It Takes Four to Tango Quatuor de Clarinettes: 4 clarinettes [Conducteur et Parties séparées] Theodore Presser Co.
For 3 B-Flat Clarinets and Bass Clarinet (Quartet or Ensemble). By Daniel Dorff....(+)
For 3 B-Flat Clarinets
and Bass Clarinet
(Quartet or Ensemble). By
Daniel Dorff. Wind
quartet. For Clarinet I,
Clarinet II, Clarinet
III, Bass Clarinet. Score
and parts. 4 pages.
Duration 2:30. Published
by Theodore Presser
Company.
Clarinets Packing Up Early Clarinette, Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
(Clarinet Section Feature). Composed by Gary Fagan. Concert Band. Concert Ba...(+)
(Clarinet Section
Feature).
Composed by Gary Fagan.
Concert Band. Concert
Band;
Part(s); Score. Young
Symphonic. Form: Rondo.
Novelty. Grade 2. 128
pages.
Published by Alfred Music
The Ultimate Companion to Clarinet Playing. Composed by Paul Harris. Method/I...(+)
The Ultimate Companion to
Clarinet Playing.
Composed by
Paul Harris.
Method/Instruction;
Woodwind -
Clarinet Method or
Collection.
Book. Faber Music #12-
0571542182. Published by
Faber
Music
Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Mark
Hollingsworth will walk
you through all 23
lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Clarinet" From
A Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Mark
Hollingsworth Mark
Hollingsworth began
studying music at five
years of age. His
background includes both
classical and jazz
training. After high
school Mark won a
scholarship from Berklee
College of Music in
Boston and graduated
Magna Cum Laude, with a
major in woodwind
performance. Mark has
over fifteen years
experience as a studio
musician in Los Angeles
recording for movies,
albums, television
broadcasts and numerous
"jingles" as well as
cartoons for Warner
Brothers and Walt Disney.
He has also performed in
concerts with a wide
range of artists
including Quincy Jones,
Natalie Cole, Celine
Dion, Whitney Houston,
Donna Summer and
Manhattan Transfer to
name a few. Some of
Mark's most significant
accomplishments include
memorable television
appearances with Stevie
Wonder, Ray Charles,
Michael Bolton and
Michael McDonald . He has
worked on numerous
recordings with Tom
Petty, Luther Vandross,
U2, the Library of
Congress and soundtracks
for the Ren and Stimpy
show. Mark's musical
breadth also includes
skills on an extensive
collection of flutes from
around the world. For
more information about
Mark Hollingsworth visit:
www.windshoremusic.com.
By Johann Sobeck. Winds. For solo clarinet, flute, oboe, horn, and bassoon (wind...(+)
By Johann Sobeck. Winds.
For solo clarinet, flute,
oboe, horn, and bassoon
(wind quintet) or
clarinet and piano. This
edition: Facsimile
Editions. Showpiece for
the clarinet.. Romantic.
Piano score and parts.
Published by Rosewood
Publications (RW.RFE-67).
Piano score and parts.
Romantic.
Clarinet and piano (original scoring: clar,orch) SKU: BR.MR-2259 Piano...(+)
Clarinet and piano
(original scoring:
clar,orch)
SKU:
BR.MR-2259
Piano
reduction. Composed
by Andreas Spaeth. Edited
by John P. Newhill. Solo
instruments; stapled.
Musica Rara. In spite of
his more than 200 works,
Andreas Spath remains a
minor figure in Romantic
music. But this is of
little concern to today's
clarinetists, who can now
enjoy his idiomatic
Variations on a Theme by
Mozart op. 104.
Variations; Solo
concerto; Romantic. Piano
reduction. 24 pages.
Breitkopf and Haertel #MR
2259. Published by
Breitkopf and Haertel
(BR.MR-2259).
ISBN
9790004488058. 9 x 12
inches.
