A very readable foreword and extensive Critical Commentary with all necessary information enrich this Urtext edition by master Munich flautist and Mozart expert Henrik Wiese. One may learn there, for instance, that there are some peculiarities in the transmission history of Mozart's four flute quartets: one quartet (C major, Anh. 171 [K. 285b]) is in all likelihood falsely attributed and thus not by Mozart at all, another (G major, K. 285a) survives in only two movements, and peculiarly at that, raising at least some doubts about the established version, and a third flute quartet, though doubtless by Mozart, remains completely misdated in the Köchel catalogue (that in A major, K. 298, composed in 1786 not 1778). Only the first flute quartet, in D major (K. 285), can be dated clearly, to Mozart's stay in Mannheim in 1777. There he had fallen hopelessly in love with Aloysia Weber, the elder sister of Constanze who years later would become his wife. This masterful edition is worth acquiring for this work alone.
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12 minute work for flute (doubling piccolo), clarinet in B-flat (doubling bass clarinet), violin (doubling viola), violoncello, and piano. Inspired by the Commedia dell'arte character Pierrot and Schoenberg's Pierrot Lunaire.
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Tissues is a set of pieces from the larger work Naqoyqatsi (2002), written for the film of the same name. This book contains numbers 1, 2, 5, 6 and 7. For Cello, Harp, Organ, Celesta and Percussion.
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DeHaske Music Box Series for variable wind quartet (woodwinds or brass) – Grade 3
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HPS 1187
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Lounge Lizards (1994) was commissioned by the Minnesota Orchestra Association. This tour de force for two pianos and two percussion is a musical recollection of Daugherty's student years when he supported studies in music composition with György Ligeti by playing jazz piano in lounges, bars and nightclubs across America and Europe. Pulsating, syncopated piano and xylophone riffs are punctuatedby pulsating triangles, sizzling cymbals and beatnick bongos. As the music accelerates, it becomes increasingly polytonal and polyrhythmic.
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For clarinet and string trio.
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Violin, viola, double bass and horns.
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This volume enriches the wind quintet repertoire with a masterpiece of the most refined chamber music literature, composed in a valuable historical period which did not give birth to novel pieces of relevant importance for this kind of ensemble. The present version, which generates from the study and expertise of a musician who devoted more than twenty years of his artistic career to the wind quintet, yearns to be a meta-arrangement. Indeed, the musical material is expressed in a language so profound and so universal that it can be played by instruments different from the original ones without losing any of its significance.
Flute, Oboe (or English Horn), Clarinet, Horn in F, and Bassoon.
Score and Parts.
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Second movement from “Calligraphies (Nos. 1-3)”. Also available for string quartet or cello quartet.
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Second movement from “Calligraphies (Nos. 1-3)”. Also available for string quartet or cello quartet.
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Miniature Quartet No.2 In D Minor. Score only. Parts also available for sale (NOV120190).
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For oboe, violin, viola and cello. Score.
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Favorite spirituals and gospel songs, all set in styles ranging from old-time swing, to blues, to bossa, to a romantic “movie theme” to quasi new age stylings. This recording features solo piano with rhythm section. Songs include: Amazing Grace • Every Time I Feel the Spirit • Just a Closer Walk with Thee • Old Time Religion/Swing Low, Sweet Chariot • and more. Instrumentation - syn, gtr, b, d, perc.
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Groove Quartets not only provides enjoyment for you, but it also provides playing fun with other wind players. You can form a fantastic, swinging flute quartet with three flute colleagues. Or you may choose to use a Groove Quartet book to form a combination and play together with other instruments such as the trumpet. On the CD, you are accompanied by a super tight combo, which makes it impossible not to play in a swinging style. Each piece is recorded on the CD six times by Allen Vizzutti. The first time you'll hear the combo and the four parts as a whole; then follow four versions in which respectively the first, second, third, and fourth parts have been left out; and finally, you'll hear a version with just the combo.
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Instrumention: Mezzo-Soprano, Violin, Piano and Double Bass. Score and Parts
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Ariel is scored for basset clarinet, violin, cello and piano, and is a response to the poem of the same name by Sylvia Plath. Simpson reacted to the poem musically, jotting down the ideas for instrumental combinations, as well as the emotional content as he read the words. The piece begins, ('Stasis in darkness...') and gradually wakens up to a furious outburst in all the instruments. Scales descend to the depths of the instruments ranges, out of which a slow, winding duet for basset clarinet and cello leads to the centre of the work – a slow, calm three-chord chorale. The work then comes to a stand-still where short outbursts are gradually transformed into new, faster material. The three-chord chorale motif then goes through a number of permutations until a recap of the opening's outburst is quickly side-lined by a boldly expressive return of the chorale motif. This piece is about extremes – extremes of expression, of instrumental textures and capabilities.
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For almost three years, Partch composed the short pieces that he summarized in the collection Seventeen Poems by Li Po. Each of themdepicts the setting of a poem by the Chinese poet Li Bai (Li Po, 701-762) in the 1922 translation of Shigeyoshi Obata. Partch wrote this song collection for the voice and its newly constructed Adapted Viola. In his score, Partch originally divided the songs into Eleven Poems by Li Po and Six Poems by Li Po.
2 Voice Parts, Adapted Viola and Chromelodeon
Facsimile Edition Score.
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The Sonata for clarinet, viola, horn and piano, op. 37 was composed in 1920 (at the latest). The violist Michael Balling, a friend of Johanna Senfter, wrote to the composer about the work, which he had looked through: “I have just studied your Trio [!] Sonata as a real Sunday treat and congratulate you warmly on the beautiful, warm tone you have achieved. [...] The tone colour is excellent to my taste, and can perhaps be exploited even more by adding the low notes of the clarinet in some places [...] and also the high notes of the horn, and the high register on the A-string of the viola can also come into its own in some places. Most importantly, however, it seems to me that you should make the piano part a little less thick [...]” and he concludes his remarks humorously with the request: “So be gracious and kind to the poor hammered dulcimer players and make it a little easier for them.”
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For bassoon, violin, viola and cello.
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For fltue, guitar, violoncello, and bongos.
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