Par SPARKE PHILIP. This work was commissioned for The Berkshire Young Musicians Trust (England), who required a testing piece for the woodwind section of their concert band. The piece opens with a strong unison passage based on the interval of a fifth and develops with a passionate legato. This is followed by the main vivo section of the work based on the earlier 'fifth' figures. A bridge passage leads to a short chorale figure and a rhythmic climax which dissolves into a plaintive solo for oboe over staccato clarinets. Following a recapitulation of the main theme the oboe returns triumphantly before the opening unison passage reappears to provide a stirring coda. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

10 Stücke Für Oboe (Auch Oboe D'Amore und Englisch Horn) und Harfe. This collection contains musical birthday greetings to composers and instrumentalists who are close friends of Heinz Holliger. The very different pieces were created over a period of 15 years for the duo Ursula and Heinz Holliger. Among the recipients of these birthday compositions were Elliott Carter, Pierre Boulez, Robert Suter, György Kurtág, Emile Cassagnaud, and Maria Teresa Cerocchi, among others. / Niveau : Avancé / Répertoire / Hautbois et Harpe

Par TELEMANN / POULTEAU. for recorder (or flute, or oboe, or violin), oboe (or flute, or violin) and bass continuo/ Répertoire / Flûte à Bec, Hautbois et Basse Continue

Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano

Flauto, Oboe, Clarinetto, Fagotto, Corno. Par SCIARRINO SALVATORE. Flauto, Oboe, Clarinetto, Fagotto, Corno / Musique contemporaine / Date parution : 1905-06-01/ Répertoire / Quintette

This lively arrangement for Concert Band by Bruno Hartmann includes all the parts and a Piano reduction. This is a pre-WW1 arrangement for the following instrumentation:Piccolo in CFlute in CClarinet 1 in Bb x 2Clarinet 2 in Bb x 2Clarinet 3 in Bb x 2Clarinet in EbOboe 1Oboe 2Bassoon 1Bassoon 2Cornet 1 in Bb x 2Cornet 2 in Bb x 2Tenor Horn 1 in Bb x 2Tenor Horn 2&3 in BbHorn 1 & 2 in EbHorn 3 & 4 in EbTrumpet 1 in Bb x 2Trumpet 2 in BbTrumpet 3 in EbTrumpet 4 inEbEuphoniumTrombones 1 & 2Bass tromboneBasso 1 x 2Basso 2 x 2Drums TriangleSmall drums GlockenspielSoprano SaxAlto Sax 1Alto Sax 2Tenor SaxBaritone SaxTreble clef baritone/euphoniumTreble clef trombone 1 & 2 x 2Treble clef Bass trombone 3Treble clef Bass in EbTreble clef bass in BbFlöte in desPiston in EbTrumpet 3Bass trumpet

a 6 et a 8. Par MOZART WOLFGANG AMADEUS. The Serenade in E-flat, K. 375, exists in two versions, one for two clarinets, two horns and two bassoons, and another for the same forces plus two oboes, forming an octet. From Mozart himself we know a fair amount about the occasion that led to the first, six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl, it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October, the name-day of St. Theresa. The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextetwith the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics, he also altered the work's melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre, thereby enabling him, for example, to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave. - Urtext of the New Mozart Edition - Parts sextet version (BA5333), octet version (BA5334) and study score both versions format 22. 5 x 16. 5cm (TP315) available for sale/ Répertoire / Partition de Poche

Par SPARKE PHILIP. To A New Dawn was commissioned by the United States Continental Army Band - Captain Timothy J. Holtan, Commander and Conductor. The brief was for a piece to celebrate the 3rd Millennium and it was the composer’s aim to provide a work which, as well as looking forward to the challenges of the new century, also contained moments of reflection about the last one. After a bright introduction featuring the trumpets a perky theme, passing quickly through several keys, appears on the woodwinds. A solo trumpet takes up a new theme over bubbling quavers (eighth notes) and this leads to a rhythmic figure on low clarinets, followed by the upper woodwinds. A brass interlude follows and, after ashort bridge passage, an oboe takes up a contrasting legato tune that builds to a climax. An andante section follows with solos for horn and flugel horn (or trumpet) and a florid flute cadenza. A passionate climax leads back to the faster music and, eventually, to a full recapitulation, revisiting the earlier material before a lively coda close the work as it began. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

For Miles was commissioned by the Composers’ Ensemble with funds from the London Arts Board. It was first performed on 29th June 1994 by the Composers’ Ensemble at St.John’s Smith Square London. Scored for solo Trumpet Oboe/english horn 2 Clarinets Viola Cello Bass (with C extension). Duration: 11 minutes. Parts available on hire.

For Flute Oboe Clarinet Banjo Horn Trumpet 2 Trombone Piano 2 Violin Vla Cello Double BassFirst performance: Tokyo 1984 Ryoichi Kawai (cond) Musica Practica Ensemble.

Oboe, Clarinet and Bassoon. Par MENDELSSOHN-BARTHOLDY FELIX. / Répertoire / Trio de Vents

Par VAN DER ROOST JAN. In this colourful composition, Jan van der Roost recreates the energetic and multi-racial city life in Manhattan, using four contrasting movements. The opening movement is rather short and rhytmical. In the second “Picture”, a variety of musical entities accumulate into a coloured “sound curtain”, on top of which the brass section presents a broad theme. In contrast to the two previous movements, the third movement is exremely quiet, featuring the first flute, clarinet an oboe in broad melodies. Again, the orchestration plays an essential role. Following on a majestic “tutti” (almost “movie-like. . . . ) the serenity of the very beginning reappears. Finally, the nervousness anddynamic style of the two first movements come back in an exciting apotheosis with rich and sometimes surprising instrumentation which explores the multiple possibilities of the large symphonic wind band to the full. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band

A delightful tone poem composed as an oboe solo with wind orchestra accompaniment and dedicated to Susan Hicks Brashier. Later versions for solo clarinet and flute and orchestra accompaniments followed. Each solo instrument withpiano accompaniment is also available for recitals and contest. Grade 3.

Oboe and String Ensemble. Par BACH JOHANN SEBASTIAN. / Répertoire / Hautbois et Trio à Cordes