Contrastes II (Oboe & Bassoon)

SKU: HL.49016219

ISBN 9790001146449. UPC: 884088202538. 9.0x12.0x0.195 inches.

The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of 'twilight': air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds.The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this 'motto-like' opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning.The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, 'arcane' bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the 'elastic' character of the middle section.Benjamin Schweitzer.

SKU: PR.476001390

UPC: 680160631025. 8.5 x 11 inches.

SKU: CA.1038649

ISBN 9790007191207. Language: German.

Reinhard Keiser, highly regarded by his contemporaries as a composer (primarily of operas), also wrote a considerable number of sacred works, such as cantatas, masses, passions, and oratorios. Among these works, most of which are lost, this Dialogus von der Geburt Christi, published here for the first time, occupies a special place as Keiser's only surviving Christmas oratorio. It is a an alternative to the current Christmas repertoire. Opulently scored, well-known Christmas chorales are presented, while in other movements the intimacy of the scene at the crib is evoked. The colorful and finely nuanced instrumentation is contrasted with freely flowing, easily singable choral movements. Score and part available separately - see item CA.1038600.

SKU: CA.2708409

ISBN 9790007200114. Language: Latin.

Mozart and Haydn greatly admired the church music of their friend, the composer and Vienna court Kapellmeister Joseph Eybler. With its lyrical-pastoral mood, his Missa Sancti Alberti contrasts with his large-scale mass settings; in structure, extent, and orchestration it recalls Franz Schubert's well-known Mass in G major. Apart from two solo quartets which can be performed by soloists from the choir) the chorus is the main carrier of the musical action; the concise setting of the mass text is mainly set homophonically. Starting with a basic string group, the orchestra can be expanded ad libitum by the addition of two oboes, two bassoons, two trumpets, and timpani, enabling the work to be presented in its masterly orchestration. Score and parts available separately - see item CA.2708400.

SKU: CF.CPS261F

ISBN 9781491161715. UPC: 680160920402.

Sahara is an exciting programmatic work for concert band that musically paints a picture of a fantastical desert crossing in three contrasting sections. The first section depicts a large caravan moving across the giant dunes. The second section describes a visit to a palace in a mystical oasis city. The third section brings the piece to an epic close as the caravan outruns a sandstorm to reach their final destination. Performance Notes You may use a set of congas in addition to or in lieu of the dumbek part to bring out that pitched drum sound. At m. 4, emphasize the accented quarter notes in the horns and euphonium. Measures 17-26, make sure that the sixteenth note marimba part is heard clearly. In measures 48-92, this entire middle section may be played in a rubato style at the director's discretion to achieve maximum musical expression. Be sure to emphasize the crescendo-decrescendo dynamics in this entire section. In measures 56-61, be sure that the syncopated flute and clarinet parts are heard clearly. and the flute and oboe are heard as well mm. 76-81. The descending eighth notes in the bass clarinet and tuba part should be brought out in mm. 76-81. Measures 109-112, make sure to bring out the trills in the Flute and oboe parts and sustain them all the way through the measure with a release immediately on beat 1 of the following measure. And finally, mm. 125-126, emphasize the F Horn and Alto Saxophone parts.
Sahara is an exciting programmatic work for concert band that musically paints a picture of a fantastical desert crossing in three contrasting sections. The first section depicts a large caravan moving across the giant dunes. The second section describes a visit to a palace in a mystical oasis city. The third section brings the piece to an epic close as the caravan outruns a sandstorm to reach their final destination.Performance NotesYou may use a set of congas in addition to or in lieu of the dumbek part to bring out that pitched drum sound. At m. 4, emphasize the accented quarter notes in the horns and euphonium. Measures 17-26, make sure that the sixteenth note marimba part is heard clearly. In  measures 48-92, this entire middle section may be played in a rubato style at the director’s discretion to achieve maximum musical expression. Be sure to emphasize the crescendo-decrescendo dynamics in this entire section. In measures 56-61, be sure that the syncopated flute and clarinet parts are heard clearly. and the flute and oboe are heard as well mm. 76-81. The descending eighth notes in the bass clarinet and tuba part should be brought out in mm. 76-81.Measures 109-112, make sure to bring out the trills in the Flute and oboe parts and sustain them all the way through the measure with a release immediately on beat 1 of the following measure. And finally, mm. 125-126, emphasize the F Horn and Alto Saxophone parts.

SKU: CA.2718909

ISBN 9790007241605. Language: Latin.

In 1892 Dvorak received a prestigious commission from New York to write a festive cantata to commemorate the 400th anniversary of Christopher Columbus's discovery of America. In response he wrote an impressive work in a very short space of time - his Te Deum, which expresses in celebratory style the old hymn of praise in four effective, contrasting sections. In preparing the Carus edition, a careful assessment has been made of the variant readings of the autograph score and first printed edition, drawing on these as sources. The result is that the work is newly available in a modern, scholarly edition. The complete performance material is available on sale. Score and parts available separately - see item CA.2718900.