In spite of
his more than 200 works,
Andreas Spath remains a
minor figure in Romantic
music. But this is of
little concern to
today’s
clarinetists, who can now
enjoy his idiomatic
"Variations on a
Theme by Mozart" op.
104. Just as Beethoven
before him and many other
composers of his own time
and later, Spath chooses
the duet "Bei
Mannern, welche Liebe
fuhlen," a popular
theme from the then still
very successful Magic
Flute, and leads it
knowledgeably through all
of the clarinet’s
registers. The new
edition is based on the
first print, published
during Spath’s
lifetime.
(Richard Stoltzman 21st Century Series for Clarinet). By Franz Schubert (1797-18...(+)
(Richard Stoltzman 21st
Century Series for
Clarinet). By Franz
Schubert (1797-1828).
Edited by Richard
Stoltzman. LKM Music.
Softcover with CD. Hal
Leonard #S131009.
Published by Lauren
Keiser Music Publishing
Chamber Music SKU: PR.41641301L Concerto da Camera III. Composed b...(+)
Chamber Music
SKU:
PR.41641301L
Concerto da Camera
III. Composed by
Shulamit Ran. Large
Score. With Standard
notation. Duration 19
minutes. Theodore Presser
Company #416-41301L.
Published by Theodore
Presser Company
(PR.41641301L).
UPC:
680160619795.
Under
the Sun's Gaze as a title
for a musical composition
conjures up many
possibilities. It is, in
fact, an imagined line
from an unwritten poem,
invented with the idea of
capturing something of
the visual aura the
sounds and energy of this
work invoke in its
composer' mind. An
omnipotent presence in
all of nature, a source
of life yet also capable
of its destruction, the
sun affects the light and
dark in our physical
existence as it defines
the daily and seasonal
life. The music of this
work, in three
interlocking parts, takes
turns being exuberant,
caressing, scorching,
receding, hazy, lazy,
blazing, dissolving into
darkness, blinding in its
intensity. Subtitled
Concerto da Camera III,
this work is written for
what has become known as
the standard Pierrot
instrumentation of flute,
clarinet, violin, cello,
piano plus percussion.
The difference here is
that the winds are
doubled - the two
flutists alternating with
piccolo and alto flute
and both clarinetists
also doubling on bass
clarinets. The ninth
member of the ensemble, a
soprano saxophone,
appears well into the
piece, its lyrical,
plaintively expressive
quality dominating the
musical terrain for a
while. While occasionally
joining the others for
some tutti outbursts, it
maintains its position as
something of a guest
throughout. Of the
various thematic ideas
that populate this work,
a six-note descending
line played by the
clarinet appearing right
at the work's opening
then arching back up
reveals itself, as the
music unfolds, to be the
principal melodic
building block of Under
the Sun's Gaze. Its
various transformations
include the plaintive
soprano saxophone melody
appearing in the middle
section. Just under 20
minutes in length, the
work in its totality can
be heard as being in a
loose arch form, its
ending receding into a
distant darkening horizon
which carries in it the
seed of the new dawn that
lies beyond. Under the
Sun's Gaze was
commissioned by the Serge
Koussevitzky Music
Foundation in the Library
of Congress for the San
Francisco Contemporary
Players, David Milnes,
conductor.
Chamber Music SKU: PR.416413010 Concerto da Camera III. Composed b...(+)
Chamber Music
SKU:
PR.416413010
Concerto da Camera
III. Composed by
Shulamit Ran. Full score.
With Standard notation.
Duration 19 minutes.
Theodore Presser Company
#416-41301. Published by
Theodore Presser Company
(PR.416413010).
UPC:
680160605682.
