PARTITIONS GRATUITES :
- Cadenza IX for Solo Clarinet

Clarinet (Clarinet)

SKU: HL.48184479

Composed by André Bloch. Leduc. Classical. Softcover. 16 pages. Alphonse Leduc #AL27509. Published by Alphonse Leduc (HL.48184479).

UPC: 888680834555. 9.0x12.0x0.089 inches.

“Comp osed for the Paris Conservatoire contest in 1938, Denneriana is a piece for Clarinet with Piano accompaniment, by André Bloch. Its title is a reference to the creator of the Clarinet Johann Christoph Denner. Ideal to demonstrate the skills of advanced players, this piece is highly lyrical and really enjoyable for both the players and the audience. It starts with a grandiose introduction, perfect for this work. It also includes a Clarinet Solo cadenza half-way through the piece and finishes in a highly harmonious way. This piece requires numerous skills and good knowledge of the instrument. André Bloch (1873-1960) was a French musician, composer and professor. He won the Grand Prix de Rome for his piece named Cantata. Amongst his most famous students were Jehan Alain and Fernand Oubradous.”.

Divertimento is an outstanding composition by Roger Boutry for Alto Saxophone and Harmony Orchestra. This great work is really nice to play and will enlighten the audience. The Orchestra composition required is: 2 Flutes, 2 Oboes, 2 Bassoons, 2 small Clarinets, Clarinet I, Clarinet II, 1 Bass Clarinet, 2 Alto Saxophones, 2 Tenor Saxophones, 1 Baritone Saxophone, 4 Horns, 4 Bb or C Trumpets, 4 Trombone or 3 Trombone and an Euphonium, 1 Bb or C Bass, 1 Double Bass, 1 Harp, Timpani, Drum and a Celesta. It is divided into three parts: I. ?Allegro ma non troppo?, is strongly rhythmic and syncopated. It includes a Cadenza by the Solo Saxophone and is written as a tribute to Jazz music. II. ?Andante?, also includes a Cadenza by the Solo Saxophone but at the end of the section. It is reminiscent of slower blues ballads. III. This part features few sections by the Solo Saxophone but is specially highlighted its ending, in a bright and fast finale. This volume features the score and parts for all the instruments. Born in France in 1932, Roger Boutry received numerous prizes, including those for Piano, Composition and Conducting. He received the Grand Prix de Rome in 1954. His career was quite successful, alternating between Harmony professor, composer and conductor. He also received numerous prizes for his incredible compositions.

Scores Orchestra

SKU: PR.416416250

Composed by Adolphus Hailstork. This edition: Study Score. Contemporary. Full score. With Standard notation. Composed 1996. 72 pages. Duration 21 minutes. Theodore Presser Company #416-41625. Published by Theodore Presser Company (PR.416416250).

UPC: 680160643271. 9 x 12 inches.

The Sonata for Trumpet and Piano was written in 1996 for the husband and wife team of Rodney Mack, trumpet and Karen Walwyn, piano. To encourage more performances, I transcribed it for trumpet with string quartet, and trumpet with string orchestra. Then I substituted a clarinet part for the trumpet part in all three versions. The first movement is in sonata form. The thematic material and the rhythms are influenced by blues and jazz. The snappy beginnins is followed by a muted theme two. The development begins with repeated dark chords in the piano, and gradualy builds up to a climax before theme one returns. A descending series of arpeggios in the trumpet bring the movement to a bitonal ending. The second movement begins with a quiet figuration in the piano, which repeats freely, under short statements in the trumpet. These mournful fragments are notated to allow the soloist to vary the number of times they are repeated. Gradually the piece unfolds in a through-composed song. The middle section begins with clusters in the piano and builds to a climax with the introduction of sixteenth notes. The tranquility of the opening returns, and brings the movement to a quiet close. The third movment is in sonata form. Theme one is a high energy idea based on asymmetrical meters (ex. seven-eight, and eleven-eight), and a couple of motives from Puccini operas. Theme two is a slower treatment of the piano idea that opened the movement. The development tosses all the material around vigorously. After a short, quiet return of theme two, the coda begins. This includes a cadenza, and a final dash to the end.

Composed by David Gillingham. Arranged by Dennis Wright. Score only. Duration 9:30. Published by C. Alan Publications (CN.06191).

Violin and orchestra

SKU: BO.B.3340

Composed by Jordi Cervello. Instrumental Sets. Duration 29:00. Published by Editorial de Musica Boileau (BO.B.3340).

ISBN 9788480207591.

Engl ish comments:
My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The author

Comentari os del Espanol:
A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.

Score and Parts flute (also Piccolo), oboe, clarinet in Bb, horn, bassoon and piano - advanced

SKU: HL.49045997

For Woodwind Quintet and Piano Score and Parts. Composed by Pierre Jalbert. Sheet music. Edition Schott. Softcover. Composed 2018. 92 pages. Duration 21'. Schott Music #ED30173. Published by Schott Music (HL.49045997).

ISBN 9781540033918. UPC: 888680787004. 9.5x12.0x0.681 inches.

Wind Dances is in seven short contrasting movements, each containing dance-like rhythms, both slow and fast. Having two sons who both play the clarinet, I've heard many a woodwind quintet, so I've been wanting to write for the medium for quite a while. In this instance, I also added my own instrument, the piano.The work opens with a fast movement containing driving rhythms in the winds, which are then answered by the piano. The second movement features colorful effects in the winds and piano (slap tongue, air sounds, muted tones) leading to a long extended lyrical line, gradually orchestrated to involve all the winds. The third movement is a dynamic scherzo, with a separate middle section similar to a traditional Trio section. The slowly unfolding fourth movement is the longest of the piece and anchors the middle of the work. The fifth movement is a kind of echo of the third movement, though this time the dynamic scherzo is high and light, rather than low and dark. The sixth movement is related to the second movement, and is basically a solo cadenza for the clarinet, with a few accompanimental gestures in the piano. The seventh and final movement reprises material from the first movement, this time with new and driving dance-like gestures added.- Pierre Jalbert.