Content
s
- Jinglin’
Janglin’ Bells
- God Rest Ye
Swingin’
Gentlemen
- Hark the Herald
Angels Scat Sing
- Deck the Halls with
Swingin’ Music
- Good King Wenceslas
Freaked Out
- Silent Night, Bluesy
Night
- We
Three
Swingers
Seven jazzed up
Christmas tunes. The
WOODWIND and SAXOPHONE
books may combine,
providing duets for any
type of Saxophone with
Flute, Oboe or
Clarinet.
Parts I
& II are of equal
importance and either may
be played by any of the
listed
instruments.
It is
recommended that the
larger of the two
instruments plays the
lower of the two
parts(!)
Arranged
for Flexible Woodwind
Ensemble by Terry
Catherine. Grades
4–6 Former Spartan
Press Cat. No.:
SP425. $14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Le Petit Negre Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Leduc, Alphonse
Woodwind Quintet SKU: HL.48181113 For Wind Quintet. Composed by Cl...(+)
Woodwind Quintet SKU:
HL.48181113 For
Wind Quintet.
Composed by Claude
Debussy. Leduc.
Classical. Alphonse Leduc
#AL20263. Published by
Alphonse Leduc
(HL.48181113). UPC:
888680862053. 9x12
inches. The
Little Negro was
originally composed by
Claude Debussy
(1862-1918) for piano in
1909. The purpose was to
write a great work that
could also played by
children. Eugène
Bozza made the piece even
more accessible in 1984
by arranging it for wind
quintet. The Little
Negro is marked
Allegro and begins with a
theme modelled on ragtime
music, a style which was
very popular at the time
of composition. Jazz
influences, the C major
key signature, 2/4 meter
and upbeat features make
for an exciting and
accessible piece for all
the ensemble. Bozza's
arrangement of Debussy's
The Little Negro
for a wind quintet made
up of flute, clarinet,
oboe, bassoon and horn is
a thrilling addition to
the repertoire. $20.55 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto for Oboe Hautbois Heugel
Oboe SKU: HL.48187775 Composed by Darius Milhaud. Leduc. Classical. Softc...(+)
Oboe SKU:
HL.48187775 Composed
by Darius Milhaud. Leduc.
Classical. Softcover. 20
pages. Heugel & Cie
#HE31597. Published by
Heugel & Cie
(HL.48187775). UPC:
888680872953.
9.25x12.0x0.298
inches. French
composer and teacher,
Darius Milhaud
(1892-1974) was a
prolific composer of the
20th century as a member
of 'Les Six'. His
compositions remain
highly regarded, Concerto
for Oboe being no
exception. Milhaud's
compositions are
influenced by jazz and
polytonality, as
exemplified in Concerto
for Oboe, which includes
a Piano reduction
accompaniment. Composed
in 1957, Concerto for
Oboe is an alternative,
exciting concerto made up
of three movements; 1)
Animated, 2) With
Serenity, and 3)
Animated. With a typical
performance lasting
around 18 and a half
minutes, Milhaud makes
use of variation in
articulation, complex
rhythms, chromaticism,
altering tempos,
variation in dynamics and
a wide tessitura, amongst
other aspects. Milhaud's
Concerto for Oboe is
essential to all advanced
oboists seeking modern
and exciting
repertoire.. $57.80 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Do It! Play Baritone BC / Euphonium - Book 2 with MP3s GIA Publications
Baritone horn B.C. SKU: GI.G-M516 Composed by James Froseth. Band Method....(+)
Baritone horn B.C.
SKU: GI.G-M516
Composed by James
Froseth. Band Method. Do
It! Music Education.
Book. 48 pages. GIA
Publications #M516.
Published by GIA
Publications (GI.G-M516).
ISBN 9781579992347.
English. Now
available on SmartMusic!