Under
the Sun's Gaze as a title
for a musical composition
conjures up many
possibilities. It is, in
fact, an imagined line
from an unwritten poem,
invented with the idea of
capturing something of
the visual aura the
sounds and energy of this
work invoke in its
composer' mind. An
omnipotent presence in
all of nature, a source
of life yet also capable
of its destruction, the
sun affects the light and
dark in our physical
existence as it defines
the daily and seasonal
life. The music of this
work, in three
interlocking parts, takes
turns being exuberant,
caressing, scorching,
receding, hazy, lazy,
blazing, dissolving into
darkness, blinding in its
intensity. Subtitled
Concerto da Camera III,
this work is written for
what has become known as
the standard Pierrot
instrumentation of flute,
clarinet, violin, cello,
piano plus percussion.
The difference here is
that the winds are
doubled - the two
flutists alternating with
piccolo and alto flute
and both clarinetists
also doubling on bass
clarinets. The ninth
member of the ensemble, a
soprano saxophone,
appears well into the
piece, its lyrical,
plaintively expressive
quality dominating the
musical terrain for a
while. While occasionally
joining the others for
some tutti outbursts, it
maintains its position as
something of a guest
throughout. Of the
various thematic ideas
that populate this work,
a six-note descending
line played by the
clarinet appearing right
at the work's opening
then arching back up
reveals itself, as the
music unfolds, to be the
principal melodic
building block of Under
the Sun's Gaze. Its
various transformations
include the plaintive
soprano saxophone melody
appearing in the middle
section. Just under 20
minutes in length, the
work in its totality can
be heard as being in a
loose arch form, its
ending receding into a
distant darkening horizon
which carries in it the
seed of the new dawn that
lies beyond. Under the
Sun's Gaze was
commissioned by the Serge
Koussevitzky Music
Foundation in the Library
of Congress for the San
Francisco Contemporary
Players, David Milnes,
conductor.
Composed by John Williams. For clarinet. Includes instrumental solo book and acc...(+)
Composed by John
Williams. For clarinet.
Includes instrumental
solo book and
accompaniment CD. With
standard notation.
Movies. 9x12 inches.
Published by Warner
Brothers.
For clarinet. Format: clarinet solo book (excerpts only). Baroque, Classical Per...(+)
For clarinet. Format:
clarinet solo book
(excerpts only). Baroque,
Classical Period and
Romantic Period. 64
pages. 9x12 inches.
Published by Music Sales.
(MS.AM84161)
A selection of all the
best known tunes and
themes in the classical
repertoire, carefully
edited for clarinet solo.
Includes works by Mozart,
Bach, Beethoven, Chopin,
and many more great
composers.
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143L
Composed by Stacy Garrop.
Spiral. Large Score. 68
pages. Duration 20
minutes. Theodore Presser
Company #116-42143L.
Published by Theodore
Presser Company
(PR.11642143L).
UPC:
680160693320. 11 x 17
inches.
For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna.
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S).
UPC:
680160693313. 11 x 17
inches.
For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna.
Clarinet, Piano Accompaniment (Clarinet) SKU: HL.14008418 Composed by Sir...(+)
Clarinet, Piano
Accompaniment (Clarinet)
SKU: HL.14008418
Composed by Sir Peter
Maxwell Davies. Music
Sales America. Post-1900.
Sheet Music, Score. With
Text language: English.
32 pages. Chester Music
#CH55902. Published by
Chester Music
(HL.14008418).
UPC:
884088809034.
8.5x11.75x0.114
inches.
This work,
which was written shortly
after the Trumpet Sonata
and the Five Pieces For
Piano, was first
performed by Georgina
Dobree and the composer
at the 1957 Darmstadt
Festival. The score was
subsequently lost, but
was rediscovered by Kevin
Corner in 1983. 'This is
a dramatic, emphatic and
at times extravagant
piece. The first movement
is a Moderato reaching
through wide-flung
clarinet lines and keen
piano gestures to a great
climax near the end. Then
comes a quick movement, a
kind of demonic scherzo,
including a cadenza for
the clarinettist. The
finale is an Adagio that
gradually achieves a sort
of simplicity, though not
before exceedingly
testing times for both
players. Duration c.
25mins.
