| Duo Op. 5 No. 1 2 Flûtes traversières (duo) [Conducteur et Parties séparées] Forton Music
Composed by Francois Devienne (1759-1803). Arranged by Robert Rainford. A lovely...(+)
Composed by Francois
Devienne (1759-1803).
Arranged by Robert
Rainford. A lovely duet
arranged for flute and
alto flute. Score and
parts. Published by
Forton Music (FT.FM603).
$15.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Burlesque for Bassoon and Piano Basson, Piano (duo) Metropolis Music Publishers
Composed by Jef Maes (1905-). Woodwinds - Bassoon. Metropolis Music Publisher...(+)
Composed by Jef Maes
(1905-). Woodwinds -
Bassoon. Metropolis Music
Publishers #BP4378EM.
Published by Metropolis
Music Publishers
$21.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ludwig van Beethoven: Flute trio for Piano, Flute and Bassoon G major WoO 37 Basson, Piano (duo) [Partition] G. Henle
Bassoon and Piano. By Ludwig van Beethoven. Edited by Friedhelm Klugmann. Chambe...(+)
Bassoon and Piano. By
Ludwig van Beethoven.
Edited by Friedhelm
Klugmann. Chamber Music
with Winds. Pages: Score
= 27 * Fl Part = 6 *
Bassoon Part = 6. Urtext
edition-paper bound.
Published by G. Henle.
$25.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cornish Pastiche. Bassoon & Piano Basson, Piano (duo) Clifton Edition
Bassoon and Piano SKU: ST.C130 Composed by Mark Tanner. Wind & brass musi...(+)
Bassoon and Piano SKU:
ST.C130 Composed by
Mark Tanner. Wind & brass
music. Clifton Edition
#C130. Published by
Clifton Edition
(ST.C130). ISBN
9790570811304. As I
sit myself down to write
this brief foreword, I
ask myself can there be
music more stirring than
these old Cornish folk
melodies? Though not
Cornish myself (I confess
to being born a little
further up the road, in
Bristol), I feel I have
spent sufficient time in
these 'ere parts to
resonate with the sturdy
brass band tradition that
continues to permeate
this incomparably
beautiful, rugged county.
One can almost detect a
French 'accent' when
listening to the piano
music of Debussy, and
likewise, speaking as a
lapsed brass player,
there is undoubtedly
something of the Cornish
twang about Trelawny when
played on a cornet or
euphonium. Then again,
one gets a different, yet
entirely convincing
effect upon hearing these
melodies rendered on
woodwind instruments;
hence, with a little
gamesmanship on my part,
I am pleased to see my
collection of these
fifteen delectable
ditties come to fruition
in the form of
arrangements for treble
clef brass instruments
(in B flat and E flat),
trombone and tuba (bass
clef), horn in F, flute,
clarinet and bassoon.
While many will find
themselves humming the
likes of Going up
Camborne Hill, Lamorna or
The Helston Furry Dance
even before they have
turned to the first page
- for these are indelibly
intertwined with Cornish
culture – I wonder if I
might draw your attention
to The Cornish Squire,
The Pool of Pilate and
Cold Blows the Wind Today
Sweetheart, which are
quite simply sublime
melodies, perhaps needing
that extra bit of help in
bringing them to mind
nowadays. In the best
tradition of musical
hand-me-downs, Cornish
folk music works equally
ideally sung and played,
and only by doing so on a
regular basis can such
traditions hope to
continue forward with
vigour and authority. A
legitimate way of
achieving this is to
revitalise the harmonic
scheme of these ancient
tunes and bring them up
to date for a modern
audience; after all, it
was such an approach that
fuelled the imagination
of Benjamin Britten and
Ralph Vaughan Williams in
decades past, while
skilfully paying homage
to the underlying charm
and, for want of a better
word, simplicity, of the
original music. But this
is only a start – for
without an energetic
response from younger
generations, Cornish folk
music is destined to
wither on the vine in
much the same way as is
happening with the
Cornish dialect. So, put
your instrument to your
lips and proceed, not
with caution, but with
enthusiasm and a smile,
for your great
grandparents (and perhaps
even their grandparents)
would surely raise a
glass if they could hear
you doing your bit to
ensure the survival of
this splendid
heritage. Timeless
Cornish melodies, cooked
up for hungry clarinet
players Grades
1–4 Former Spartan
Press Cat. No.:
SP1219. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Clarinet Solos, Duets, Ensembles, Methods & Studies for: The Ultimate Collection Clarinette CD Sheet Music
SKU: SU.00220629 Woodwinds, Clarinet. USB (PDF Scores). CD Sheet Music #0...(+)
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. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Adagio, WoO 35 Basson, Piano (duo) Schott
Bassoon (Cello, Violin, Flute, or Clarinet) and Piano. Composed by Louis ...(+)
Bassoon (Cello,
Violin, Flute, or
Clarinet) and Piano.