The Baritone/Euphonium
book and audio recordings
(see below) from the Do
It! Play in Band series
by James O. Froseth
includes: Modeling by
Brian Bowman (Duquesne
University). Professional
studio backgrounds
capture the rich
diversity of American
music culture with a
repertoire of American,
Latin American, African,
European, and Far Eastern
styles. Music of other
times, including
12th-century conductus,
15th-century Dance of the
Bouffons, 16th-century
French branle, 18th- and
19th-century folk songs
and dances, 1940s and
'50s jazz, blues, and
rock-and-roll. The
repertoire and recorded
contexts are motivating,
informative, and entirely
musical. Every song
includes text, providing
information about
phrasing, rhythm, style,
affect, emotion, history,
and culture. A unique
Rhythmic Pattern
Dictionary allows
students to look it up
and listen up. An
individualized format
allows students to
progress at different
rates with a theme and
variation format. Ear
training and
improvisation are
integral parts of the
lesson format. Artist
performers set musical
standards in sound with
more than 80 great
performances for every
instrument! Performers
include: Michael Henoch,
Oboe (Chicago Symphony
Orchestra), Randall
Hawes, Jeffrey Zook,
Sharon Sparrow, Kevin
Good (Detroit Symphony
Orchestra), Albert
Blaser, Clarinet
(Cleveland State
University), Brian
Bowman,
Euphonium/Baritone
(Duquesne University),
Timothy McAllister (Crane
School of Music, SUNY at
Potsdam), Steve Houghton,
Percussion (LA percussion
recording artist and
clinician), Donald Sinta,
Richard Beene, Bryan
Kennedy, Debra Chodacki,
Fritz Kaenzig, Tuba
(University of Michigan),
Kristin Beene (Toledo
Symphony Orchestra), and
Jean Moorehead Libs,
Trumpet (Plymouth
Symphony Orchestra).
Download the audio
recordings at:
giamusic.com/doit2media.<
/p>
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Do It! Play Baritone TC / Euphonium - Book 2 with MP3s GIA Publications
Baritone horn T.C. SKU: GI.G-M514 Composed by James Froseth. Band Method....(+)
Baritone horn T.C.
SKU: GI.G-M514
Composed by James
Froseth. Band Method. Do
It! Music Education.
Book. 48 pages. GIA
Publications #M514.
Published by GIA
Publications (GI.G-M514).
ISBN 9781579992330.
English. Now
available on SmartMusic!
The Baritone/Euphonium
book and audio recordings
(see below) from the Do
It! Play in Band series
by James O. Froseth
includes: Modeling by
Brian Bowman (Duquesne
University). Professional
studio backgrounds
capture the rich
diversity of American
music culture with a
repertoire of American,
Latin American, African,
European, and Far Eastern
styles. Music of other
times, including
12th-century conductus,
15th-century Dance of the
Bouffons, 16th-century
French branle, 18th- and
19th-century folk songs
and dances, 1940s and
'50s jazz, blues, and
rock-and-roll. The
repertoire and recorded
contexts are motivating,
informative, and entirely
musical. Every song
includes text, providing
information about
phrasing, rhythm, style,
affect, emotion, history,
and culture. A unique
Rhythmic Pattern
Dictionary allows
students to look it up
and listen up. An
individualized format
allows students to
progress at different
rates with a theme and
variation format. Ear
training and
improvisation are
integral parts of the
lesson format. Artist
performers set musical
standards in sound with
more than 80 great
performances for every
instrument! Performers
include: Michael Henoch,
Oboe (Chicago Symphony
Orchestra), Randall
Hawes, Jeffrey Zook,
Sharon Sparrow, Kevin
Good (Detroit Symphony
Orchestra), Albert
Blaser, Clarinet
(Cleveland State
University), Brian
Bowman,
Euphonium/Baritone
(Duquesne University),
Timothy McAllister (Crane
School of Music, SUNY at
Potsdam), Steve Houghton,
Percussion (LA percussion
recording artist and
clinician), Donald Sinta,
Richard Beene, Bryan
Kennedy, Debra Chodacki,
Fritz Kaenzig, Tuba
(University of Michigan),
Kristin Beene (Toledo
Symphony Orchestra), and
Jean Moorehead Libs,
Trumpet (Plymouth
Symphony Orchestra).
Download the audio
recordings at:
giamusic.com/doit2media.<
/p>
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Do It! Play Tuba - Book 2 with MP3s Tuba GIA Publications
Tuba SKU: GI.G-M518 Composed by James Froseth. Band Method. Do It! Music ...(+)
Tuba SKU:
GI.G-M518 Composed by
James Froseth. Band
Method. Do It! Music
Education. Book. 48
pages. GIA Publications
#M518. Published by GIA
Publications (GI.G-M518).
