Composed by Akiko Ogawa. Classical; 21st century. Piano score and part. Composed 2012. Duration 8 minutes. Published by Alea Publishing (A7.ALEA1091).

Bass Clarinet

SKU: PR.ZM34651

Reflections on September 11, 2001. Composed by Werner Heider. Classics United. With Standard notation. 6 pages. Zimmermann #ZM34651. Published by Zimmermann (PR.ZM34651).

Clarinet Choir

SKU: AY.CC3680PM

Composed by Thomas Tallis. Arranged by Matt Johnston. Woodwinds - Clarinet. Periferia Publishing #CC3680PM. Published by Periferia Publishing (AY.CC3680PM).

ISBN 9790543577442.

Thom as Tallis composed Spem in alium nunquam habui around the year 1570 based on the Latin text from a response (at Matins for the 3rd lesson, during the 5th week of September) in the Sarum Rite, adapted from the Book of Judith. The first line translates as I have never put my hope in any other but in Thee, God of Israel. Originally scored for eight 5-part choirs, has been arranged here for clarinet choir by Matt Johnston. The 40 core parts for soprano and bass clarinets are provided in the set. Additional parts for E-flat Clarinet, Alto Clarinet, Basset Horn, Contralto Clarinet and String Bass are available upon request.

(for the victims of the September 11, 2001 attacks and all victims of senseless violence). By Rene Clausen. Orchestra. For Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets, Bass Clarinet, 2 Bassoons, 4 Horns, 3 Trumpets, 2 Trombones, Bass Trombone, Tuba, Timpani, Cymbals, Mallets, Snare Drum, Bass Drum, Percussion, Harp, Piano, 2 Violins, Viola, Cello, Double Bass. Concert. Orchestral Full Score and Parts. Published by Roger Dean Publishing

By Louis Spohr (1784-1859). Arranged by Schwenke. For clarinet (violin 2), violin, viola, cello, double bass ad lib. and piano. Facsimile Editions - Winds, Strings and Piano. Unusual instrumentation, but enjoyable to play and perform. Fine arrangement of Spohr's Octet. Schwenke was a masterful arranger. Classical

2 clarinets, 2 horns, 2 bassoons (Clarinets (2), Horns (2), Bassoons (2)) - Level 4

SKU: BA.BA05334

Sextet Version (1781). Composed by Wolfgang Amadeus Mozart. Edited by Daniel N. Leeson and Neal Zaslaw. This edition: urtext edition. Stapled. Barenreiter Urtext. Set of parts. K. 375. Duration 24 minutes. Baerenreiter Verlag #BA05334_00. Published by Baerenreiter Verlag (BA.BA05334).

ISBN 9790006502677. 30 x 23.2 cm inches. Key: E-flat major.

The Serenade in E-flat, K.375, exists in two versions, one for two clarinets, two horns and two bassoons, and another for the same forces plus two oboes, forming an octet.

From Mozart himself we know a fair amount about the occasion that led to the first, six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl, it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October, the name-day of St. Theresa.

The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextet with the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics, he also altered the work’s melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre, thereby enabling him, for example, to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11641142S

Op. 39. Composed by Lowell Liebermann. Study Score. 84 pages. Duration 25 minutes. Theodore Presser Company #116-41142S. Published by Theodore Presser Company (PR.11641142S).

ISBN 9781491134030. UPC: 680160683772.

