Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

Edited by Joel Lish and Jan Kelley. Arranged by Daniel Kelley. For Viola and Cello (or Bassoon). Duets. Music for Two. Waltzes, Fiddle Tunes, Traditional Pop. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.

Edited by Dmitri Bovaird. Arranged by Daniel Kelley. For Viola and Cello (or Bassoon). Duets. Music for Two. Wedding, Classical. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.

Edited by Dmitri Bovaird. Arranged by Daniel Kelley. For Viola and Cello (or Bassoon). Duets. Music for Two. Wedding, Classical. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

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

Edited by Joel Lish & Jan Kelley. Arranged by Daniel Kelley. For Viola and Cello (or Bassoon). Duets. Music for Two. Gilbert & Sullivan, Irish, Rags. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.

By Waterhouse. For 2 Bassoon. Classical. Sheet Music. 30 pages. Published by Chester Music.

Bassoon and Piano - easy

SKU: BT.AMP-307-400

Arranged by Philip Sparke. Anglo Music Play-Along Series. Classical. Book with CD. Composed 2013. 16 pages. Anglo Music Press #AMP 307-400. Published by Anglo Music Press (BT.AMP-307-400).

ISBN 9789043138154. 9x12 inches. English-German-French-Dut ch.

Part of the Anglo Music Play-along Series, Philip Sparkeâ??s 15 Easy Classical Solos is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introduces the beginning player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 16th to the 20th century and cover a wide variety of styles, from Bach to Grieg and from Purcell to Satie. This book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.

Philip Sparkeâ??s 15 Easy Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die iets meer dan een octaaf kan spelen. Het boek sluit qua instrumentaal bereik en gebruikte toonsoortenaan bij het Artist Level van Hal Leonards Essential Elements ®, maar kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieën, die specifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen:van Bach tot Grieg en van Purcell tot Satie.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd met pianobegeleiding en een cd met demo- en meespeeltracks.

15 Easy Classical Solos ist als Ergänzung zur bewährten Anglo Music Play-Along Reihe gedacht und richtet sich an Schüler, die ungefähr einen Tonumfang von einer Oktave beherrschen. Das Niveau entspricht dem des Artist Levels der Essential Elements ® Methode von Hal Leonard, kann aber auch unabhängig davon verwendet werden. Genau auf jedes Instrument zugeschnitten, ermöglicht die wohlüberlegte Stückeauswahl ein erstes Kennenlernen von Melodien aus verschiedenen Epochen der Klassik von Grieg über Purcell bis Satie. Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.

< I>15 Easy Classical Solos, de Philip Sparke, est un ouvrage qui sâ??adresse aux jeunes musiciens, maîtrisant un peu plus dâ??une octave. 15 Easy Classical Solos a été conçu pour être joué en corrélation avec les séries Artist et/ou Master Level de la collection Essential Elements ®, publiée par les éditions Hal Leonard. Mais il peut également être utilisé indépendamment.Spéc ifiquement adapté chaque instrument, ce volume rassemble quinze mélodies écrites par des compositeurs aussi variés que Bach, Purcell, Grieg et Satie.Comprenant les parties dâ??accompagnement de piano et une version dâ??accompagnement sur compact disc, ces ouvrages représentent une sourcecomplémentaire inestimable toute méthode pédagogique.

Il concetto della collana Anglo Music Play-Along Series è quello di integrare al più presto nel processo di apprendimento dei giovani strumentisti la possibilit di poter suonare accompagnati al piano o con lâ??ausilio di unâ??incisione su CD. Ilchiaro vantaggio di questo metodo è che gli allievi imparano da subito lâ??aspetto fondamentale del suonare insieme, vale a dire tenere il tempo in modo costante. 15 Easy Classical Solos consente agli allievi che hanno una conoscenza limitatadelle note di suonare brani di Bach, Schubert, Purcell, Grieg e altri, grazie alle versioni facilitate. Il livello di 15 Intermediate Classical Solos permette invece agli allievi che padroneggiano lâ??estensione superiore a unâ??ottava dicimentarsi nei â??primi concertiâ? con brani di Haendel, Clementi, Rameau, Glueck, Beethoven e altri. Il CD propone una traccia con lâ??incisione completa e una con il solo accompagnamento.

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, FL  2017.

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, FL  2017.

SKU: SU.00220629

Woodwinds, Clarinet. USB (PDF Scores). CD Sheet Music #00220629. Published by CD Sheet Music (SU.00220629).