ISBN 9781579992354.
English. Now
available on SmartMusic!
The Tuba book and audio
recordings (see below)
from the Do It! Play in
Band series by James O.
Froseth includes:
Modeling by Fritz Kaenzig
(University of Michigan).
Professional studio
backgrounds capture the
rich diversity of
American music culture
with a repertoire of
American, Latin American,
African, European, and
Far Eastern styles. Music
of other times, including
12th-century conductus,
15th-century Dance of the
Bouffons, 16th-century
French branle, 18th- and
19th-century folk songs
and dances, 1940s and
'50s jazz, blues, and
rock-and-roll. The
repertoire and recorded
contexts are motivating,
informative, and entirely
musical. Every song
includes text, providing
information about
phrasing, rhythm, style,
affect, emotion, history,
and culture. A unique
Rhythmic Pattern
Dictionary allows
students to look it up
and listen up. An
individualized format
allows students to
progress at different
rates with a theme and
variation format. Ear
training and
improvisation are
integral parts of the
lesson format. Artist
performers set musical
standards in sound with
more than 80 great
performances for every
instrument! Performers
include: Michael Henoch,
Oboe (Chicago Symphony
Orchestra), Randall
Hawes, Jeffrey Zook,
Sharon Sparrow, Kevin
Good (Detroit Symphony
Orchestra), Albert
Blaser, Clarinet
(Cleveland State
University), Brian
Bowman,
Euphonium/Baritone
(Duquesne University),
Timothy McAllister (Crane
School of Music, SUNY at
Potsdam), Steve Houghton,
Percussion (LA percussion
recording artist and
clinician), Donald Sinta,
Richard Beene, Bryan
Kennedy, Debra Chodacki,
Fritz Kaenzig, Tuba
(University of Michigan),
Kristin Beene (Toledo
Symphony Orchestra), and
Jean Moorehead Libs,
Trumpet (Plymouth
Symphony Orchestra).
Download the audio
recordings at:
giamusic.com/doit2media.<
/p>
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Do It! Play Alto Clarinet - Book 2 with MP3s GIA Publications
Alto clarinet SKU: GI.G-M498 Composed by James Froseth. Band Method. Do I...(+)
Alto clarinet SKU:
GI.G-M498 Composed by
James Froseth. Band
Method. Do It! Music
Education. Book. 48
pages. GIA Publications
#M498. Published by GIA
Publications (GI.G-M498).
ISBN 9781579992255.
English. Now
available on SmartMusic!
The Alto Clarinet book
and audio recordings (see
below) from the Do It!
Play in Band series by
James O. Froseth
includes: Modeling by
Albert Blaser (Cleveland
State Unviersity) and
Deborah Chodacki
(Louisiana State
University). Professional
studio backgrounds
capture the rich
diversity of American
music culture with a
repertoire of American,
Latin American, African,
European, and Far Eastern
styles. Music of other
times, including
12th-century conductus,
15th-century Dance of the
Bouffons, 16th-century
French branle, 18th- and
19th-century folk songs
and dances, 1940s and
'50s jazz, blues, and
rock-and-roll. The
repertoire and recorded
contexts are motivating,
informative, and entirely
musical. Every song
includes text, providing
information about
phrasing, rhythm, style,
affect, emotion, history,
and culture. A unique
Rhythmic Pattern
Dictionary allows
students to look it up
and listen up. An
individualized format
allows students to
progress at different
rates with a theme and
variation format. Ear
training and
improvisation are
integral parts of the
lesson format. Artist
performers set musical
standards in sound with
more than 80 great
performances for every
instrument! Performers
include: Michael Henoch,
Oboe (Chicago Symphony
Orchestra), Randall
Hawes, Jeffrey Zook,
Sharon Sparrow, Kevin
Good (Detroit Symphony
Orchestra), Albert
Blaser, Clarinet
(Cleveland State
University), Brian
Bowman,
Euphonium/Baritone
(Duquesne University),
Timothy McAllister (Crane
School of Music, SUNY at
Potsdam), Steve Houghton,
Percussion (LA percussion
recording artist and
clinician), Donald Sinta,
Richard Beene, Bryan
Kennedy, Debra Chodacki,
Fritz Kaenzig, Tuba
(University of Michigan),
Kristin Beene (Toledo
Symphony Orchestra), and
Jean Moorehead Libs,
Trumpet (Plymouth
Symphony Orchestra).
