Last For Bass Clarinet And Marimba (5 Octaves) Score And 1 Part

SKU: HL.49045834

The relationship between music and architecture has for many decades been source of fascination for Gilbert. A range of works reflecting on the complexity and beauty of French medieval cathedrals has been the result. Ziggurat is in many ways a companion to these, albeit the type of structure it was engendered by existed a good millennium earlier. It was commissioned in 1993 by the Duo Contemporain, Henri Bok, bass clarinet and Miguel Bernat, percussion, as a sequal to a number of pieces hed written for them reflecting on the architecture of Chartes Cathedral. Although it was a type of memorial to a leading figure in Babylonian (or indeed Amerindian) society, the ziggurat celebrates life. Starting at ground level, a pathway or staircase winds up around the conical structure, decorated with passages of visual narrative and imagery. Gilberts duo for bass clarinet and marimba engages in a similar journey, continuously climbing but also episodic, withpassages of wild virtuoso music separated by steady, directed motion. Colour-changes involving bass clarinet multiphonics and rich chordal writing for the marimba feature strongly. In its original form the work lasted over eighteen minutes; in 2014 Gilbert decided to extensively rewrite the work in order to sharpen its musical focus. It is now just over two thirds of its original length, with resultant heightened intensity.

SKU: CF.YPS251F

ISBN 9781491161906. UPC: 680160920587.

SKU: CF.CPS219F

ISBN 9781491153130. UPC: 680160910632.

Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8” space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^” accent on the final note is one meant to be played heavy, and not short.

SKU: PR.UE037135

ISBN 9783702475406. UPC: 803452072515.

Universal Edition presents the last extended version of Boulez' Derive 2 in a 2006 revision. When I reflected on some of Ligeti's compositions, wrote Boulez, I felt the desire to dedicate myself to some almost theoretical research into periodicity in order to systematically examine its overlays, its shifts and its exchange. Tom Service, in The Guardian, describes the work: I had the sense...that although the piece was 45 minutes long, it could either have been 20 minutes or 200 and it wouldn't really have mattered. All of the music you hear in it is based on a single chord (derived - see what I've done there? - from a musical transliteration of the initials of Paul Sacher's name). Everything changes on the surface - there are passages where everything is speeding along vertiginously, which then contract into pools of slower music - but nothing changes underneath. It's a musical world that's completely hermetic and yet infinitely expandable. Weird.

SKU: PR.416414230

ISBN 9781598066630. UPC: 680160602087. 9x12 inches.

Colonnade is James Matheson’s intriguing response to the Albany Symphony’s commission to create a work inspired by the NY State Board of Education Building, designed by the renowned architect Rafael Guastavino. Matheson explains that “A colonnade acts as a metaphor for the tension between knowledge and perception. The columns are the same height and equidistant from each other; while the mind understands this fully, there exists no place from which one can perceive this – the columns always appear to be of uneven height and spacing. If one then adds motion to perspective, identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart.” This structural paradox is given musical life in the outer sections of Colonnade, while the long, arching middle section is inspired by the vaulted ceiling of one of the building’s largest rooms, enhancing the structure’s spacious openness and lightness.
Colonnade is inspired by Albany’s majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work “inspired by” a building I had not yet seen. Thisproblem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to seeand tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In theend, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the building’s rotunda, which contains a series of quaintly outdated allegorical paintings): theexterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino.For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place – no standpoint or viewpoint – anywhere in the universe – from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective – a walk along the colonnade, for instance – the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart. Further, the detail of the building’s façade behind the colonnadeshifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure – suggestive of a column – dominates. The iterations of this elastic, evolvingfigure are interspersed with other music – suggestive of the building’s façade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino,of one of the building’s largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling.World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.