The Concerto for Flute and Orchestra, Op. 39 was completed in September of 1992. It was commissioned by James Galway, and is dedicated to him. The work is scored for an orchestra comprised of piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, percussion, harp, piano and strings. The Concerto is in three movements. The first movement, Moderato, is an arc-like form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations on a chorale-version of this progression. The second movement, Adagio molto, presents a lyrical melody which is spun out over a pulsating syncopated ostinato which persists through the entire length of the movement. The final movement, Presto, is a virtuoso work-out for the flutist in a rondo-like form which closes with a Prestissimo coda. The Concerto for Flute and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer.
The Concerto for Flute and Orchestra, Op. 39 was completed in September of 1992. It was commissioned by James Galway, and is dedicated to him.The work is scored for an orchestra comprised of piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, percussion, harp, piano and strings.The Concerto is in three movements. The first movement, Moderato, is an arc-like form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations on a chorale-version of this progression.The second movement, Adagio molto, presents a lyrical melody which is spun out over a pulsating syncopated ostinato which persists through the entire length of the movement.The final movement, Presto, is a virtuoso work-out for the flutist in a rondo-like form which closes with a Prestissimo coda.The Concerto for Flute and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piccolo and more.

SKU: PR.115402040

For Piccolo and Band. Composed by Daniel Dorff. This edition: Band. Premiere: Walfrid Kujala piccolo, Mitchell Fennell conducting the California State University - Fullerton wind ensemble, at 2010 NFA convention. Contemporary. Set of Score and Parts. With Standard notation. Composed 8-Oct. 60+12+12+4+4+4+16+16+16+4 +3+3+3+8+8+8+4+6+6+6+3+3+ 3+3+6+6+6+6+3+27+3+8 pages. Duration 6:30. Theodore Presser Company #115-40204. Published by Theodore Presser Company (PR.115402040).

UPC: 680160591220. 9.5 x 13 inches. Key: G major.

Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

Orchestra 2 B-flat clarinets (2d doubles bass clarinet), 2 Tenor Trombones, 2 bassoons (2d doubles Contrabassoon), 2 flutes (2d doubles piccolo), 2 oboes, 3 B-flat Trumpets, 4 F Horns, Bass Trombone, Keyboard/Sampler, P, Timpani, Tuba, doubling Celesta (one player)

SKU: PR.446412590

Eleven Very Short Pieces for Symphony Orchestra. Composed by Sydney F. Hodkinson. Contemporary. Full score. With Standard notation. Composed September 18 2008. 75 pages. Duration 17 minutes. Theodore Presser Company #446-41259. Published by Theodore Presser Company (PR.446412590).

UPC: 680160599592. 8.5 x 11 inches.

Orchestra 2 B-flat clarinets (2d doubles bass clarinet), 2 Tenor Trombones, 2 bassoons (2d doubles Contrabassoon), 2 flutes (2d doubles piccolo), 2 oboes, 3 B-flat Trumpets, 4 F Horns, Bass Trombone, Keyboard/Sampler, P, Timpani, Tuba, doubling Celesta (one player)

SKU: PR.44641259L

Eleven Very Short Pieces for Symphony Orchestra. Composed by Sydney F. Hodkinson. Contemporary. Large Score. With Standard notation. Composed September 18 2008. 75 pages. Duration 17 minutes. Theodore Presser Company #446-41259L. Published by Theodore Presser Company (PR.44641259L).

UPC: 680160599608. 11 x 17 inches.

(For Piano and Orchestra - Full Score). By Ellen Taaffe Zwilich (1939-). Orchestra. For Piccolo, Flute I, Flute II, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contra Bassoon, Horn I, Horn II, Trumpet in C I, Trumpet in C II, Suspended Cymbals, Hi-Hat, Pedal Bass Drum, Sizzle Cymbal, Piano Solo, Violin I, Violin II, Viola, Cello, C. Premiered September 22, 2000 - Cincinnati Symphony Orchestra, Jesus Lopez-Cobos, conductor, Jeffrey Biegel, pianist. Full score (study). Standard notation. 68 pages. Duration 20 minutes. Published by Theodore Presser Company

Orchestra, Narrator & the people (Piccolo; 2 Flutes; 2 Oboes; 1 English Horn; 2 Clarinets (B-Flat); Bass Clarinet; 2 Bassoons; Contrabassoon; 4 Horns (F); 3 Trumpets (C); 3 Trombones (Tenor); Tuba; Timpani; 2 Percussion (Drum Kits); Harp; Narrator; People (Community Members); Strings)

SKU: SU.17150090

For Orchestra, Narrator & the people. Composed by Daniel Bernard Roumain. Orchestra. Narrator. Study Score. Composed 2002. Duration 20'. Notevole Music Publishing #17150090. Published by Notevole Music Publishing (SU.17150090).