Composed by Louis Spohr
(1784-1859). Edited by
Wolfgang Birtel. Schott.
Schott Music #ED20988.
Published by Schott Music
(HL.49018690).
$20.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Duo No. 1 (1992) [Conducteur et Parties séparées] Doblinger
For Flute and Bassoon. By Gernot Wolfgang. Chamber Music (Winds). For flute and ...(+)
For Flute and Bassoon. By
Gernot Wolfgang. Chamber
Music (Winds). For flute
and bassoon. Score and
set of parts. 32 pages.
Published by Doblinger
(Austrian import).
$29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 7 Impromptus Flûte, Basson (duo) [Conducteur] Schott
For Flute and Bassoon. By Jean Francaix. (Score). Schott. Size 9x12 inches. 32 ...(+)
For Flute and Bassoon. By
Jean Francaix. (Score).
Schott. Size 9x12 inches.
32 pages. Published by
Schott.
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Trio, Op. 19 No. 1 for two flutes and bassoon Clifton Edition
Two Flutes & Bassoon SKU: ST.C523 Composed by Francois Devienne. Wind & b...(+)
Two Flutes & Bassoon
SKU: ST.C523
Composed by Francois
Devienne. Wind & brass
music. Clifton Edition
#C523. Published by
Clifton Edition
(ST.C523). ISBN
9790570815234.
For Flute, Flute or
Violin and Cello or
Bassoon. Score and
Parts
included.
Françoi
s Devienne was born in
Joinville in 1759 and
died in Paris in 1803. He
was a flautist,
bassoonist, composer and
teacher. He arrived in
Paris in 1779 and soon
became a chamber musician
to the Cardinal de Rohan.
He made solo appearances
playing his own concerti
and was employed as an
orchestral bassoonist. He
eventually transferred
his allegiance to the
Band of the Paris
National Guard (who paid
better!) and to their
Free School of Music
where he became a teacher
and administrator. He
wrote comic operas and in
1794 published a method
for the one-key flute.
This includes useful
duets and gives insights
into late 18th century
articulation. He became
Professor of Flute at the
Paris Conservatoire when
it opened in 1795.
Devienne was also a
prolific composer of
chamber music, producing
25 quartets, 46 trios,
147 duos and 67
sonatas.
The Trio,
Opus 19 is sometimes
referred to as Opus 60
and the publication date
is around 1787. A one
movement work, the Trio
Op. 19 No. 1 features two
melody lines with a
supporting cello or
bassoon part,
characteristic of
Devienne’s composition
technique. The variation
form of the last movement
is also a device
associated with Devienne,
who helped to raise the
standard of music written
for wind instruments. The
source is a copy of the
earlier publication, used
with the permission of
the Syndics of Cambridge
University Library. The
music was typeset by
C.M.M. and F.H. Nex and
replaces PP564 and
includes both score and
set of three
parts.
Former
Spartan Press Cat. No.:
PP564.