Download the audio
recordings at:
giamusic.com/doit2media.<
/p>
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Do It! Play Bassoon - Book 2 with MP3s Basson GIA Publications
Bassoon SKU: GI.G-M502 Composed by James Froseth. Band Method. Do It! Mus...(+)
Bassoon SKU:
GI.G-M502 Composed by
James Froseth. Band
Method. Do It! Music
Education. Book. 48
pages. GIA Publications
#M502. Published by GIA
Publications (GI.G-M502).
ISBN 9781579992279.
English. Now
available on SmartMusic!
The Bassoon book and
audio recordings (see
below) from the Do It!
Play in Band series by
James O. Froseth
includes: Modeling by
Richard Beene (Colburn
School Conservatory of
Music). Professional
studio backgrounds
capture the rich
diversity of American
music culture with a
repertoire of American,
Latin American, African,
European, and Far Eastern
styles. Music of other
times, including
12th-century conductus,
15th-century Dance of the
Bouffons, 16th-century
French branle, 18th- and
19th-century folk songs
and dances, 1940s and
'50s jazz, blues, and
rock-and-roll. The
repertoire and recorded
contexts are motivating,
informative, and entirely
musical. Every song
includes text, providing
information about
phrasing, rhythm, style,
affect, emotion, history,
and culture. A unique
Rhythmic Pattern
Dictionary allows
students to look it up
and listen up. An
individualized format
allows students to
progress at different
rates with a theme and
variation format. Ear
training and
improvisation are
integral parts of the
lesson format. Artist
performers set musical
standards in sound with
more than 80 great
performances for every
instrument! Performers
include: Michael Henoch,
Oboe (Chicago Symphony
Orchestra), Randall
Hawes, Jeffrey Zook,
Sharon Sparrow, Kevin
Good (Detroit Symphony
Orchestra), Albert
Blaser, Clarinet
(Cleveland State
University), Brian
Bowman,
Euphonium/Baritone
(Duquesne University),
Timothy McAllister (Crane
School of Music, SUNY at
Potsdam), Steve Houghton,
Percussion (LA percussion
recording artist and
clinician), Donald Sinta,
Richard Beene, Bryan
Kennedy, Debra Chodacki,
Fritz Kaenzig, Tuba
(University of Michigan),
Kristin Beene (Toledo
Symphony Orchestra), and
Jean Moorehead Libs,
Trumpet (Plymouth
Symphony Orchestra).
Download the audio
recordings at:
giamusic.com/doit2media.<
/p>
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Do It! Play Flute - Book 2 and CD Flûte traversière [CD] GIA Publications
By James Froseth. Band Method. Instructional Sacred. Text language: English. 48 ...(+)
By James Froseth. Band
Method. Instructional
Sacred. Text language:
English. 48 pages.
Published by GIA
Publications.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Do It! Play Alto Clarinet - Book 1 and CD Clarinette [Partition + CD] GIA Publications
By James Froseth. For alto clarinet. Music Education - Band Method. Book and CD....(+)
By James Froseth. For
alto clarinet. Music
Education - Band Method.
Book and CD. Text
language: English.
Published by GIA
Publications . Sheet
music CD. Music
Education - Band Method.
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Do It! Play Trombone - Book 1 and CD Trombone [CD] GIA Publications
By James Froseth. Band Method. Instructional Sacred. Text language: English. 48 ...(+)
By James Froseth. Band
Method. Instructional
Sacred. Text language:
English. 48 pages.
Published by GIA
Publications.
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Do It! Play in Band - Book 2 CD for all instruments GIA Publications
All instruments SKU: GI.G-M522 Composed by James Froseth. Band Method. Do...(+)
All instruments SKU:
GI.G-M522 Composed by
James Froseth. Band
Method. Do It! Music
Education. Book and CD.