2 Clarinets (Clarinet) SKU: HL.14018928 Composed by Leon Lester. Music Sa...(+)
2 Clarinets (Clarinet)
SKU: HL.14018928
Composed by Leon Lester.
Music Sales America.
Classical. Book
[Softcover]. Composed
2005. 32 pages. Chester
Music #CH55210. Published
by Chester Music
(HL.14018928).
8.25x11.75x0.227
inches.
These duets
selected from the works
of Viotti, Kalliwoda and
Pleyel, three great
composers of violin
music, lend themselves
admirably to the
clarinet. Transcribed by
Leon Lester. Suitable for
intermediate players.
Clarinet SKU: HL.14046089 Composed by Pedro Rubio. CARISCH - MUSIC SALES....(+)
Clarinet
SKU:
HL.14046089
Composed
by Pedro Rubio. CARISCH -
MUSIC SALES. Tuition.
General Merchandise. Real
Musical #MK19064.
Published by Real Musical
(HL.14046089).
ISBN
9788438712689.
Spanish.
The
Clarinet First Steps
collection is divided
into four volumes, aimed
at young clarinetists.
This second book consists
of three educational
parts. The following
sections appear
throughout the parts to
achieve the basic
objectives of the art of
Clarinet playing: Musical
Language: Explanation of
music contents in the
exercises, melodies and
duets. Technique And
Repertoire: Includes
technical contents, some
exercises to practice and
short melodic pieces
containing the new
concepts presented.
Activities: A fun section
where the student can
answer quiz questions,
review issues of musical
language or practice
breathing exercises.
Cultural Space: In this
section, there
arehistorical curiosities
about the Clarinet and
composers, a discussion
on the relationship
between Mozart and the
Clarinet and a review of
Antonio Romero, the most
important Spanish
clarinetist in the
century XIX. 15
Progressive Duos: Duos
designed with the same
level of difficulty in
both voices to play with
the teacher or another
student. CD: The book is
accompanied by a CD MP3
featuring recordings of
the exercises, melodies
with Piano accompaniment
and duets. The author of
this method, Pedro Rubio
, performs his musical
studies in Murcia, Malaga
and Barcelona, Spain. In
1997 he won the Clarinet
Performing Diploma from
the Royal College of
Music in London and in
2003 the Bass Clarinet
Diploma at the
Conservatory of
Rotterdam. He has taught
Clarinet since 1989.
By Johann Sebastian Bach (1685-1750). Arranged by J. Michael Leonard. For Clarin...(+)
By Johann Sebastian Bach
(1685-1750). Arranged by
J. Michael Leonard. For
Clarinet. Solos. Bill's
Music Shelf. Classic.
Intermediate. Book. 48
pages. Published by Mel
Bay Publications, Inc
Know Before You Blow - Jazz Modes for Clarinet with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Clarinet
with CD composed by Chris
Tedesco. For bb clarinet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
(Charles Neidich 21st Century Series for Clarinet). By Ernesto Cavallini. Edited...(+)
(Charles Neidich 21st
Century Series for
Clarinet). By Ernesto
Cavallini. Edited by
Charles Neidich. LKM
Music. Softcover with CD.
Hal Leonard #S131007.
Published by Lauren
Keiser Music Publishing
Clarinet - Beginning SKU: MB.93406 Composed by Louis Hittler. Saddle-stit...(+)
Clarinet - Beginning
SKU: MB.93406
Composed by Louis
Hittler. Saddle-stitched,
Method, Classical,
Children and Young
Beginner. All styles.
Book. 24 pages. Mel Bay
Publications, Inc #93406.
Published by Mel Bay
Publications, Inc
(MB.93406).
ISBN
9780871663719. UPC:
796279001915. 8.75 x
11.75 inches.
An
extremely simple,
big-note method ideal for
young children. This
beginners guide to the
clarinet is especially
useful for the trial or
rental period. Great
emphasis has been placed
on sound fundamentals and
other basic
techniques.