$16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 15 Intermediate Classical Solos Basson, Piano (duo) [Partition + CD] - Intermédiaire Anglo Music
Bassoon and Piano - intermediate SKU: BT.AMP-382-400 Bassoon and Piano...(+)
Bassoon and Piano -
intermediate SKU:
BT.AMP-382-400
Bassoon and Piano.
Arranged by Philip
Sparke. Anglo Music
Play-Along Series.
Classical. Book with CD.
Composed 2014. 16 pages.
Anglo Music Press #AMP
382-400. Published by
Anglo Music Press
(BT.AMP-382-400). ISBN
9789043135801. 9x12
inches.
English-German-French-Dut
ch. Part of the
ANGLO MUSIC PLAY-ALONG
Series, Philip Sparkes 15
INTERMEDIATE CLASSICAL
SOLOS is aimed at the
young instrumentalist who
can play about an octave
and a half and follows on
from Sparkes 15 EASY
CLASSICAL SOLOS.
Specifically tailored to
suitthe individual
instrument, this book
introduces the developing
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
17th to the 19th century
and cover a wide variety
of styles, from Handel to
Tchaikovsky and from
Clementi to
Brahms. The 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
Intermediate Classical
Solos, onderdeel van
de Anglo Music
Play-Along Series, is
bedoeld voor de jonge
instrumentalist die
ongeveer anderhalf octaaf
kan spelen. Het boek is
een vervolg op
Sparkeâ??s 15
EasyClassical Solos
en het sluit qua
instrumentaal bereik en
gebruikte toonsoorten aan
bij het Expert Level van
Hal Leonards Essential
Elements ®, maar
het kan ook los daarvan
worden gebruikt.De
zorgvuldig geselecteerde
melodieën,
diespecifiek zijn
toegesneden op elk
instrument, beslaan een
breed scala van klassieke
stijlen: van Handel tot
Tsjaikovski en van
Clementi tot Brahms.Het
boek bevat waardevol
materiaal ter aanvulling
op elke lesmethode en
wordt geleverd
metpianobegeleiding en
een cd met demo- en
meespeeltracks. 15
INTERMEDIATE CLASSICAL
SOLOS ist als
Ergänzung zur
bewährten ANGLO MUSIC
PLAY-ALONG Reihe gedacht
und richtet sich an
Schüler, die
ungefähr einen
Tonumfang von eineinhalb
Oktaven beherrschen. Es
schlieÃ?t an Sparkes 15
EASY CLASSICAL SOLOS an
undentspricht dem Niveau
des Expert Levels der
ESSENTIAL ELEMENTS
Methode von Hal Leonard,
kann aber auch
unabhängig davon
verwendet werden.
Genau auf jedes
Instrument zugeschnitten,
ermöglichen die
sorgfältig
ausgewählten Melodien
noch mehr Spielerfahrung
mit klassischer Musik.
Die Stücke umfassen
verschiedene
Stilrichtungen und
Komponisten wie z.B.
Händel, Tschaikowsky,
Clementi undBrahms.
Jeder Band bietet
wertvolles
Ergänzungsmaterial,
das zu jeder
Instrumentalschule passt
und enthält sowohl
Klavier- als auch
CD-Begleitungen. <
br> 15 Intermediate
Classical Solos, de
Philip Sparke, est un
ouvrage qui sâ??adresse
aux jeunes musiciens,
maîtrisant un peu plus
dâ??une octave et demie.
Il fait suite au recueil
15 Easy Classical
Solos, et a été
conçu pour être
joué en corrélation
avec la série Expert
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
Hændel, Tcha kovski,
Clémenti et
Brahms.Comprenant les
parties
dâ??accompagnement de
piano et une version
dâ??accompagnement sur
compactdisc, ces ouvrages
représentent une
source complémentaire
inestimable toute
méthode
pédagogique.