Instrumentation : narrator, community members (the people); 2,1 222; 4321; timp, perc, hp; stgs
Duration: 20' Full Score & Parts: available on rental Composed: 2002 Published by: Notevole Music Publishing Premiere: San Antonio Symphony, Christopher Wilkins, conductor, San Antonio, TX, September 2002.

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute, Horn, Oboe, Percussion, Piccolo, Timpani, Trumpet, Tuba, Viola, Violin 1, Violin 2, Violoncello, tenor voice

SKU: PR.446411300

For Orchestra. Composed by Ellen Taaffe Zwilich. World Premiere National Symphony Orchestra conducted by Anthony Aibel September 5, 1999 at the Kennedy Center, Washington DC. Classical. Large Score. With Standard notation. Composed 1998. Duration 4 minutes. Theodore Presser Company #446-41130. Published by Theodore Presser Company (PR.446411300).

UPC: 680160096527.

(Orchestral Variations On an Original Melody). By William Schuman (1910-1992). For Flute, Oboe, English Horn, Saxophone, Bass Clarinet, Bassoon, Contra Bassoon, Horn, Trumpet, Tenor, Tuba, Timpani, Percussion, Piano, Celesta, Celesta, Violin, Viola, Cello, Contrabass. The first performance was given by the saint louis symphony orchestra under the direction of Leonard slatkin on september 24, 1982. Classical. Full score (study). Standard notation. 84 pages. Duration 27 minutes. Published by Theodore Presser Company

Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, Percussion, Viola, Violin

SKU: CF.FE189S

Composed by Samuel Adler. Large Score. With Standard notation. 41 pages. Duration 10 minutes. Carl Fischer Music #FE189S. Published by Carl Fischer Music (CF.FE189S).

ISBN 9780825877520. UPC: 798408077525. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium” , a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, Percussion, Viola, Violin

SKU: CF.FE189

Composed by Samuel Adler. Set of Score and Parts. With Standard notation. 41+4+4+4+2+3+3+3+3 pages. Duration 10 minutes. Carl Fischer Music #FE189. Published by Carl Fischer Music (CF.FE189).

ISBN 9780825877513. UPC: 798408077518. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium” , a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

SKU: HL.50603910

For Flute and Bass Clarinet. Composed by Betsy Jolas. Woodwind. Softcover. 32 pages. Alphonse Leduc #AL30890. Published by Alphonse Leduc (HL.50603910).

ISBN 9781705155394. UPC: 196288023098. 9.0x12.0 inches.

Lovemusic was completed in September 2005 and premiered April 18, 2006 at Syracuse University by Mario Caroli flute and Armand Angster bass clarinet to whom the work is dedicated. This is a beautiful love story told in music; one among many... yours perhaps! BJ.

Clarinet, Flute, Harp, Celeste, Piano and Percussion

SKU: HL.14019091

Composed by Per Norgard. Music Sales America. Classical. Score. 68 pages. Edition Wilhelm Hansen #KP00547. Published by Edition Wilhelm Hansen (HL.14019091).

ISBN 9788759856420. Danish.

Norgard writes of his work: Lila is a Sanskrit word for playing with the elements, and I chose it as the title of the chamber work I composed in 1972 because its coolly systematic play (with overtones and undertones in the infinity sequences and a spectrum of Golden Sections in the rhythms) is characteristic of the period just before I wrote my Third Symphony (1973-75).The work was given its first performance in Venice, in the Teatro La Fenice on 9th September 1972, alongside Kagel's Anagram, from which Lila borrowed its instrumentation, since it was commissioned for a first performance by the Prisma Ensemble along with Anagram, with Tamas Veto, to whom it is dedicated, conducting. Ensemble: 4 percussionists (gong, 3 tam-tams, crotales, glockenspiel, tubular bells, celesta, vibraphone, xylophone), 2 pianos, 2 harps, flute (as well as flute in G and piccolo), B flat clarinet (and bass clarinet).

