| Wind Quintet Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor [Conducteur et Parties séparées] Rosewood Publications
Composed by Ewald Strasser. Fun to perform. Interesting parts for all players. F...(+)
Composed by Ewald
Strasser. Fun to perform.
Interesting parts for all
players. First Edition.
20th Century. Score and
parts. Published by
Rosewood Publications
(RW.RP-04).
$24.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Wind Quintet Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Rosewood Publications
By J. M. Weber. Winds. For flute, oboe, clarinet, horn and bassoon (wind quintet...(+)
By J. M. Weber. Winds.
For flute, oboe,
clarinet, horn and
bassoon (wind quintet).
Filled with Czech
melodies. First Edition..
20th Century. Score and
parts. Published by
Rosewood Publications
$24.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Music for Three, Volume 8, Part 1 - Clarinet [Partie séparée] Last Resort Music Publishing
Mixed Trios. By Various. Arranged by Daniel Kelley. For Clarinet in Bb. Trios. M...(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Clarinet in
Bb. Trios. Music for
Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 1. Published by Last
Resort Music Publishing.
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music for Four, Volume 2, Part 3 - French Horn/English Horn [Partie séparée] Last Resort Music Publishing
(Baroque, Classical and Romantic Favorites, Wedding Music). By Various. Arranged...(+)
(Baroque, Classical and
Romantic Favorites,
Wedding Music). By
Various. Arranged by
Daniel Kelley. String
quartet, woodwind
quartet, piano quintet,
mixed quartet, clarinet
quartet. For French Horn
or English Horn.
Quartets. Music for Four
series. Baroque /
Classical.
Intermediate/Advanced.
Partbook - part 3.
Published by Last Resort
Music Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Quintet de la Sala de Llevant Editorial de Musica Boileau
Clarinete Sib y Cuarteto de Cuerda (Bb Clarinet and String Quartet) SKU: BO.B...(+)
Clarinete Sib y Cuarteto
de Cuerda (Bb Clarinet
and String Quartet)
SKU: BO.B.3429
Composed by Xavier
Benguerel. Woodwind.
Duration 20:00. Published
by Editorial de Musica
Boileau (BO.B.3429).
English
comments: In 2003, I
wrote Introspeccion for
solo clarinet and,
although I had already
used the clarinet many
years ago (in 1963 with a
Duo for clarinet and
piano), I felt the need
to return to that
instrument again:
malleable, dynamic, with
a considerable tessitura
and an expressive and
effective timbre both in
pianissimo and
fortissimo. Apart from
the Piano concerto I
wrote in 2003, over the
last four years I have
preferred to work with
chamber music. In 2005 I
used the clarinet again,
this time alongside the
classic string quartet, a
combination that has
always caught my
attention. So this is how
the Quinteto de la Sala
de Llevant arose, as a
work designed in a single
tempo that I think
follows along the same
lines marked by my
compositions in recent
years, in the sense that
all superfluous elements
are removed to leave a
strict musical discourse
that I hope can be
considered markedly
expressive. The
Quinteto de la Sala de
Llevant was first
performed on 29 June 2005
at the Sala de Llevant in
the Library of Catalonia,
when I loaned my musical
archives to this
institution. It was
played by Josep Fuster
(to whom the work is
dedicated) on the
clarinet and the Glinka
Quartet (Ala Voronkova,
Guerassim Voronkov,
violins, Bernat Bofarull,
viola, Nabi
Cabestany). --The
author Comentarios
del Espanol: En el ano
2003, escribo
Introspeccion para
clarinete solo y, si bien
ya habia usado el
clarinete hace muchos
anos (en 1963 con un Duo
para clarinete y piano)
senti la necesidad de
volver al mismo
instrumento: ductil,
agil, de una tesitura
considerable y de un
timbre expresivo y eficaz
tanto en el pianissimo
como en el
fortisimo. Exceptua
ndo el Concierto para
piano del 2003, en estos
ultimos cuatro anos he
trabajado preferentemente
la musica de camara. En
el 2005 vuelvo a usar el
clarinete, ahora junto al
clasico cuarteto de
cuerda, conjuncion que
siempre me habia llamado
la atencion. Nace, pues,
el Quinteto de la Sala de
Llevant, obra concebida
en un solo tiempo y que
creo que continua con la
linea marcada por el
autor durante estos
ultimos anos, en el
sentido de eliminar todo
elemento superfluo para
seguir un discurso
musical riguroso y que
querria marcadamente
expresivo. El
estreno del Quinteto de
la Sala de Llevant tuvo
lugar el 29 de junio del
2005 en la Sala de
Llevant de la Biblioteca
de Catalunya, en ocasion
de la cesion de mi
archivo musical a esta
misma institucion. Josep
Fuster (a quien la obra
esta dedicada),
clarinete, y el Cuarteto
Glinka (Ala Voronkova,
Guerassim Voronkov,
violines, Bernat
Bofarull, viola, Nabi
Cabestany) fueron sus
interpretes. --El
autor $56.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Wind Won't Listen Theodore Presser Co.
