SKU: PR.11442131S
UPC: 680160681006.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
SKU: PR.114421310
UPC: 680160680993.
SKU: KU.GM-1911
ISBN 9790206202384. 9 x 12 inches.
Monu mentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.The String Sextet Momentum< /em> commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents , Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s W ilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti
SKU: HL.49017071
ISBN 9790001149945. 9.25x12.0x0.128 inches.
Bertold Hummel worked on his Adagietto for many years. Originally conceived as an Elegy for Strings in 1965, it was transformed into an Adagietto for String Sextet in 1978 and published for the first time in 1993. Hummel undertook a further arrangement of the composition in 1999 and participated with musical friends in its first performance. In one of the scores, the title is supplemented by the term “sacrale”, an indication of the religious background of this composition. In a time of increasing secularisation, the creative and no doubt also the reproducing artist have the task of pointing out to their contemporaries the transcendental, the inexplicable and the unprovable. The language of music - most effective perhaps in reaching across world frontiers - has an especially important role in this. Representations of suffering and horror alone cannot be the inherent constituent of a work of art. A reference to comfort and hope is indispensable. Furthermore, life, nature, and, for the believer, knowledge of God give cause enough for praise and thanks.” This is how my father once formulated his artistic conception. A favourite adopted term of his, “musikalische Klangrede” [musical speech), appears to me to be particularly well implemented in the Adagietto.
SKU: CY.CC2624
The well-known Maple Leaf Rag is one of Joplin's early works, written in 1899. It has been recorded by countless artists and has come back into the mainstream after the Ragtime revival of the 1970's.Joplin lived and performed for a while in Sedalia, Missouri, working at the Maple Leaf Club, from where some believe the work got its name.Michael McGuire's 3 minute arrangement for six Trombones is for advanced performers.
SKU: HL.400103
ISBN 9781596156463. UPC: 884088161101. 9.0x12.0x0.098 inches.
Performed by Janet Grice, bassoon Accompaniment: Harriet Wingreen, piano This collection of classic pieces, scored for solo bassoon with piano accompaniment, covers a huge span of time and musical styles, from Bach (Bourrée I and II) to Dukas's Sorcerer's Apprentice. Includes selections from Carmen, L'Elisir d'amore, Pictures at an Exhibition, and many, many more! Includes the printed solo part and audio recordings of complete performances presented in split-channel format, with the piano accompaniment on the left channel and bassoon soloist on the right channel. This affords the player the ability to easily dial in or out the reference solo part. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
SKU: HL.49005738
ISBN 9790001117791.
SKU: HL.49007730
ISBN 9783795702373. German.
Will der Schulmusiker seine Schuler in Erfullung des 'Lehrplansolls' mit der Gattung 'Programmusik' bekannt machen, so wird er bei der Materialsuche in Lehrbuchern und Fachliteratur immer wieder auf Beschreibungen derselben Kompositionen stossen: Smetana's 'Moldau', R. Strauss' 'Till Eulenspiegel' usw. Der Herausgeber hat sich im Zusammenwirken mit den in diesem Sammelband vertretenen Autoren deshalb auf die Suche nach Werken hoher Qualitat, aber teilweise geringeren Bekanntheitsgrades begeben und prasentiert fur den Musikunterricht in der Sekundarstufe analytische Untersuchungen, didaktische Empfehlungen und historische Hintergrundinformationen zu 21 Werken des 17. bis 20. Jahrhunderts. Die Spannweite reicht von Vivaldi bis Beethoven, von Berlioz bis Cesar Franck, von C. M. von Weber bis Max Reger, von den grossen slawischen Meistern bis hin zu Honegger und Schonberg, um nur einige zu nennen. Eingeleitet wird das Buch durch eine Einfuhrung in die Asthetik der Programmmusik im 19. Jahrhundert von Albrecht Riethmuller. Eine Fundgrube fur die Gestaltung eines abwechslungsreichen und damit interessanten Unterrichts.
SKU: CF.YAS99F
ISBN 9780825884191. UPC: 798408084196. 8.5 x 11 inches.