Chamber Music Bassoon, Clarinet, Flute

SKU: CF.N1196

Composed by Randy Navarre. Set of Score and Parts. Duration 20 minutes. Carl Fischer Music #N1196. Published by Carl Fischer Music (CF.N1196).

UPC: 680160683062.

Notes : This composition was completed in September of 1978. It was written for the Kappelle Woodwind Trio, who performed it many times including in Carnegie Recital Hall in New York City. I am particularly proud of this work, because it was the first truly mature work that I had written. Much like a good novel where every character introduced is developed and completed, every motif that was introduced was developed at some point in this work. When I say developed, I do not mean in the way Mozart, Beethoven, or other classical composers worked their motives in the development section, running through different keys and tonalities. In this work, I let the motives spin their way into longer themes or just show up in a different or disguised way. For example, a motif introduced in the first movement receives its final development in the final of the fourth movement. I hope the audience enjoys listening to this composition, and of course, the performers enjoy exploring and playing my music. Thank you! - Randy Navarre.
Notes:This composition was completed in September of 1978. It was written for the Kappelle Woodwind Trio, who performed it many times including in Carnegie Recital Hall in New York City. I am particularly proud of this work, because it was the first truly mature work that I had written. Muchlike a good novel where every character introduced is developed and completed, every motif that was introduced was developed at some point in this work. When I say developed, I do not mean in the way Mozart, Beethoven, or other classical composers worked their motives in the development section, running through different keys and tonalities. In this work, I let the motives spin their way into longer themes or just show up in a different or disguised way. For example, a motif introduced in the first movement receives its final development in the final of the fourth movement.I hope the audience enjoys listening to this composition, and of course, the performers enjoy exploring and playing my music.Thank you!- Randy Navarre.

Chamber Music Bass Clarinet, Cello, Clarinet, Flute, Percussion, Piano, Piccolo, Viola, Violin, alto Flute, soprano voice

SKU: PR.114417970

For Soprano and Chamber Ensemble. Composed by William Kraft. This edition: Full Set. Texts from Pierrot Lunaire by Albert Giraud, German by Otto Erich Hartleben; English by C.E. Cooper. First Performance September 27, 1991, Cambridge, MA The Boston Musica Viva, Richard Pittman, conductor Christine Schadeberg, soprano. Contemporary. Set of Score and Parts. With Standard notation. Composed 1987-1990. 58+8+8+8+12+8+16 pages. Duration 28 minutes. Theodore Presser Company #114-41797. Published by Theodore Presser Company (PR.114417970).

UPC: 680160638741. 9 x 12 inches. Texts from Pierrot Lunaire by Albert Giraud, German by Otto Erich Hartleben; English by C.E. Cooper.

As part of the Arnold Schoenberg Institute's celebration of the 75th anniversary of Schoenberg's Pierrot Lunaire, Kraft was asked to write for the same Pierrot ensemble, choosing text from the 29 unused poems of Albert Giraud's original cycle. Kraft set about writing movements based on Feerie, Mein Bruder, Harlequinade, and Selbstmord, with musical Interludes separating the movements, along with an extended Fantasmagoria preceding the concluding Selbstmord. In homage to Schoenberg, Kraft modified his own seven-tone environment to the master's 12-tone pallette, also using Schoenberg's speaking/singing style in the vocal line. Each of the first three movements was premiered at the Institute over successive years, 1988 through 1990. Selbstmord would premiere in Boston in 1991 by Musica Viva. Kraft also created an orchestration of the work over a five year period, 1990-1994. (Available on rental.).

