Matériel : Partition + CD
SKU: KN.07610S
UPC: 822795076103.
Compl eted in 1791 just before his death, Mozart wrote his Clarinet Concerto for the great clarinetist Anton Stadler. This final movement in classic rondo form features a recurring main theme, a secondary theme, and a brilliant closing section. In this master edition for modern bands, abundant articulations and dynamics have been added throughout to ensure a more musical performance. The set also includes a detailed Master Lesson by clarinetist Don McCathren (Duquesne University) to assist student soloists with preparation. Duration 9:00.
SKU: KN.07600S
UPC: 822795076004.
Publi shed in 1962, this adaptation of the exciting classic takes full advantage of modern symphonic band instrumentation to achieve an artistic performance of the solo with band accompaniment. Beautifully arranged by Alfred Reed, each set includes detailed notes for the conductor and a superb Master Lesson by clarinetist Don McCathren (Duquesne University) to aid soloists in their preparation of the piece. Abundant cross-cues are also provided in the band parts to ensure that exposed bassoon, alto/bass clarinet and F horn passages are clearly heard. Duration 9:00.
SKU: PR.44641192L
UPC: 680160610860. 11 x 14 inches.
One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.
SKU: SU.50600020
Imstrumentation : Solo Horn & Wind Ensemble Duration: Composed: 2004 Published by: Dunsinane Music Composer's Note: Great Scott! was commissioned by Mary Ann Craig, Director of Bands at Montclair State University for the MSU Wind Ensemble, and is dedicated to Mr. Jeffrey Scott. A work in one movement, Great Scott! may be heard as a stream of consciousness in the mind of the soloist. The work opens with the soloist quietly reflecting. The remnants of a dance tune are heard in the lower brass, as if from a radio, and the soloist unselfconsciously incorporates this material into his musings. He is joined by the ensemble, which reiterates and makes emphatic the soloist’s reflections. A variation of the dance tune, now integrated with the soloist’s ideas, is heard in the saxophones, soon joined by the French horn, gradually leading to a quieter section that again incorporates and expands the gathering musical materials. This leads to the central, lyric section of the piece—where the soloist returns to his initial musings, now amplified by the ensemble. This time, the dance music is not heard separately—in essence, it has been re-constructed by the soloist with contributions from the ensemble. A fanfare-like section follows, featuring brass and timpani. After a brief pause, the opening material is heard a final time, now with an active, rapid surface, as the piece rushes to a close.
SKU: PR.41541135L
UPC: 680160608805. 11 x 17 inches.
Co-commissi oned by 21 university wind symphonies, CONCERTO LOGIC is a 25-minute piano concerto inspired by games of chance, logic, and strategy, both ancient and contemporary. Pann himself has performed as the concerto’s soloist on many occasions. I. Dogs and Jackals (C-minor Fantasy) is an ancient Egyptian game; II. Ernö Rubik’s Magic Cube is a musical depiction of working on Rubik’s Cube until finally, after several days, the last few turns are found and the puzzle is solved; III. Rondo Capriccio: “Rage over a Lost Pawn” (piano solo) is an extended piano cadenza referring to the title of Beethoven’s famous “Rage over a Lost Penny” as well as a game of chess; and IV. Dancing with Caissa honors the patron goddess of chess players.