GIA Publications #M522.
Published by GIA
Publications (GI.G-M522).
Now available
on SmartMusic! The CD for
Book 2 from the Do It!
Play in Band series by
James O. Froseth
includes: •
Modeling by all the
artists listed below.
• Professional
studio backgrounds
capture the rich
diversity of American
music culture with a
repertoire of American,
Latin American, African,
European, and Far Eastern
styles. • Music of
other times, including
12th-century conductus,
15th-century Dance of the
Bouffons, 16th-century
French branle, 18th- and
19th-century folk songs
and dances, 1940s and
'50s jazz, blues, and
rock-and-roll. •
The repertoire and
recorded contexts are
motivating, informative,
and entirely musical.
• Every song
includes text, providing
information about
phrasing, rhythm, style,
affect, emotion, history,
and culture. • A
unique Rhythmic Pattern
Dictionary allows
students to look it up
and listen up. • An
individualized format
allows students to
progress at different
rates with a theme and
variation format. •
Ear training and
improvisation are
integral parts of the
lesson format. •
Artist performers set
musical standards in
sound with more than 80
great performances on CD
for every instrument, and
one CD lasts for the
entire book! •
Performers include:
Michael Henoch, Oboe
(Chicago Symphony
Orchestra), Randall
Hawes, Jeffrey Zook,
Sharon Sparrow, Kevin
Good (Detroit Symphony
Orchestra), Albert
Blaser, Clarinet
(Cleveland State
University), Brian
Bowman,
Euphonium/Baritone
(Duquesne University),
Timothy McAllister (Crane
School of Music, SUNY at
Potsdam), Steve Houghton,
Percussion (LA percussion
recording artist and
clinician), Donald Sinta,
Richard Beene, Bryan
Kennedy, Debra Chodacki,
Fritz Kaenzig, Tuba
(University of Michigan),
Kristin Beene (Toledo
Symphony Orchestra), and
Jean Moorehead Libs,
Trumpet (Plymouth
Symphony Orchestra). This
CD is for all the
instruments for Book
2. $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sleep, My Child Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bell Tree,
Bells, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani
and more. - Grade 2
SKU: CF.YPS208F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YPS208F.
Published by Carl Fischer
Music (CF.YPS208F).
ISBN 9781491152966.
UPC:
680160910465. A
stunning and
heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sleep, My Child Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, alto Saxophone and
more. - Grade 2 SKU:
CF.YPS208 Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208). ISBN
9781491152287. UPC:
680160909780. Key: D
minor. A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pick & Mix. Flexible WW Duets Clifton Edition
Flexible Woodwind Ensemble SKU: ST.C418 Composed by John Widger. Wind & b...(+)
Flexible Woodwind
Ensemble SKU:
ST.C418 Composed by
John Widger. Wind & brass
music. Clifton Edition
#C418. Published by
Clifton Edition
(ST.C418). ISBN
9790570814183. Content
s
- Latin
Combo
- Merry
Go Round
- Pipers’
Round
- Country
- Waltz
- Lament
- Blues
- Music
Bulletin
Flexible Woodwind Duets
with optional piano
support arranged for ANY
combination of Flute(s),
Oboe(s), Recorder(s) or
Clarinet(s). [bg_colla
pse view=link
color=#4a4949 icon=arrow
expand_text=Show More
collapse_text=Show Less
]The Piano Part (shown on
one stave) is optional.
It provides an easy yet
highly effective (and
often jazzy)
accompaniment.
In
some instances it may be
easier to use both hands:
e.g. in ‘Merry Go
Round’ and ‘Waltz’.
For practice purposes,
the pianist may play
parts I and II as a means
of support, or in the
absence of a second
player.
In some of
the duets, such as
‘Latin Combo’, the
pianist may be able to
play all parts together
should it be
necessary.
The
WOODWIND and SAXOPHONE
books may combine,
providing duets for any
type of Saxophone with
Flute, Oboe, Recorder
and/or Clarinet. Parts I
& II are of equal
importance and either may
be played by any of the
listed
instruments.
