PARTITIONS GRATUITES :
- Lincoln - Bb Clarinet 2

Intermediate. Composed by Keith Snell. Duet or Duo; Solo Small Ensembles; Woodwind - Clarinet Duet. Book. 32 pages. Belwin Music #00-EL03272. Published by Belwin Music

Recorded by the Lincoln Center Jazz Orchestra. Arranged by Wynton Marsalis. Jazz, Swing. Score and parts. Published by Jazz Lines Publications (JL.JLP-7420).

Opera 2 Bassoons (2nd doubling Contrabassoon), 2 Clarinets in B-flat (2nd doubling Bass Clarinet), 2 Flutes (2nd doubling Piccolo), 2 Horns in F, 2 Oboes (2nd doubling English Horn), 2 Trumpets in C, 3 Trombones, Percussion (5 players): Typewriter (vin, Timpani

SKU: PR.416413840

Opera in Two Acts. Composed by Lowell Liebermann. Spiral. World Premiere: Juilliard Opera Center; Andreas Delfs, cond.; The Juilliard Theater, Lincoln Center, New York City. Opera. Full score. With Standard notation. Composed 2005. Opus 93. 534 pages. Duration 2 minutes. Theodore Presser Company #416-41384. Published by Theodore Presser Company (PR.416413840).

UPC: 680160590919. 9 x 12 inches. Libretto by J.D. McClatchy.

The Masterworks Library. By Aaron Copland. (Full Score). Boosey and Hawkes Scores and Books. Book only. Size 9x12 inches. 217 pages. Published by Boosey and Hawkes.

Chamber Music Clarinet, Piano, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11440558S

Composed by Shulamit Ran. Score. With Standard notation. 45 pages. Duration 17 minutes. Theodore Presser Company #114-40558S. Published by Theodore Presser Company (PR.11440558S).

UPC: 680160008971.

Conce rto da Camera II is a work for six instruments which may be further grouped into three separate entities - clarinet, string quartet, piano. In this combination, chosen by the work's commissioning organizations (the Chamber Music Society of Lincoln Center in conjunction with Mount Holyoke College), lies the work's first challenge. While pairings of any two of these three sound types abound in the concert literature, the three together form a far less common soundscape. The main difficulty appears in the necessity to reconcile the potential of both the clarinet and the piano of acting in a soloistic capacity when pitted against the string quartet. Indeed, the three movements of the Concerto deal with this problem in various ways, with the balance of power between the six instruments' potential for unity and contrast, solo and ensemble playing, continually shifting and changing.   Yet another, more delicate, balance of power is at play here, namely, the relationship between the external, foreground level of the piece and a subtler background level. What, at first, appear like small, gentle melodic strands, mere echoes or residues of the main events, gradually assume an inner life of their own. Never actually taking over yet always there, a salient, if quiet, factor within the work's compositional fabric and evolving organism.   Though each movement includes numerous tempo fluctuations, the overall thrust of the work clearly suggests a fast-slow-fast framework, with the last movement being a loosely structured, occasionally tempestuous Rondo.

Chamber Music Clarinet, Piano, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.114405580

Composed by Shulamit Ran. Set of Score and Parts. With Standard notation. 45+12+10+11+10+10 pages. Duration 17 minutes. Theodore Presser Company #114-40558. Published by Theodore Presser Company (PR.114405580).

UPC: 680160008964.

Conce rto da Camera II is a work for six instruments which may be further grouped into three separate entities - clarinet, string quartet, piano. In this combination, chosen by the work's commissioning organizations (the Chamber Music Society of Lincoln Center in conjunction with Mount Holyoke College), lies the work's first challenge. While pairings of any two of these three sound types abound in the concert literature, the three together form a far less common soundscape. The main difficulty appears in the necessity to reconcile the potential of both the clarinet and the piano of acting in a soloistic capacity when pitted against the string quartet. Indeed, the three movements of the Concerto deal with this problem in various ways, with the balance of power between the six instruments' potential for unity and contrast, solo and ensemble playing, continually shifting and changing.   Yet another, more delicate, balance of power is at play here, namely, the relationship between the external, foreground level of the piece and a subtler background level. What, at first, appear like small, gentle melodic strands, mere echoes or residues of the main events, gradually assume an inner life of their own. Never actually taking over yet always there, a salient, if quiet, factor within the work's compositional fabric and evolving organism.   Though each movement includes numerous tempo fluctuations, the overall thrust of the work clearly suggests a fast-slow-fast framework, with the last movement being a loosely structured, occasionally tempestuous Rondo.