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Compose...(+)
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. $41.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 14 Concert Duets Basset Hound Music
2 tubas SKU: P2.PZA90187 Composed by Various. Edited by Zach Collins. Arr...(+)
2 tubas SKU:
P2.PZA90187 Composed
by Various. Edited by
Zach Collins. Arranged by
Jim Self. 2 tubas (or 2
bass trombones) or
tuba/bass trombone with
downloadable backing
track. Score and
downloadable audio.
Published by Basset Hound
Music (P2.PZA90187).
Concert Duets
is a collection of 14
arrangements of works by
prominent 18th-century
composers, mostly taken
from Trio Sonatas. Duet
11 is a Jim Self original
work in the Rococo style;
and Duets 12, 13 and 14
are arrangements of the
three-movements of the
Bach Concerto for Two
Violins. Included with
this edition are
play-along recorded
tracks by tubist Zach
Collins, who also served
as editor of the current
edition.
I created
these duets as Christmas
gifts for my tuba playing
friends, with the first
duet being arranged in
1976. All 14 of the duets
are challenging and fun
to play and are
especially effective as
concert pieces.
As
a young musician I had
the privilege of playing
duets with many of the
world’s finest
tubists including Harvey
Phillips, John Fletcher,
Bob Pallansch, Chester,
Schmitz, Dan Perantoni,
Toby Hanks, Ron Bishop,
Winston Morris and Tommy
Johnson. I learned more
about playing music in
these duo sessions than
from any other musical
activity I have ever
experienced. Duets are
powerful teaching tools
for learning and
mastering rhythm,
phrasing and intonation
and for developing
overall
musicianship.
Jim
Self:
Self (b.
1943) is a Los Angeles
free-lance musician, a
veteran of thousands of
Hollywood motion
pictures, television
shows and records, and
tuba soloist on many
prominent movies. His
tuba was the “Voice
of the Mothershipâ€
in Close Encounters of
the Third Kind. He is
Principal Tuba/Cimbasso
with the Pacific and
Pasadena Symphonies and
the Los Angeles Opera and
Hollywood Bowl
Orchestras. Formerly he
was in The U.S. Army Band
and tuba / euphonium
professor at the
University of Tennessee.
He holds a DMA from the
USC Thornton School of
Music where he is Adjunct
Professor of Tuba and
Chamber Music. His
compositions and
arrangements include
works for solo tuba,
brass quintet, other
brass, string and
woodwind chamber music,
wind band and orchestra.
Jim has produced many
solo jazz and classical
recordings. His music and
recordings are available
from Potenza Music and
www.jimself.com. Jim Self
is a Yamaha Performing
Artist.
Zach
Collins,
editor:
Zach
Collins is professor of
Tuba and Euphonium at
Indiana University of
Pennsylvania. In 2019, he
released his first solo
album, Chronicle. It was
recognized with the 2021
ITEA Roger Bobo Award for
Excellence in Recording
for the best Solo Tuba
Album.
His
interpretation of William
Kraft’s Encounters
II for Solo Tuba was
released on Cambria
Master Recordings. Zach
performs with Eastern
Standard, a horn, tuba,
piano trio he formed with
Heidi Lucas and Jacob
Ertl. The ensemble has
released two commercial
albums, Eastern Standard
and
Wanderlust.
Zach
regularly performs with
the Keystone Chamber
Winds, Altoona Symphony
Orchestra, and West
Virginia Symphony
Orchestras. His
compositions and
arrangements for brass
and for tuba and
euphonium can be
purchased from Cimarron
Music and Eighth Note
Publications. Zach earned
degrees from Texas
Christian University and
the University of
Southern California. His
primary teachers have
been Richard Murrow, Jim
Self, Tommy Johnson, and
Norm Pearson. Zach
Collins is a Miraphone
artist. $40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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