When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart's “Gran Partita,” which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner's Rheingold and Die Walküre and later premiered Strauss' tone poems Till Eulenspiegel and Don Quixote. So it was a great honour for the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality - in full score and instrumental parts - for which not just the first edition but also the autograph manuscript was scrutinised fastidiously.
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Dedicated to clarinetist, David Shifrin, who premiered the work on July 6, 2019, with Chamber Music Northwest. In three movements: I. Playing with friends (Jeux d'enfants); II. Arietta; III. Rondo all'ebraica
Instrumentation: Solo Clarinet: 1(d. Picc).1.0.1: 1.0.0.0: Perc(1): Str(1-1-1-1-1)
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Performance time - ca. 4:05
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Muhly composed this piece as a tribute to Philip Glass. For Flute (Soprano Recorder), Clarinet in B-flat, Percussion, Glockenspiel, Piano, Violin and Cello.
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Songs for Tony arranged for saxophone quartet. Includes score and parts. Duration 10 minutes. Composed 1993.
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Commissioned by the Apollo Chamber Players. The percussionist and the string players all sing in this work, and each of the string players also play a percussion instrument. Movements: I. Sharveh; II. Bandari
Instrumentation: Singing Percussionist (Singing Bowl, Damam, Darabuka, Daf, other drums) and Singing String Quartet (all strings also play percussion: Bongos, Darabuka, Shakers, Congas)
Score and Parts
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Instrumentation: 2 Clarinets, 2 Pianos, 2 Violins, Viola and Cello.
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(2006)
Ladder to the Moon is a musical tribute to the urban landscapes of American artist Georgia O'Keeffe, who lived and painted in Manhattan before moving to New Mexico. From 1925-30, O'Keeffe created over 20 paintings of newly constructed New York skyscrapers like the Radiator Building and the Shelton Hotel. In skyscrapers, O'Keeffe discovered a different reality, simultaneously realistic and abstract. Duration - ca. 20:00
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Named after an ancient city in Uzbekistan, mentioned in the memoirs of Marco Polo.
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For flute, clarinet, piano and vibraphone.
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| Price | $20.66 (Save: $2.29) |
For flute, oboe, clarinet, bassoon, two violins, viola, cello and double bass.
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Tower's Rain Waves, which musically explores the motion of a wave form, was written in 1997 as a commission by Michigan State University for the Verdehr Trio. A recording is available on compact disc: Verdehr Trio, The Making of a Medium, Vol. 13 Crystal Records CD 943.
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Already in his early youth, Mozart made his first forays into the genre of the string quartet, the supreme discipline in chamber music. The three three-movement works K. 136–138, which he designated “Divertimento”, are dated “Salisburgo 1772” in the autograph, but were presumably conceived earlier while on a concert tour under the Italian sun. They do not yet display the “erudite” four-partwriting that Joseph Haydn was perfecting at the same time, but instead strike a cheerful, playful serenade tone with mostly song-like upper voice and accompanying lower voices.
The fact that Mozart designated the lowest voice not as “Violoncello” but as “Basso” and also used the plural “Viole” for the viola part suggests that he certainly had in mind more than one instrument on a part here. In this form for small string orchestra, the three so-called “Salzburg Divertimenti” are still perennial evergreens today. Edited by Mozart expert Wolf-Dieter Seiffert, this practice-oriented chamber orchestra edition offers a verified musical text on the basis of the autograph sources. – An edition for string quartet is also available.
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The SACRED SERVICE was written for the rededication of the temple at Congregation Beth Israel in Portland, where David Schiff's wife served as cantor. It was commissioned by the family of Arlene Schnitzer, whose name is on the concert hall where the Oregon Symphony performs. The work premiered on Friday evening, December 2, 1983, with then Senator Robert Packwood speaking. It was also the third night of Chanukah, so the service included liturgy for both the sabbath and the holiday. Schiff chose not to write a symphonic work like the Bloch SACRED SERVICE, but rather composed music for congregational use. While the entire service could be performed as a concert work, it is more in the spirit of the work to see it as a collection of prayer settings which could be used in different services. Scored for cantor, choir, organ, flute, clarinet, trumpet and string quartet, most of the movements could be performed just with an organ or piano accompaniment. SACRED SERVICE's vocal score can be purchased, and performance of any of songs are encouraged in service or concert in any number and any order. The work is also available for rental if that is preferred by nsembles.
Instrumentation: Cantor: SATB Choir: Organ (or Piano): opt. Chamber Ensemble (Flute, Clarinet, Trumpet, String Quartet)
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An abundant collection of grade 1-2 ensembles that can be played by any combination of 3 or more flutes, clarinets, oboes, saxophones, trumpets or violins. Includes traditional songs and rounds, as well as beginning level arrangements of songs by Bach, Schubert, Stephen Foster, Lehar, Weber, Mendelssohn and many more.
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This book provides piano accompaniments for the series of instrumental folios featuring 32 fun-to-play familiar melodies for the beginning instrumentalist. Titles include: Abide with Me, Now Thank We All Our God, Swing Low Sweet Chariot, Onward Christian Soldiers and many more.
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HPS 1137
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A contemporary reflection on 16th century French wind music, this Consort starts with a lively dance movement, then continues to a heartfelt Aubade and a capricious Sautureau. Scored for pairs of flutes, oboes, clarinets, horns and bassoons. (duration – 10:40)
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Immersed in sacred choral music from an early age, Kerensa Briggs has a deep appreciation of the connection between music and faith as well as an innate understanding of composing for voices. The writing of her Requiem, which was first performed by the BBC Singers on Armistice Day 2022, was a personal journey that took over a year. The result was a heartfelt and beautiful setting of nine sections from the Office for the Dead, plus words from Revelation 14:13 (“I heard a voice from heaven”) at the heart of the musical journey.
The work is founded on Gregorian chant and influenced by Requiem composers over the centuries, not least Maurice Duruflé. With minimal divisi (aside from some double-choir sections in the latter half of the work) and an unobtrusive but supportive organ accompaniment, Kerensa Briggss Requiem is brimming with her own exceptional musical voice and is a notable and captivating addition to the modern sacred choral repertoire.
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Violin, viola, violoncello, double bass, clarinet, horn and bassoon.
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Partch's title And on the Seventh Day Petals Fell in Petaluma pays homage to his native California. The composer spent 4 decades in the Bay of San Francisco, with 2 6-year breaks, always searching for new sound experiments. The 23 duet studies can be combined into larger-scale chamber music works and are also suitable as concert pieces - full of original polyrhythmics, polymetry and polytonality.
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Clarinet, French horn, bassoon, 2 violins, viola, cello and double-bass.
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For flute, oboe, trumpet and strings (piano reduction).
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For flute, 2 oboes, 2 clarinets (B flat), 2 bassoons, double bassoon or bass tuba, 4 horns (E flat major/B flat) with additional parts for horns in F.
When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart's “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, butrather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner's Rheingold and Die Walküre and later premiered Strauss' tone poems Till Eulenspiegel and Don Quixote. So it was a great honour for the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality - in full score and instrumental parts - for which not just the first edition but also the autograph manuscript was scrutinised fastidiously.
Set of Parts.
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| Price | $32.36 (Save: $3.59) |