Part of the
Anglo Music Play-along
Series, Philip
Sparkeâ??s 15
Intermediate Classical
Solos is aimed at the
young instrumentalist who
can play about an octave
and a half and follows on
from Sparkeâ??s 15
Easy Classical
Solos.Specifically
tailored to suit the
individual instrument,
this book introduces the
developing player to the
world of the classics by
using simple yet
attractive melodies that
fit their limited range.
The carefully selected
pieces include music
fromthe 17th to the 19th
century and cover a wide
variety of styles, from
Handel to Tchaikovsky and
from Clementi to
Brahms.The book will
provide invaluable
additional material to
complement any teaching
method and includes both
piano accompaniment and
ademo/play-along CD. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Three Diversions for Wind Quintet Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor [Conducteur et Parties séparées] Rosewood Publications
By Joan Trimble. Winds. For flute, oboe, clarinet, horn and bassoon (wind quinte...(+)
By Joan Trimble. Winds.
For flute, oboe,
clarinet, horn and
bassoon (wind quintet).
Effective, worthwhile
piece. First edition..
20th Century. Score and
parts. Published by
Rosewood Publications .
Score and Parts. 20th
Century.
$20.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Andalag #1 Wilhelm Hansen
Woodwind Duet (Playing Score) SKU: HL.288111 Duo for Flute and Clarine...(+)
Woodwind Duet (Playing
Score) SKU:
HL.288111 Duo for
Flute and Clarinet.
Composed by Sunleif
Rasmussen. Music Sales
America. Classical.
Softcover. 16 pages.
Duration 240 seconds.
Edition Wilhelm Hansen
#WH31433. Published by
Edition Wilhelm Hansen
(HL.288111).
Andalag # 1 -
Duo for Flute and
Clarinet (2011). Part of
Andalag - Suite in 11
movements.Programme note:
Some years ago I was
asked by the Faroese
ensemble Aldubaran to
compose duets for the
woodwinds within the
ensemble. The idea then
came to me to write a
Suite with the name
Andalag in 11 movements.
8 movements are duets and
are approximately 4 min.
long. 2 movements are
quartets and are
approximately 8 min.
long, and 1 movement is
an octet which is
approximately 16 min.
long. In other words, the
Suite will last
approximately 60 min. The
(octet) instrumentation
is 2 flutes, 2 clarinets,
2 horns and 2 bassoons.
The Faroese word andalag
has a multilayerd
meaning. The first half
of the word is anda and
means to breath or
spirit, and the second
half of the word lag
means melodi, mood or
layer. I use two small
ideas in this Suite. One
idea is in a sort of
major mood and the other
in a sort of minor mood.
Sunleif Rasmussen, May
2013. $16.90 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 6 Duos, Op. 74 2 Clarinettes (duo) [Partition] Schott
For 2 Clarinets - Performance Score. Composed by Fran�§ois Devienne....(+)
For 2 Clarinets -
Performance Score.
Composed by
Fran�§ois Devienne.
Edited by Rudolf Mauz.
Woodwind Ensemble.
Softcover. 24 pages.
Schott Music #KLB94.
Published by Schott Music
(HL.49044526).
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Drei Duos WoO 27 Clarinette, Basson (duo) Breitkopf & Härtel
By Ludwig van Beethoven. For Clarinet (Flute/Oboe) and Bassoon. This edition: pa...(+)
By Ludwig van Beethoven.
For Clarinet (Flute/Oboe)
and Bassoon. This
edition: paperback.
Edition Breitkopf. 68
pages. Published by
Breitkopf and Haertel
(German import).
$35.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Wedding Music - Flute/Bassoon Duet (with CD) Flûte, Basson (duo) [Partition + CD] - Intermédiaire Editions Marc Reift (Swiss import)
Wedding March / Trumpet Voluntary / Aria / Trumpet Tune / Bridal Chorus. For flu...(+)
Wedding March / Trumpet
Voluntary / Aria /
Trumpet Tune / Bridal
Chorus. For flute,
bassoon & CD
accompaniment. Swiss
import. Play Along.