Dance of the Harlequins is a lively work that uses the harmonic progression of the famous Pachelbel Canon as its foundation. Larry Clark uses this line as a jumping-off point to create an ingenuous work that shows the many moods of the Harlequin clown, from joyous to melodramatic.When I started to write this piece I came up with the main melody first, then I harmonized it. In the process of doing that I realized that I was composing a new piece that was based on the harmonic progression found in the famous Canon by Johann Pachelbel. At first this sort of worried me, but then by doing a little research on the famous canon, I realized I was far from alone. There is even an incredibly funny YouTube video called “Pachelbel Rant” where comedian Rob Paravonian points out many of the usages of the chord progression from Pachelbel’s Canon found in many popular/rock songs. Watch it if you get a chance it is very funny! So, I decided to forge ahead and complete the piece.After the main theme begins without introduction that includes short punctuations of the harmony in the lower strings, the main theme is repeated with a countermelody playedby the violas. The cellos then take up a new B theme with the countermelody to this section covered by the first violins. The main theme with counter melody is stated one more time before it is followed by a transition to a more lyrical and augmented theme that is first presented in the violas. This theme repeats now with the melody in the first violins and a countermelody added in the violas. One more statement of the lyrical section theme is presented, but now the celli state the original main theme in augmentation along with the lyrical theme and countermelody. This is followed by an extended transition that leads back tot the B section theme now presented in the violins. After an extended cadence and build, the main theme returns one last time followed by a lively coda to complete the piece.There is something about the use of this famous chord progression that just makes it feel so right. I hope that I did justice to it and provided you and your students with a musical vehicle that will be enjoyable and at the same time educational.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—LARRY CLARKLakeland, FL 2011.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.BAS50F
ISBN 9780825883798. UPC: 798408083793. 8.5 x 11 inches.
Antiquitas is sure to become a favorite with your students, taking your imagination back in time with its modal qualities and medieval, dance-like character. Making use of contrasting marcato and legato playing, your students will learn to incorporate these techniques to maximize musicality.
About Carl Fischer Beginning String Orchestra Series
Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.YAS148F
ISBN 9780825899430. UPC: 798408099435. 9x12 inches.
As the title implies, there is a constant underpinning rhythmic drive in this piece from popular composer Sean O'Loughlin. The piece is based on a recurring four note motive that is the force that pushes the piece forward. This is contrasted by a lush middle section before the unrelenting motive comes back and brings the piece to a dramatic finish.
SKU: PR.14140089S
UPC: 680160625437. 9 x 12 inches. Text: Czeslaw Milosz. Text by Czeslaw Milosz.
When commissioned by UC Berkeley to compose a major work, Steven Stucky turned to the poetry of Lithuanian-Polish poet Czeslaw Milosz. One of Stucky's favorite writers, Milosz fled to the US in 1960, and joined the Berkeley faculty in 1961. He was still at Berkeley, his poems still banned back home in Poland, when he won the Nobel Prize in 1980. Many of his poems are dark, and some deal with the Holocaust. The Stars and the Roses sets three lighter, more lyrical poems for tenor and orchestra: Happiness, The Sun, and The Bird Kingdom, texts positively aglow with joy and tenderness. Comissioned by Berkeley Symphony, Joana Carneiro, Music Director, with funding from Music Alive, a national residency program of the League of American Orchestras and Meet the Composer.
SKU: CF.BAS53F
ISBN 9780825883859. UPC: 798408083854. 8.5 x 11 inches.
From popular composer Sean O'Loughlin, Relics of the Past is a serious-sounding piece that hearkens back to the past with its mysterious minor mode. The maturity required to play this piece makes it perfect for contest and festival.
SKU: CF.BAS69F
ISBN 9781491141878. UPC: 680160629930.
The Terracotta army that guards the tomb of China's first emperor Qin Shi Huang is nearly 8,000 warriors strong. This new piece for beginning ensembles depicts these magnificent stone soldiers. Composer Tyler Arcari draws on his background in music education to bring us a stunning new piece that young string students will love to play. It will sound rich and full, even with younger players.
SKU: CA.1631810
ISBN 9790007111014. Language: all languages.
<> was originally a failed attempt to compose a solo oboe piece for my noye cycle. For the solo the name le sexe du noye was intended, and the few measures of sexe-tuor were my first attempt to compose a piece in which more complex rhythms would result in a kind of proportional multiplication of individual fragments from the sextet (hence the French sextuor) le retour du noye. This proved to be monstrously complicated and absurd. Thus, the ten measures of the <> fragment represent a capitulation in the face of these complications, presented as the interruption of an immovable column of air in a frozen multiphonic sound. In the event, the solution to the problem was quite simple: Beginning with the composition of le sexe du noye the proportionalities of the pitch levels and rhythmic values revealed significant rhythmic possibilities. sexe-tuor remains as it is: a solo piece that can function in another compositional context, as an intermezzo between other, larger works on a concert program. The 90 second piece of music can be played in two versions: either for solo piccolo or solo oboe. Score available separately - see item CA.1631800.
SKU: CA.1631820
ISBN 9790007111021. Language: all languages.
SKU: BA.BA07569
ISBN 9790006523375. 32.9 x 23.9 cm inches. Text Language: French/German. Preface: Soury, Thomas. Louis de Cahusac.
Rameau's “Les Fêtes de l'Hymen et de l'Amour” was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as “Zaïs”, “Zoroastre” and “Les Borades”. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from “Aruris”, a scoring found nowhere else in his uvre.For the first time, this scholarly-critical edition of “Les Fêtes de l'Hymen et de l'Amour” presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Acadmie Royale de Musique in 1748.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49012996
ISBN 9790001125512.