It is
recommended that the
larger of the two
instruments plays the
lower of the two
parts(!)[/bg_collapse]
Arranged for
Flexible Woodwind Duet by
John Widger. Grade
1+ Former Spartan
Press Cat. No.:
SP311. $23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cannonball Adderley - Live in '63 Video - Pas de partitions [DVD] Jazz Icons
Jazz Icons DVD. By Cannonball Adderley. This edition: 2119009. Live/DVD. DVD. Pu...(+)
Jazz Icons DVD. By
Cannonball Adderley. This
edition: 2119009.
Live/DVD. DVD. Published
by Jazz Icons.
$19.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Les Reves De Jacob Op.294, Suite Choregraphique (quintet-mixed) Heugel
SKU: HL.48187797 Composed by Darius Milhaud. Heugel. Classical. Book Only...(+)
SKU: HL.48187797
Composed by Darius
Milhaud. Heugel.
Classical. Book Only. 20
pages. Heugel & Cie
#HE31660. Published by
Heugel & Cie
(HL.48187797). UPC:
888680868512. 9.5x12
inches. “Fren
ch composer and teacher,
Darius Milhaud
(1892-1974) was a
prolific composer of the
20th century as a member
of 'Les Six'. His
compositions remain
highly regarded, Jacob's
Dreams being no
exception. Milhaud's
compositions are
influenced by jazz and
polytonality, as
exemplified in Jacob's
Dreams. Composed in 1949,
Jacob's Dreams is a dance
suite, written for Oboe,
Violin, Viola, Cello and
Double Bass. It is an
alternative, exciting
suite, based on the
dreams of Jacob in the
Bible and made up of five
movements; 1) Jacob's
Pillow, 2) The first
dream (the angel's
ladder), 3) Prophecy, 4)
Second dream (fight with
the dark angel and
benediction), and 5)
Israel (Hymn). Milhaud
makes use of variation in
articulation, complex
rhythms, chromaticism,
accidentals, harmonics,
altering tempos,
variation in dynamics and
a wide tessitura, amongst
other aspects. Milhaud's
Jacob's Dream is
essential to all advanced
ensembles seeking modern
and exciting
repertoire.&rdquo. $74.15 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 50 Renaissance and Baroque Standards - English version [CD] - Débutant Anne Fuzeau Productions
With Variants, Examples and Advice for Playing and Improvising on any instrument...(+)
With Variants, Examples
and Advice for Playing
and Improvising on any
instrument. Edited by
Pascale Boquet, Gerard
Rebours. Music Books/CDs.
Teaching Works. Level:
Grade 0. 144 pages.
Published by Editions
Fuzeau Classique - France
(French import).
$26.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pick & Mix. Flexible Saxophone Duets Clifton Edition
Flexible Woodwind Ensemble SKU: ST.C419 Composed by John Widger. Wind & b...(+)
Flexible Woodwind
Ensemble SKU:
ST.C419 Composed by
John Widger. Wind & brass
music. Clifton Edition
#C419. Published by
Clifton Edition
(ST.C419). ISBN
9790570814190. Content
s
- Latin
Combo
- Merry
Go Round
- Pipers’
Round
- Country
- Waltz
- Lament
- Blues
- Music
Bulletin
Flexible Saxophone Duets
with optional piano
support arranged for ANY
combination of
Saxophones. [bg_collap
se view=link
color=#4a4949 icon=arrow
expand_text=Show More
collapse_text=Show Less
]The Piano Part (shown on
one stave) is optional.
It provides an easy yet
highly effective (and
often jazzy)
accompaniment. In some
instances it may be
easier to use both hands:
e.g. in ‘Merry Go
Round’ and ‘Waltz’.
For practice purposes,
the pianist may play
parts I and II as a means
of support, or in the
absence of a second
player.
In some of
the duets, such as
‘Latin Combo’, the
pianist may be able to
play all parts together
should it be
necessary.
The
WOODWIND and SAXOPHONE
books may combine,
providing duets for any
type of Saxophone with
Flute, Oboe, Recorder
and/or Clarinet. Parts I
& II are of equal
importance and either may
be played by any of the
listed
instruments.