This CD Sheet Music collection on USB Flash Drive contains 2 complete CDSM titles: The Clarinet Solos & Duos collection makes available a wealth of music for solo clarinet including sonatas, concertos, and solo works by 28 composers from the 18th, 19th and early 20th centuries. Also included are two complete volumes of collected works: Easy Duets and Album of Short Solos by Various Composers. Works include: Baermann, C. (Duo Concertante); Baermann, H. (Adagio); Beethoven (3 Duos for Clarinet and Bassoon); Berg (4 Pieces for Clarinet & Piano); Brahms (Sonata Nos. 1 & 2); Busoni (Elegie for Clarinet & Piano); Cavallini (30 Caprices for Clarinet); Debussy (Première Rhapsodie); Fauré (Berceuse); Gade (4 Fantasy Pieces); Glazunov (Saxophone Concerto [for clarinet & piano]); Jeanjean (Variations on Au Clair de la Lune); Klosé )Souvenir); Mason (Sonata for Clarinet & Piano); Mendelssohn (Concert Piece for 2 Clarinets & Piano); Mozart, L. (Concerto in Bb major); Mozart, W.A. (3 Duets for 2 Clarinets); Paganini (14 Caprices); Pierné (Pièce in G minor); Prokofiev (Visions Fugitives); Reger (Sonata Nos. 1 & 2); Reinecke (Sonata, Undine); Saint-Saëns (Sonata in Eb major); Schumann (Fantasy Pieces, 3 Romances); Spohr (Concerto Nos. 1-4); Stravinsky (3 Pieces for Clarinet Solo); Wagner (Adagio for Clarinet & Strings); Weber (Fantasia & Rondo, Grand Duo Concertante) Easy Duets Book 1: works by Fodor, Pleyel, Volckmar, Wanhal; Book 2: works by Mazas, Bruni, Campagnoli, Gebauer, Geminiani, Haydn, Pleyal, Viotti Album of Short Solos by Various Composers: 30 familiar works arranged for clarinet, including Brahms (Cradle Song), Dvorák (Humoreske), Fibich (Poéme), Handel (Largo), Giordani (Caro mio bien), Richter (Seppl-Polka), Schubert (Ave Maria), Schumann (Träumerei), Weber (Bauernwalzer), and more Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1200+ pages The Clarinet Methods, Studies & Ensembles collection makes available eight essential clarinet methods, studies and exercises, as well as over 30 works for clarinet with instruments including duos, trios and quartets by 20 familiar and lesser-known composers from the 18th, 19th and early 20th centuries. Scores and parts are included for many ensemble works. Methods, Studies & Exercises include: Baermann (Complete Method for Clarinet, Op. 63); Klosé (Conservatory Method, 25 Daily Exercises, 30 Studies after Aument); Langenus (Complete Method for Clarinet); Rose (32 Etudes for Clarinet) Ensembles include: Amberg (Fantasiestücke, Suite for Flute, Oboe, Clarinet & Piano); Beethoven (Quintet for Piano and Winds); Brahms (Quintet for Clarinet & Strings, Trio for Clarinet, Cello & Piano); Bruch (8 Piece for Clarinet, Cello & Piano); Cavallini (Rêverie Russe for Flute, Clarinet, and Piano); d'Indy (Trio for Piano, Clarinet, and Cello); Fibich (Quintet for Clarinet, Violin, Cello, Horn, & Piano); Glinka (Trio Pathétique, for Clarinet, Cello, & Piano); Hummel (Serenade No. 1 for Flute, Clarinet, Viola, & Cello); Liadov (8 Russian Folk Dances); Mozart (Twelve Minuets for 2 Clarinets or Basset Horns, Five Divertimenti for 2 Clarinets & Bassoon), Quintet for Clarinet & Strings, Quintet for Piano & Winds, Trio for Clarinet, Viola & Piano); Ravel (Intruduction & Allegro); Reger (Quintet for Clarinet & Strings); Rimsky-Korsakov (Quintet for Piano & Winds); Saint-Saëns (Tarantella for Flute, Clarinet & Piano); Schubert (Der Hirt auf dem Felsen); Schumann (Märchenerzählu ngen, for Clarinet, Viola & Piano); Spohr (Fantasy & Variations); Titl (Serenade for Violin, Clarinet & Piano); Zemlinsky (Trio for Clarinet, Violin & Cello) Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2100+ pages Published by: CD Sheet Music.

Arranged by Daniel Kelley. For Viola and Cello (or Bassoon). Duets. Music for Two. Christmas. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.

