Chamber Music oboe

SKU: PR.114422520

Sonata for Oboe and Piano. Composed by Katherine Needleman. Set of Score and Parts. 24+8 pages. Duration 15:45. Theodore Presser Company #114-42252. Published by Theodore Presser Company (PR.114422520).

ISBN 9781491134788. UPC: 680160683833.

After decades as a renowned oboe virtuoso, Katherine Needleman was improvising at the piano during the quarantine summer of 2020 when her ideas congealed in a powerful way. Within a week she completed a 16-minute oboe sonata inspired by the world’s overlapping crises. This riveting three-movement sonata bears the title qua resurget ex favilla, drawn from the Dies Irae text referring to rising back from ashes. Needleman won the International Double Reed Society’s Inaugural Commissioning Competition by entering her own recording of this work, performing as both oboist and pianist from her living room. As a result, IDRS commissioned her to compose a new work for English horn and piano which was premiered at their 2021 Virtual Symposium and programmed for the live 2022 convention.
I’m not exactly sure how, in a life consumed by music, I never put anything on paper between the time I stopped at age 10 and the age of 42. I mean, I have some ideas why, but that could easily dissolve into a feminist manifesto or a condemnation of my musical education and the overwhelming culture of American oboe playing, the vehicle through which I’ve made a living my entire adult life. Rather than go there, I will just say this is the first piece I put on paper in my adult life.Six months into COVID-19 lockdown in the US, the world was feeling pretty weird. I had familiarized myself with the music notation program, Sibelius, for recent arranging projects. I had written some mockeries of A.M.R. Barret oboe etudes in response to an assignment I was given (and did appropriately first). When I descended into a dark chorale in the middle of the fourth mockery, I realized I needed a new vehicle. I wrote a short, ridiculous piece for my husband’s birthday, and then, the next night, when improvising at the piano, like I’ve done since I was seven years old, this piece came to me. However, this time, I sketched it out into Sibelius. Over the course of the next week, I found notating and picking permanent, official notes to enter into the computer challenging. But it was all done on paper in seven days, and I took another few for dynamics and articulations thinking they might be useful for someone else, if I would ever be lucky enough for someone else to play it.I don’t have much to say about the music of qua resurget ex favilla itself. It’s a personal statement couched in the feelings of that time. The US presidential election was looming large and ugly in my mind, well, that and the end of life as we knew it, but I also had some bizarre feeling that everything would be okay.

By Martha Mier. For Piano. Piano Solo; Sheet; Solo. Signature Series. Fall; Halloween. Late Elementary. 4 pages. Published by Alfred Music Publishing

By Robert Sheldon. Music by Robert Sheldon. For Concert Band. Concert Band. Challenger Band Series. Level: Grade 1.5. Conductor Score & Parts. Published by Alfred Publishing.

Picc. 2fl. fl/afl. Afl. Bfl. Cbfl (piccolo, 2 flutes, flute or alto flute, bass flute, contrabass flute) - Intermediate-Advanced

SKU: FT.FM380

Composed by Keiron Anderson. Flute Ensemble - Piccolo, 2 flutes, flute or alto flute, Bass flute, Contrabass flute. Score and Parts. Forton Music #FM380. Published by Forton Music (FT.FM380).

ISBN 9790570482795.

Dark Matter – Flute Ensemble (Piccolo, 2 flutes, flute or alto flute, Alto flute, Bass Flute, Contrabass Flute). One of the mysteries of the universe, dark matter is a fascinating concept. To describe it in music I used a combination of minor canons accompanied by a series of contrasting scales which are often octatonic although not exclusively so. This scale some produces surprisingly powerful notes as the shift of a semitone lifts the music through tonal shifts. The central section uses the scale in harmonic progressions that follow a fairly simple melodic idea which takes the listener on a journey into the unknown whilst remaining accessible and memorable. The work leaves the dark matter out there and confirms its existance without making any assumptions or answering any questions. This should be a different voice in a concert, thought provoking and atmospheric without being overly chromatic or challenging.

SATB, Flute, Clarinet, Percussion

SKU: HL.14042212

Composed by John Tavener. Music Sales America. Classical. Softcover. Chester Music #CH77198. Published by Chester Music (HL.14042212).

For Flute (doubling Piccolo), Clarinet in B flat*, Very large Tam-Tam (sounding from a high gallery), and Choir (SSATTBB).
* Notated in C in the score.

'According to Hindu Cosmology, welive at the end of a cycle, the Kali Yuga - the Dark Age. There are two important sayings of Christ that should accompany his disciples always during these challenging times.

The first is The Gates of Hell shall not prevail against my Church (Matthew 16, v. 18); and the second I am with you always unto the end of the world (Matthew 28, v. 20).

< /span>These sayings form the basis of this work, which falls into two main sections, each with the same structure and with linked material. Each section begins with Kali Yuga, which I havetried to represent in a chaotic, unstructured way, in contrast to the cosmic Cries of Humanity to Christ (Kyrie eleison - Lord, have mercy), and Christ's responses from Saint Matthew's Gospel.

The work ends with a serene'Coda' of the sacred monosyllable OM, representing the peace and beatitude of God's presence. The intermingling of Christianity and Hinduism is an important simile for our times; in the same way, early Christianity did nothesitate to incorporate Jewish and Greek thought.'

- John Tavener

Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS225

Composed by Larry Clark. Concert Band (CPS). Set of Score and Parts. With Standard notation. 12+12+6+12+24+24+6+4+6+6+ 6+6+8+8+8+4+4+6+6+6+8+2+1 +6+2+4+10+32+4 pages. Duration 6 minutes, 9 seconds. Carl Fischer Music #CPS225. Published by Carl Fischer Music (CF.CPS225).

ISBN 9781491152515. UPC: 680160910014.

Tarta n Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS225F

Composed by Larry Clark. Concert Band (CPS). Full score. With Standard notation. 32 pages. Carl Fischer Music #CPS225F. Published by Carl Fischer Music (CF.CPS225F).

ISBN 9781491153192. UPC: 680160910694.

Tarta n Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.