12 Easy Trios for Clarinets-Les douze thèmes classiques connus rassemblés dans ce recueil ont été arrangés par Robert van Beringen afin de pouvoir être joués par un trio de même instrumentation. Simply Classics for Three est un outil pédagogique précieux grâce au caractère varié de son contenu. En outre ces pièces se prêtent très bien à une interprétation en concert !
SKU: HL.44011161
ISBN 9789043155533. UPC: 884088673604. 9.0x12.0x0.28 inches.
This varied selection features simplified arrangements of famous compositions through the ages, starting with a cheerful 16th century piece by Henry VIII.
SKU: HL.14001122
ISBN 9788759855669. Danish.
ACTIONS, INTERPOLATIONS AND ANALYSES, symphonies for bass-clarinet and large ensemble (1987-90), is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms, it involves taking two of Schaathun's own type of texture (composed by means of different techniques) and letting them rotate around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous frozen chords). In the course of the piece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed, creating a dramatic flow. On a more advanced level, the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is; What is size in music? Is it possible to take a small chord(i.e. narrow register, few instruments, simple tone colours) and then blow it up (wide register, many instruments, advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate, when Schaathun composed the piece, he himself travellig into the sound, as if were viewing a texture from a distance. He then recomposed the same situation and drew closer, and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However, like all concertos, the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that nothing would ever happen if it weren't for the initiative, the Action, of the individual.