It is
recommended that the
larger of the two
instruments plays the
lower of the two
parts(!)[/bg_collapse]
Arranged for
Flexible Woodwind Duet by
John Widger. Grade
2+ Former Spartan
Press Cat. No.:
SP331. $23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Les Rêves De Jacob Op.294, Suite Chorégraphique Chorale Unison Heugel
Choir SKU: BT.ALHE31660 Composed by Darius Milhaud. Classical. Book Only....(+)
Choir SKU:
BT.ALHE31660 Composed
by Darius Milhaud.
Classical. Book Only. 20
pages. Heugel & Cie
#ALHE31660. Published by
Heugel & Cie
(BT.ALHE31660).
French. French
composer and teacher,
Darius Milhaud
(1892-1974) was a
prolific composer of the
20th century as a member
of 'Les Six'. His
compositions remain
highly regarded, Jacob's
Dreams being no
exception. Milhaud's
compositions
areinfluenced by jazz and
polytonality, as
exemplified in Jacob's
Dreams. Composed in 1949,
Jacob's Dreams is a dance
suite, written for Oboe,
Violin, Viola, Cello and
Double Bass. It is an
alternative, exciting
suite, based on thedreams
of Jacob in the Bible and
made up of five movements
- 1) Jacob's Pillow, 2)
The first dream (the
angel's ladder), 3)
Prophecy, 4) Second dream
(fight with the dark
angel and benediction),
and 5) Israel (Hymn).
Milhaud makesuse of
variation in
articulation, complex
rhythms, chromaticism,
accidentals, harmonics,
altering tempos,
variation in dynamics and
a wide tessitura, amongst
other aspects. Milhaud's
Jacob's Dream is
essential to all
advancedensembles seeking
modern and exciting
repertoire. $72.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Suite for Wind Quintet Theodore Presser Co.
Chamber Music Bassoon, Clarinet, Flute, Horn, Oboe SKU: PR.114419490 Comp...(+)
Chamber Music Bassoon,
Clarinet, Flute, Horn,
Oboe SKU:
PR.114419490 Composed
by Amanda Harberg. Folio.
Set of Score and Parts.
40+16+16+16+12+12 pages.
Duration 18 minutes.
Theodore Presser Company
#114-41949. Published by
Theodore Presser Company
(PR.114419490). ISBN
9781491131435. UPC:
680160677320. 9 x 12
inches. The depth
and inventiveness of
Amanda Harberg’s
SUITE FOR WIND QUINTET
can only be described as
remarkable. Harberg
combines the rich
tradition of renaissance
and baroque dance suites
with her own American
voice, stirring up
dramatic, exciting sounds
and stories. Cantus uses
the imitative entries of
renaissance motets as a
jumping off point into a
more contemporary world.
The playfully virtuosic
Furlana refers to the
Italian folk dance rhythm
in 6, punctuated by lots
of unexpected 5’s.
Fantasia hints at being a
lullaby with an animated
and jazz-influenced
middle section, and the
closing Cabaletta is true
to its 19th-century
meaning of a rousing
closing section following
beautiful lyricism. SUITE
FOR WIND QUINTET was
commissioned and
premiered by the Dorian
Wind Quintet. Amanda
Harberg’s Suite
for Wind Quintet was
commissioned by the
Dorian Wind Quintet in
2017. The piece was the
result of a conversation
in a bar between Harberg,
Dorian’s flutist
Gretchen Pusch and
Pusch’s husband
Richard Bayles, on the
occasion of
Dorian’s
clarinetist Ben
Fingland’s 40th
birthday party. A year
and a half later, the
Dorian Wind Quintet gave
the world premiere of
Harberg’s quintet
at Bargemusic, and has
incorporated it into
their repertoire ever
since. Suite for Wind
Quintet is in four
movements- 1. Cantus, 2.
Furlana, 3. Fantasia and
4. Cabaletta. The melodic
material heard in the
very opening of the piece
can be heard recurring
and transforming
throughout the four
movements, until it
unites triumphantly in
the final coda with the
theme of the concluding
movement. The piece was
inspired by the concept
of placing Renaissance
and Baroque-inspired
dance suites into
Harberg’s idiom as
a 21st century
composer. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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