Level: 3. Sheet music and
accompaniment CD.
Published by Editions
Marc Reift. (EMR 931C)
$26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Minuet Flûte, Basson (duo) - Intermédiaire Cimarron Music Press
By Domenico Scarlatti (1685-1757). Arranged by Paul Morgan. Woodwind quartet. Fo...(+)
By Domenico Scarlatti
(1685-1757). Arranged by
Paul Morgan. Woodwind
quartet. For 3 flutes and
bassoon. Grade 3
$15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| There Will I Be - SATB score and parts Violon, Violoncelle (duo) [Conducteur] Beckenhorst Press
Composed by Craig Courtney. For violin and cello (or flute and bassoon). Full sc...(+)
Composed by Craig
Courtney. For violin and
cello (or flute and
bassoon). Full score and
parts. Published by
Beckenhorst Press
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Time Pieces for Bassoon, Volume 1 Basson, Piano (duo) ABRSM Publishing
By Various. Edited by I. Denley. For Bassoon, Piano. Time Pieces for Bassoon Vol...(+)
By Various. Edited by I.
Denley. For Bassoon,
Piano. Time Pieces for
Bassoon Volume 1 (Music
through the Ages in 2
Volumes). Grades 1-3
$16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Pas De Quatre Basson, Piano (duo) [Set de Parties séparées] Boosey and Hawkes
For Flute, Oboe, Clarinet, Bassoon and Piano. By Malcolm Williamson. (Parts). B...(+)
For Flute, Oboe,
Clarinet, Bassoon and
Piano. By Malcolm
Williamson. (Parts).
Boosey and Hawkes Chamber
Music. 74 pages.
Published by Josef
Weinberger.
$26.95 - Voir plus => Acheter | | |
| Traveller’s Joy for Ob. & Pf. Hautbois, Piano (duo) Clifton Edition
Oboe and piano SKU: ST.C550 Composed by Mary Chandler. Wind & brass music...(+)
Oboe and piano SKU:
ST.C550 Composed by
Mary Chandler. Wind &
brass music. Clifton
Edition #C550. Published
by Clifton Edition
(ST.C550). ISBN
9790570815500.
Traveller’s
Joy — Two Walking
Tunes for Oboe and Piano
was composed in 1956.
This is the first time
the piece has been
published.
Mary
Chandler was born in Kent
in 1911. She studied
music privately, and her
teachers included Harry
Farjeon (composition),
Margaret Eliot and Leon
Goossens (oboe) and
Harold Craxton (piano).
She read English at
Oxford University and
taught in London schools
before joining the City
of Birmingham Symphony
Orchestra as principal
oboist. She appeared with
the CBSO as soloist (oboe
and piano) and composer
and gave broadcasts and
recitals in the Midlands.
Later, as a free-lance
orchestral player, she
formed the Mercian Trio
(flute, oboe and piano)
which gave concerts
around the
country.
In 1960
Mary became Area Director
of the Kent Music School,
in charge of its wind
teaching and of the
varied activities of its
Tonbridge Music Centre.
She conducted many
student groups and
composed and arranged
music for them until she
retired in 1971. She
continued to be actively
involved in music
thereafter, examining,
composing and organising
concerts. She spent her
later years in
Gloucestershire and died
in 1996.
Dr.
Kristin Leitterman is
currently the Assistant
Professor of Oboe at
Arkansas State University
in Jonesboro, Arkansas,
USA, where she teaches
oboe and bassoon, Double
Reed Techniques, and
coaches small chamber
ensembles. She is also
the Director of the
Lucarelli Oboe Master
Class, a week-long
immersive oboe master
class founded by Bert
Lucarelli in 1996. As a
guest artist she has
presented master classes
at many institutions,
including the Manhattan
School of Music, New York
University, and the Hartt
School.
As a
researcher, Kirstin has
interests in the life and
works of Mary Chandler.
