SKU: FH.WC5
ISBN 978-1-55440-581-7.
This new series offers a sequenced approach to the study of clarinet from the beginner to advanced levels. With a progressive collection of Repertoire, Etudes, Recordings, Orchestral Excerpts, and Technique, the Clarinet Series, 2014 Edition provides complete support for teachers and students at every level of study. Nine progressive volumes of Repertoire expose students to a wealth of music from the earliest works for clarinet to accompanied and unaccompanied contemporary compositions. Students will explore some of the most definitive solo pieces written for clarinet, along with popular folk tunes, Klezmer melodies, Classical solos, and contemporary compositions that incorporate traditional and extended techniques.Technical Repertoire:Concerto in B flat Major: Third Movement - Johann Stamitz, arr. Helmut MayCantilene, op. 64 - Paul-Agricole GeninClarinet on the Town - Ralph HermannClarinet Concerto No. 3: First Movement - Johann Melchior Molter, arr. Pamela WestonSonate: Second Movement - Paul HindemithSummer Fancy - William O. SmithLyrical Repertoire:Sonata, op. 120, no. 1: Fourth Movement - Johannes BrahmsTableau, from Le Cid - Jules MassenetFantasy Pieces, op. 43: First Movement - Niels W. GadeFantasy Pieces, op. 43: Second Movement - Niels W. GadeFantasiestuecke, op. 73, no. 1 - Robert SchumannConcerto No. 2 in F Minor, op. 5: Second Movement - Bernhard Crusell, arr. Pamela WestonClarinet Quintet in E flat Major, op. 23: Second Movement - Heinrich Baermann, arr. Arthur H. ChristmannConcerto No. 1 in C Minor, op. 26: Second Movement - Louis Spohr, arr. Arthur H. Christmann.
SKU: FH.VC4
ISBN 978-1-55440-540-4.
This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.Concertos, Sonatas, and Suites:Sonata in D Major - Caldara, Antonio arr. Gyoergy Orban- First Movement: Adagio- Second Movement: AllegroSonatina in D Minor, WoO 43a - Beethoven, Ludwig vanSonatina in G Minor - Matz, Rudolf- Second MovementSonata in F Major, op. 1, no. 1 - Marcello, Benedetto- Third Movement: Largo- Fourth Movement: AllegroConcertino No. 3 in A Major - Breval, Jean-Baptiste arr. L.-R. FeuillardConcert Repertoire:The Easy Winners - Joplin, Scott arr. Forrest KinneyOrientale, op. 50, no. 9 - Cui, CesarBonjour tristesse - Hart, PaulHip Hip Bourree - Jacobson, JulianElfentanz - Jenkinson, Ezra arr. Carey CheneyChanson de matin, op. 15, no. 2 - Elgar, EdwardCello Sonata in G Minor, op. 65 - Chopin, Frederic- Third Movement: LargoThe Swan Sees his Reflection - Forsyth, MalcolmSpanish Dance - Adorian, AndrewBaby Blackbird, Fly Now - Silverman, Adam B.Unaccompanied Repertoire:Suite for Violoncello (Lights and Shadows) - Matz, Rudolf- Second Movement: Cantabile- Eighth Movement: Finale giocosoRicercar No. 1 - Gabrielli, DomenicoSuite NO. 1 in G Major, BWV 1007 - Bach, Johann Sebastian- Seventh Movement: Gigue.
SKU: PR.11641963S
UPC: 680160684472.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.
SKU: PR.11641963SP
UPC: 680160684496.
SKU: PR.11641963L
UPC: 680160684489.
SKU: TL.TCL015976
ISBN 9780857365507.
Sele cted pieces for Trinity College London clarinet exams for 2017-2020, expertly graded and edited by leading music educators. This item contains both the full score and clarinet part.
SKU: TL.TCL016225
ISBN 9780857365750.
SKU: TL.TCL016065
ISBN 9780857365590.
Sele cted pieces for Trinity College London clarinet exams for 2017-2020, expertly graded and edited by leading music educators. This item contains the clarinet part only.
SKU: HL.14003062
ISBN 9788759870075. 12.0x16.5x0.7 inches. Danish.
Per Norgard BACH TO THE FUTUREFor many years I have been specially fascinated by three of the preludes of Bach's Well-tempered Piano, and I wish with this concerto-version for percussion-duo and orchestra to highlight some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history, that makes it possible to let certain germs in an earlier period unfold into new, but not heterogenious, dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several years collaboration with Uffe Savery and Morten Friis (Safri-Duo), as well in original compositions - (Resonances, Repercussion, Resume in EchoZone I-III) as in arrangements of the 3 Bach preludes, preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code, allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a 'palimpsest' containing as well the old as the new musical tale simultaneously. Later in the movement, this singleline is multiplied by the, till then discrete, but permanently pervading, proportion - throughout the piece - very close to the 'Golden Section'(= 3:5:8.t.i:8 before repetition, 5 before starting anew from the deepest tone, 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages, but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic pattern = 6:4:3:2:3:4:6 - as an hourglass-shaped timeshape - inspired me by the closeness of this pattern to a shape within the infinity-drumming of my invention, called Wide-Fan and Narrow-Fan , referring to pattern consisting of 8:4:2:1:2:4:8, the familiarity with the above - quoted one being obvious. New and old elaborations of this pattern-pair permeates the movement, especially since the Safri-Duo by their performance of my Repercussion had augmented my appetite for including this idiom in a wider context:III Movement: Without the existence of the d-minor-prelude I doubt that I would have dared to write a work like this, since it is the inexhaustible, rare quality and pecularity of this piece, which has stimulated my feeling of wonder and 'modernity' (or: eternity!) of this piece, of which I know of no equal in its special respect: the perpetual ambiguity of melodic foothold in the rhythmic ostinato of a broken descending triad, co.
SKU: CA.3115612
ISBN 9790007208783. Text language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.
SKU: CA.3115605
ISBN 9790007186791. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score available separately - see item CA.3115600.
SKU: CA.3115611
ISBN 9790007208776. Text language: German/English.
SKU: CA.3115614
ISBN 9790007208806. Text language: German/English.