15 Easy Solos for Contest and Performance with Online Audio and Printable Piano Accompaniments. Composed by Various. Arranged by Philip Sparke. Essential Elements Band Folios. Classical. Softcover Media Online. 16 pages. Published by Hal Leonard

Four Metamorphoses After Schubert, for Oboe and Bassoon. By Dan Welcher. Wind duo. For Oboe, Bassoon. Set of parts. Composed 1997. 16 pages. Duration 14:00. Published by Theodore Presser Company.

Chamber ensemble Clarinet, Contrabass, Flute, Oboe, Viola, Violin, Violoncello

SKU: PR.11441167S

Composed by Chen Yi. Full score (study). With Standard notation. 56 pages. Duration 14 minutes. Theodore Presser Company #114-41167S. Published by Theodore Presser Company (PR.11441167S).

UPC: 680160016976. 8.5 x 11 inches.

Commissione d by Boston Musica Viva with funds provided by Catherine and Paul Buttenwieser, premiered on March 15, 2002, in Boston, directed by Richard Pittman, Wu Yu is composed for flute, clarinet (doubling bass clarinet), bassoon, violin, cello and percussion (vibraphone, bongo, Japanese high woodblock, cymbal, 2 Chinese gongs, tom-tom and bass drum), in two movements. Wu Yu was a ritual dance in ancient China, which includes song and dance performed with ox tails in hands. It's a ceremony of praying to the deity for rain. In the first movement of my composition Wu Yu, I use the flute, clarinet and bassoon to play in heterophonic style, imitating the tunes played by a group of suona players in a village ceremony (the blowing instrument suona is a shawm, made with wood), while using other instruments to create sheng-like sustained chords (the Chinese traditional instrument sheng is a free-reed mouth-organ, made with a gourd). The music starts slowly, and gets faster and faster towards the coda. In the second movement, I imitate a whole group of Chinese traditional percussion instruments played in the folk ensemble music Shifan Gong-and-drum in Southeast China, which is often used in ceremonies and village gatherings. The music is brought to a climax at the end of the work. The whole piece lasts about 14 minutes. --Chen Yi.

Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Leisinger. For SSATB vocal soli, SSAATTBB choir, 2 flute, 3 oboe/2 oboe d'amore, 2 bassoon, horn, 3 trumpet, timpani, 2 violin, viola, basso continuo. This edition: Paperbound. Latin Masses. Study score. Language: Latin. BWV 232. 312 pages. Duration 100 minutes. Published by Carus Verlag

Opera in tre atti. By George Frideric Handel. Edited by Burrows, Donald. For 2 Soprano solo, 1 Mezzo-Soprano solo, 1 Alto solo, 2 Tenor solo, 1 Bass solo, SATB Chorus, Flute I, II, Recorder I, II, Oboe I, II, Bassoon I, II, Horn I, II, Trumpet I, II, Violin I-III, Viola, Bassi (Cello, Contrabass, Lute, Harpsichord). (SATB). This edition: Complete Edition; Urtext Edition. Hallische Handel-Ausgabe, Serie II Band 32. Piano Reduction/Vocal Score. 235 pages. Published by Baerenreiter Verlag (German import).

15 Easy Solos for Contest and Performance with Online Audio and Printable Piano Accompaniments. Composed by Various. Arranged by Philip Sparke. Essential Elements Band Folios. Classical. Softcover Media Online. 16 pages. Published by Hal Leonard

Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Leisinger. For SSATB vocal soli, SSAATTBB choir, 2 flute, 3 oboe/2 oboe d'amore, 2 bassoon, horn, 3 trumpet, timpani, 2 violin, viola, basso continuo. This edition: Paperbound. Latin Masses. Vocal score. Language: Latin. BWV 232. 184 pages. Duration 100 minutes. Published by Carus Verlag

Solo voices, choir, orchestra (Soprano Voice Solo, Tenor Voice Solo, Bass Voice Solo, SATB Choir, 2 Fl, 2 Ob, 2 bassoon, bassoon-Co, 2 Hn, 3trombone, Str)

SKU: BA.BA05547

Oratorio: Jesus Christus schwebt am Kreuz. Composed by Franz Schubert. Edited by Manuela Jahrmärker. This edition: complete edition, urtext edition. Linen. New Schubert Edition (Neue Ausgabe samtlicher Werke) Series I, Volume 7. Complete edition, Score. D 383. Baerenreiter Verlag #BA05547_00. Published by Baerenreiter Verlag (BA.BA05547).