She has presented her
research at The Juilliard
School, Music by Women
Festival, the
International Double Reed
Society conferences, and
the Brazilian Double Reed
Society’s conference in
João Pessoa, Paraíba,
Brazil.
$14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Bagatelle for Oboe & Piano Hautbois, Piano (duo) Clifton Edition
Oboe and piano SKU: ST.C551 Composed by Mary Chandler. Wind & brass music...(+)
Oboe and piano SKU:
ST.C551 Composed by
Mary Chandler. Wind &
brass music. Clifton
Edition #C551. Published
by Clifton Edition
(ST.C551). ISBN
9790570815517.
Bagatelle for
Oboe and Piano was
composed in 1950. This is
the first time that the
piece has been
published.
Mary
Chandler was born in Kent
in 1911. She studied
music privately, and her
teachers included Harry
Farjeon (composition),
Margaret Eliot and Leon
Goossens (oboe) and
Harold Craxton (piano).
She read English at
Oxford University and
taught in London schools
before joining the City
of Birmingham Symphony
Orchestra as principal
oboist. She appeared with
the CBSO as soloist (oboe
and piano) and composer
and gave broadcasts and
recitals in the Midlands.
Later, as a free-lance
orchestral player, she
formed the Mercian Trio
(flute, oboe and piano)
which gave concerts
around the country. In
1960 Mary became Area
Director of the Kent
Music School, in charge
of its wind teaching and
of the varied activities
of its Tonbridge Music
Centre. She conducted
many student groups and
composed and arranged
music for them until she
retired in 1971. She
continued to be actively
involved in music
thereafter, examining,
composing and organising
concerts. She spent her
later years in
Gloucestershire and died
in 1996.
Dr.
Kristin Leitterman is
currently the Assistant
Professor of Oboe at
Arkansas State University
in Jonesboro, Arkansas,
USA, where she teaches
oboe and bassoon, Double
Reed Techniques, and
coaches small chamber
ensembles. She is also
the Director of the
Lucarelli Oboe Master
Class, a week-long
immersive oboe master
class founded by Bert
Lucarelli in 1996. As a
guest artist she has
presented master classes
at many institutions,
including the Manhattan
School of Music, New York
University, and the Hartt
School.
As a
researcher, Kirstin has
interests in the life and
works of Mary Chandler.
She has presented her
research at The Juilliard
School, Music by Women
Festival, the
International Double Reed
Society conferences, and
the Brazilian Double Reed
Society’s conference in
João Pessoa, Paraíba,
Brazil.
$14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Trio, Op. 2 No. 2 for two flutes and bassoon Clifton Edition
Two Flutes & Bassoon SKU: ST.C522 Composed by Jérôme Duval. Wind & bras...(+)
Two Flutes & Bassoon
SKU: ST.C522
Composed by Jérôme
Duval. Wind & brass
music. Clifton Edition
#C522. Published by
Clifton Edition
(ST.C522). ISBN
9790570815227.
Jérôme Duval lived in
the late 18th and early
19th century. Despite his
very French name, it
would appear that he
worked for some time in
Germany, as his Opus 2, 3
and 4 were all published
in Hamburg. Opus 2, which
includes this Trio, Op. 2
No. 2 for two flutes and
bassoon, can be assigned
a tentative publications
date of 1810. There are
three Trios in Opus 2,
Opus 3 consists of three
Duos Concertants for
flute and violin, and
Opus 4 contains three
Duos for two violins. The
rest of Duval’s output
includes three Quartets
published in Brussels and
a further Hamburg
publication for voice and
piano with the delightful
title: Femmes
sensibles écoutent le
ramage - which means
sensitive women listening
to birdsong. The source
for this edition of Trio
Op. 2 No. 2 is the copy
held in the British
Library (shelf mark
g.693.) The music was
typeset by C.M.M. and
F.H. Nex and replaces
PP563. The set includes
both score and three
parts.
Contents
Allegro Andantino
Rondo -
Allegretto
Former
Spartan Press Cat. No.:
PP563.
$24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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