Concerto for Oboe and Small Orchestra (Oboe / Piano)

SKU: CA.4057609

ISBN 9790007219086. Key: A minor. Language: all languages.

An oboe concerto from the romantic era? Embarassingly, due to the small amount of solo literature for the instrument from this period, this question often asked of oboists, must be answerded with a reference to the few small concert pieces and sets of variations available. The A minor Concerto by Hugo Schuncke, who was a musician at the Court of Stuttgart, fills a need. The work consists of three movements: a virtuoso Allegro, a pastorale Andante and a rhythmic, exciting Bolero in rondo form. Score and parts available separately - see item CA.4057600.

SKU: CA.4057611

ISBN 9790007219093. Key: A minor. Language: all languages.

An oboe concerto from the romantic era? Embarassingly, due to the small amount of solo literature for the instrument from this period, this question often asked of oboists, must be answerded with a reference to the few small concert pieces and sets of variations available. The A minor Concerto by Hugo Schuncke, who was a musician at the Court of Stuttgart, fills a need. The work consists of three movements: a virtuoso Allegro, a pastorale Andante and a rhythmic, exciting Bolero in rondo form. Score and part available separately - see item CA.4057600.

SKU: CA.4057613

ISBN 9790007219116. Key: A minor. Language: all languages.

An oboe concerto from the romantic era? Embarassingly, due to the small amount of solo literature for the instrument from this period, this question often asked of oboists, must be answerded with a reference to the few small concert pieces and sets of variations available. The A minor Concerto by Hugo Schuncke, who was a musician at the Court of Stuttgart, fills a need. The work consists of three movements: a virtuoso Allegro, a pastorale Andante and a rhythmic, exciting Bolero in rondo form. Score and part available separately - see item CA.4057600.

SKU: CA.4057612

ISBN 9790007219109. Key: A minor. Language: all languages.

An oboe concerto from the romantic era? Embarassingly, due to the small amount of solo literature for the instrument from this period, this question often asked of oboists, must be answerded with a reference to the few small concert pieces and sets of variations available. The A minor Concerto by Hugo Schuncke, who was a musician at the Court of Stuttgart, fills a need. The work consists of three movements: a virtuoso Allegro, a pastorale Andante and a rhythmic, exciting Bolero in rondo form. Score and part available separately - see item CA.4057600.

SKU: HL.14028041

ISBN 9788759810682. 12.0x16.5x0.533 inches.

The Small concerto for solo oboe and chamber orchestra was commissioned by The Royal Library of Copenhagen for the inauguration of a concert hall located at the new library annex, the so-called Black Diamond, September 1999. The work as such focuses more on the contemplative and sonorously introvert, rather than more virtuosity; it is in four movements, what could be called four little tone-poems on (and inspired by) the names of the four moon craters known as: Lake of Dream - Ocean of Storms - Sea of Tranquillity - Lake of Death, four enigmatic and deeply fascinating ancient conceptions of the landscape on this our closest, but at the same time most legendary and myth-shrouded celestial body. The work was composed in 1998 for Athelas-Sinfonietta Copenhagen and Swedish obo virtuoso Helen Jahren. The work was dedicated to Helen Jahren.

SKU: HL.48181763

UPC: 888680863142. 9x12 inches.

“Elegia is a small piece for Oboe and Piano accompaniment by Nino Rota. Really lyrical, its medium difficulty will enable intermediate players to execute it, for a recital or for a contest. This lovely work is quite slow, nostalgic at some points and ends up on a perfect harmony between the two instruments. Nino Rota (1911-1979) is an Italian composer and conductor, particularly known for his works on film music. He also composed 5 ballets, 10 orchestras as well as numerous music chamber works, including a string concerto.&rdquo.

SKU: PR.46600066L

UPC: 680160599233. 11 x 17 inches.

SKU: HL.49045775

ISBN 9783702471132. UPC: 803452068235. 7.0x10.0x0.436 inches.

Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productiveand imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am workingon a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo parthighly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010). The score is based on the critical text of the Kurt Weill Edition Ser. II, Vol. 2.

SKU: PR.11641867S

UPC: 680160683208.

Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

SKU: PR.46600076L

UPC: 680160625802.