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Clarinet Concerto ... Sounds of the Islands (2003) for clarinet solo and orchestra
Clarinet Concerto ... Sounds of the Islands (2003) for clarinet solo and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Clarinet Concerto ... Sounds o
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 102 p...
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Full Orchestra - Level 4 - SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 102 pages. Thomas Oboe Lee #29655. Published by Thomas Oboe Lee (A0.869365). Instrumentation: 2222-4321-2perc-pf-strings. When Andrea Bates, executive director of the Brockton Symphony Orchestra, first told me that the Brockton Symphony had commissioned me to write a new work to be premiered in 2003-2004, I immediately thought that since its music director, Jonathan Cohler, is a marvelous clarinetist I would be most attracted to the idea of writing a clarinet concerto for the occasion. Both Andrea and Jonathan were very receptive and enthusiastic about my idea. Andrea also told me that the commissioned work should somehow bring to attention the diverse cultures of the recent immigrants that have settled in the city of Brockton. So in the spring of 2003 I came down to Brockton for a meeting to which Andrea had invited representative members of these new communities. Three showed up: Maria Evora-Rosa, Rick Marrero and Fred Fontaine. Andrea had asked them to bring recordings of the music from their countries for me to listen to. There were CDs of very exciting and fun music from Cape Verde, Puerto Rico, Cuba, the Dominican Republic and Haiti. After spending months listening to the music from these countries, all of them islands in the Atlantic or the Caribbean, I slowly began to get a sense of the beauty and the magic of the musical style and language of each place, each individual island. The end result is a three-movement work for clarinet and orchestra. Unlike the traditional Concerto form which is Fast-Slow-Fast, this work begins with something slow. A fast number follows as a second movement; and then, after a short, slow interlude, another fast number appears. The first movement is my adaptation of the morna of Cape Verde – slow, melancholy and sad. The diva of the morna is Cesaria Evora. Her singing brings to mind a fusion between the African blues and the Portuguese fado. The second movement is my take on the merengue as performed by the inimitable Xavier Cugat. It is dance music through and through!!! The third movement is also a dance number: the ever-popular music from Haiti, the reggae. And in order to give some contrast between the two dance numbers, I added a slow chorale for clarinet and strings that serves as a prelude before the dancing begins in the final movement. I envision the chorale as a little church music before the people go out and dance the night away. Throughout the entire work, the solo clarinet is the principal voice … singing, dancing, and cavorting!!! Gotta dance!!! Have fun and enjoy the music!!! I surely did as I was working on it ….
$9.99 ≈
¥71.10
Concerto in Bb Major for Double Bass and Orchestra
Concerto in Bb Major for Double Bass and Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Robert E
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Concerto in Bb Major for Doubl
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R. E. Proctor
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102...
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Full Orchestra - Level 4 - SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102129. Published by R. E. Proctor (A0.809714). A concerto for Double Bass and orchestra in the traditional fast - slow – fast concerto format. While not overly challenging for the bass soloist, it does explore, to a degree, the upper reaches of the instrument as well as sounding the beautiful low range. The first movement is that might be called Neo – Classical, opening with an 8-measure solo in a Largo or slow tempo. The tempo then changes to Allegro (fast) for the balance of the movement. The movement ends as it began with the double bass playing alone. The second movement is a jazz waltz. In 9/8, it opens with the soloist playing pizzicato against a rhythmic cord progression. The bass and cello sections pick this up to provide a ground upon which the balance of the movement is played over. The second movement is in the relative minor of Bb which is G minor. A haunting melody is introduced by the bass and doubled by the strings. This melody is replayed by various instruments as the Bass Soloist plays variations on this theme. The harp and the bass solo end the movement. The third movement leans toward French Impressionism. This movement is Andantino; however, it is a spirited. Written in cut time, where the half note equals 92 beats per minute. The melody is introduced by the woodwinds with the harp accompanying. The strings and brass join in as the woodwinds repeat the melody. Finally, the bass solo takes charge of the melody using it as a theme and variation. The harp is used extensively in this concerto providing harmonic, melodic, and rhythmic support for the bass. Written in 2015, the concerto is a new work, however, it is not experimental music. It uses the standard orchestral instruments playing in the standard fashion. It is replete with modern harmonic sounds and chord progressions. As concerto's go, this one is not overly difficult providing the bassist with a starting point as a soloist. It does require the soloist to have some mastery over the instrument as the music traverses most of the instrument’s range. Performance time is approximately 13 minutes and 10 seconds.
$19.95 ≈
¥141.99
Kommos (Lamentation) / "When the World Moved On" - Extracted Parts
Kommos (Lamentation) / "When the World Moved On" - Extracted Parts
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1018959 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjamin Sajo #6078723...
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Full Orchestra - Level 4 - SKU: A0.1018959 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjamin Sajo #6078723. Published by Benjamin Sajo (A0.1018959). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.  The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.  Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer:  Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$31.50 ≈
¥224.20
Kommos (Lamentation) / "When the World Moved On" - Conductor's Score
Kommos (Lamentation) / "When the World Moved On" - Conductor's Score
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661...
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Full Orchestra - Level 4 - SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661. Published by Benjamin Sajo (A0.1018940). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00 ≈
¥142.35
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