Version of orchestral piece, 1987.
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For flute, oboe, clarinet, French horn and bassoon.
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Entertaining updated versions of five Baptist hymns. Optional choral part included.
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Commissioned by the Paderewski Fund for Composers.
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Traditional folk-ballad on the life of the desperado.
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Version of orchestral piece, 1987.
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From a rag circa 1913. Playing time 2.5 minutes.
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Quintet in three movements, written for the Stony Brook Contemporary Chamber Players, score and parts.
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Woodwind quintet in 3 movements, full score.
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The first?question is why transcribe a work such as Mozart's String Quartet KV 387, which is so perfectly rendered in the original, for another instrumental ensemble??The only answer for wind players is to have the opportunity to play and learn?from this great work directly. Mozart?loved the wind instruments, but wrote for them rather differently than for the?strings. Of course, it is much easier for the strings to produce a seamless,?blended sound. The winds, which all produce sound differently, will have to?work hard for this, particularly in the first and third movements of KV387. In?the second movement, with its strange sudden dynamic changes highlighting?individual voices, and in the fourth movement, with its brilliant contrapuntal?writing (a fourth movement of the Jupiter Symphony in miniature), the winds can contribute more color and individuality.
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Contents: Scrumpy Goles (Somerset) • Widecombe Jan (Devon) • Lazy Lawrence (Dorset) • The Looe Bar Lady (Cornwall). MORE»
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“Off to the Races!” is a set of three American songs adapted for woodwind quintet with the common theme of horse racing. The music was created to celebrate the composer's trip to Murray State University in Kentucky, a state famous for its races. The movements are based on Stephen Foster's “Camptown Races,” the British folksong “Stewball Was a Race Horse,” and “The Home Stretch,” which is based on two familiar American Songs.
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These two extraordinary works of late Mozart, KV 594 and KV 608, were both composed to fulfill a commission for a memorial exhibit in Vienna, to be played in a “mechanical clock organ.” The term “fantasy” or “fantasia” came to be affixed to these works later, and is more descriptive and less cumbersome than the term Mozart listed in his own catalogue, “Ein Stüke für ein Orgelwerk in ein Uhr.” They are also variously titled “Adagio und Allegro in f für ein Orgelwerk” and “Allegro und Andante (Fantasie in f) für eine Orgelwaltze.”
The first of these, composed between the monumental String Quintet in D and the Piano Concerto in Bb KV 595, is an A-B-A form, comprised of an f minor Adagio opening and closing, with a contrapuntal Allegro at its heart. KV 608 is more complicated, opening with an f minor section reminiscent of a French Overture, followed by a fugue in f minor, then an Andante aria, followed by a return to the opening and then a more complex version of the fugue.
Despite the frustration that Mozart expressed (in a letter to Constanze) with the sound world of these mechanical devices, KV 594 and 608 are remarkable works which stand at an intersection, incorporating what he learned about counterpoint studying at the foot of Bach, while looking ahead to the emotional and harmonic poignancy of Schubert.
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Arranged by William Purvis for the New York Woodwind Quintet, this collection contains 5 very playable settings of Renaissance master composers Gesualdo and Monteverdi for intermediate players. Contents: “Deh, come invan sospiro,” “Volan quasi farfalle,” “Moro, lasso,” “Ah dolente partita,” and “Cruda Amarilli.”
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Elite Edition 702 MORE»
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