ISBN 9790006497089. 33.1 x 25.6 cm inches.

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
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Dramma per musica in tre atti. By Georg Friedrich Handel. Edited by Jones, Andrew V. Arranged by Rot Michael. For Recorder 1, Recorder 2, Flute, Oboe 1, Oboe 2, Horn 1, Horn 2, Violin 1, Violin 2, Violin 3, Viola, Violoncello, Contrabass, Bassoon, Lute, Harpsichord. Piano Reduction/Vocal Score; Urtext Edition (paperbound). HWV 19. Published by Baerenreiter-Ausgaben (German import).

Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Leisinger. For SSATB vocal soli, SSAATTBB choir, 2 flutes, 3 oboes/2 oboes d'amore, 2 bassoons, corno da caccia, 3 trumpets, timpani, 2 violins, viola, basso continuo. This edition: Linen cover. Latin Masses. Full score and DVD. Text language: Latin. BWV 232. 304 pages. Duration 100 minutes. Published by Carus Verlag

Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Leisinger. For SSATB vocal soli, SSAATTBB choir, 2 flutes, 3 oboes/2 oboes d'amore, 2 bassoons, corno da caccia, 3 trumpets, timpani, 2 violins, viola, basso continuo. This edition: paperback. Latin Masses. Full score. Text language: Latin. BWV 232. 304 pages. Duration 100 minutes. Published by Carus Verlag

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Oboe 1, Oboe 2, Percussion, Timpani, Trombone, Trumpet, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.41641613L

Composed by Diane Wittry. Large Score. With Standard notation. Duration 16 minutes. Theodore Presser Company #416-41613L. Published by Theodore Presser Company (PR.41641613L).

UPC: 680160642199. 11 x 17 inches.

On the island of Elba, off the coast of Italy, I composed this work as the sun was rising over the ocean in the mornings and gently sifting through the clouds against the lingering fog. As the piece developed, it took on a shape of its own and gradually became centered around diminished chords and the interval of a tri-tone (diminished 5th). I love these chords for their angst and for their sadness, but also for their flexibility. My piece is very textural in nature; and yes, it does have a melody of sorts, and yet, this melody comes and goes, and is never quite grasped until the end. Portions of it are repeated and spun out creating layers of sound without the heaviness of form. It is indeed a depiction of mist, where one minute you see things and the next they are gone. As you move through the piece, you find that the trumpet is also an antagonist, creeping in with a haunting cry; a reminder of things unsettled. Throughout the piece, we are quietly searching. We search for a tonal center for stability, and also for a melody that will make us feel fulfilled. Once found, we hold them for an instant, and then like the clouds and like life itself, they are gone. We are warmed by their presence and saddened by their loss. I hope that you will reflect upon your own memories of life's quiet moments as we enjoy the world premiere of this new work together. Mist is not a piece to be analyzed, but rather a piece to be experienced and absorbed. As you listen, release your mind, embrace your emotions, close your eyes, and allow the mist to creep in.

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Oboe 1, Oboe 2, Percussion, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.416416130

Composed by Diane Wittry. Full score. With Standard notation. Duration 16 minutes. Theodore Presser Company #416-41613. Published by Theodore Presser Company (PR.416416130).

UPC: 680160642182. 9 x 12 inches.

On the island of Elba, off the coast of Italy, I composed this work as the sun was rising over the ocean in the mornings and gently sifting through the clouds against the lingering fog. As the piece developed, it took on a shape of its own and gradually became centered around diminished chords and the interval of a tri-tone (diminished 5th). I love these chords for their angst and for their sadness, but also for their flexibility. My piece is very textural in nature; and yes, it does have a melody of sorts, and yet, this melody comes and goes, and is never quite grasped until the end. Portions of it are repeated and spun out creating layers of sound without the heaviness of form. It is indeed a depiction of mist, where one minute you see things and the next they are gone. As you move through the piece, you find that the trumpet is also an antagonist, creeping in with a haunting cry; a reminder of things unsettled. Throughout the piece, we are quietly searching. We search for a tonal center for stability, and also for a melody that will make us feel fulfilled. Once found, we hold them for an instant, and then like the clouds and like life itself, they are gone. We are warmed by their presence and saddened by their loss. I hope that you will reflect upon your own memories of life's quiet moments as we enjoy the world premiere of this new work together. Mist is not a piece to be analyzed, but rather a piece to be experienced and absorbed. As you listen, release your mind, embrace your emotions, close your eyes, and allow the mist to creep in.