Named after an ancient city in Uzbekistan, mentioned in the memoirs of Marco Polo.
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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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It is hardly surprising that Beethoven did not write any more chamber music for winds after 1800. Following the change to middle-class musical culture, demand declined for buoyant serenades and divertimenti intended for court circles – a genre that Beethoven had reservations about as it was. Composed in 1795 with no known occasion in mind, his Sextet op. 81b is thus all the more remarkable, standing out on account of the unusual virtuosity of the horn parts. This Henle edition is the first to provide the bass part as originally intended by Beethoven: for violoncello supported by a double bass. In addition to the original horn parts in E flat, it also contains transposed parts in F.
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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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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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Songs for Tony arranged for saxophone quartet. Includes score and parts. Duration 10 minutes. Composed 1993.
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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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For flute, oboe, clarinet, bassoon, two violins, viola, cello and double bass.
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For flute, oboe, trumpet and strings (piano reduction).
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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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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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Duration: ca. 15 minutes.
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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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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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“Study score for Weir's orchestral work commissioned by Britten Pears Arts for the Aldeburgh Festival 2024 where Weir was Composer in Residence.
PLANET is a set of three short orchestral pieces inspired by views of our planet, and galaxy, photographed from outer space. These are:
(1)”The blue marble“/Apollo 17
(2)”The pale blue dot“/Voyager 1
(3) Cluster NGC 6355 /Hubble Space Telescope
Musically, the three movements are primarily studies in texture and harmony. (1) explores a wide, almost- static set of chords (2) adark, thin atmosphere, briefly illuminated towards the end by shafts of sound (3) a dense collision of instrumental groups, eventually forming a rich harmonic mass. It may seem strange to have explored such a huge, cosmic subject by means of a smallish Mozart-sized orchestra. My inspiration here was a visit to the ingenious Eise Eisinga Planetarium at Franeker in the Netherlands (completed in 1781, and now a UNESCO World Heritage Site.) Built in the sitting room ceiling of a modestly sized house, and operated by a clockwork-style mechanism in the loft, it accurately represents the changing positions of the earth, sun, moon and five neighbouring planets, in real time.”
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When Dvorák wrote his Serenade for 10 winds and 2 lower strings in January 1878, the heyday of the great wind serenades and “Harmoniemusik” wind ensembles was already long gone. He was probably inspired by hearing Mozarts Gran Partita shortly beforehand in Vienna. The home key of d minor here is striking, as is the often serious, even tragic atmosphere that repeatedly darkens the otherwise cheerful mood that is typical of the serenade genre. Perhaps this was a reaction to the death of two of his children just a few months earlier. Despite the works dramatic character - or perhaps because of it - Dvorák's Serenade was taken up in many European cities soon after its first performance in Prague, and fêted as a significant contribution to the chamber music repertoire for wind instruments. The autograph sources in Prague have been consulted for this Urtext edition. The parts are printed with player-friendly page divisions, perfect page-turning opportunities, and practical alternative parts in F for the three horns.
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Clarinet, French horn, bassoon, 2 violins, viola, cello and double-bass.
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Instrumentation: Piccolo • Bass Clarinet • Violoncello • Percussion (1 player) • Piano. MORE»
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Eight instrumental miniatures for fifteen players. Duration approx 6 minutes. MORE»
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Includes: Deck The Halls • Good King Wenceslas • Away in a Manger • Pat-a-Pan • O Come, All Ye Faithful
The Flex-It series has been devised to meet the varying needs of contemporary concert bands by providing attractive, playable arrangements that can be adapted to your group's particular instrumentation. Colin Cowles has taken well loved melodies from the traditional and classical repertoire and arranged them into basic four part harmony. Each part can be performed by different instruments depending on the resources available. Ideal for developing ensemble skills such as listening to others and maintaining a constant tempo, these arrangements are particularly suitable as concert material for school music groups. (Grade 2-3)
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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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