Chamber Music Bass Clarinet, Cello, Clarinet, Flute, Percussion, Piano, Piccolo, Viola, Violin, alto Flute, soprano voice

SKU: PR.11441797S

For Soprano and Chamber Ensemble. Composed by William Kraft. This edition: score. Texts from Pierrot Lunaire by Albert Giraud, German by Otto Erich Hartleben; English by C.E. Cooper. First Performance September 27, 1991, Cambridge, MA The Boston Musica Viva, Richard Pittman, conductor Christine Schadeberg, soprano. Contemporary. Full score. With Standard notation. Composed 1987-1990. 58 pages. Duration 28 minutes. Theodore Presser Company #114-41797S. Published by Theodore Presser Company (PR.11441797S).

UPC: 680160638765. 9 x 12 inches. Texts from Pierrot Lunaire by Albert Giraud, German by Otto Erich Hartleben; English by C.E. Cooper.

As part of the Arnold Schoenberg Institute's celebration of the 75th anniversary of Schoenberg's Pierrot Lunaire, Kraft was asked to write for the same Pierrot ensemble, choosing text from the 29 unused poems of Albert Giraud's original cycle. Kraft set about writing movements based on Feerie, Mein Bruder, Harlequinade, and Selbstmord, with musical Interludes separating the movements, along with an extended Fantasmagoria preceding the concluding Selbstmord. In homage to Schoenberg, Kraft modified his own seven-tone environment to the master's 12-tone pallette, also using Schoenberg's speaking/singing style in the vocal line. Each of the first three movements was premiered at the Institute over successive years, 1988 through 1990. Selbstmord would premiere in Boston in 1991 by Musica Viva. Kraft also created an orchestration of the work over a five year period, 1990-1994. (Available on rental.).

Bass Clarinet, Double Bass, Flute, Percussion, Piano, Viola, Violin, Violoncello

SKU: PR.ZM34653

Reflections on September 11, 2001. Composed by Werner Heider. Classics United. Set of Score and Parts. With Standard notation. 58 pages. Zimmermann #ZM34653. Published by Zimmermann (PR.ZM34653).

By Jamey Aebersold. For singers, vocalists, drums, bass, guitar, flute, clarinet, violin, viola, piano, keyboard, organ, saxophone, trombone, trumpet, harmonica. Play-Along series with accompaniment CD. 24 beautiful, well-known standards in keys comfortable for most female singers. Play-Along Categories: Vocals, Standards. Level: intermediate, advanced. Book with 2 CDs. Published by Jamey Aebersold Jazz.

Chamber Ensemble

SKU: BT.MUSM570362356

Composed by Ed Hughes. Score Only. 63 pages. University of York Music Press #MUSM570362356. Published by University of York Music Press (BT.MUSM570362356).

English.

My music is influenced by all kinds of polyphonic writing - meaning both vocal and instrumental varieties. Recently I have become interested in the ways in which musical forms based on rhythmic processes can enable layering to emerge, so that harmonies and textures coexist rather than resolve. Chamber Concerto , scored for seven players (Flute, Clarinet, Bass Clarinet, Horn, Piano, Violin, Cello) works with this idea in a piece conceived for the virtuoso musicians of The New Music Players. The work is in four movements. - Ed Hughes Chamber Concerto was first performed by The New Music Players, conducted by Patrick Bailey, Kings Place, London, Out Hear Series, 27September 2010.

Clarinet, Violin Duet, Viola, Cello, Double Bass and Percussion

SKU: BT.MUSM570207015

Composed by Sadie Harrison. Score Only. 56 pages. University of York Music Press #MUSM570207015. Published by University of York Music Press (BT.MUSM570207015).

English.

First performance: Lontano, with clarinettist Andrew Sparling and conducted by Odaline de la Martinez, Purcell Room, London, 30th September 2002. Recorded on Metier Records MSV CD 92084.