SKU: SU.28190040
Includes 2 copies of the score.A jocular, virtuoso pieceClarinet & Bassoon Duration: 10’ Composed: 2017 Published by: David L. Post (BMI).
SKU: MA.EMR-47040C
Possible instrumentations:2 Bass Clarinets & CD Play Back / Play AlongBass Clarinet & CD Play Back / Play Along.
SKU: SU.00220334
This CD Sheet Music™ collection makes available a wealth of music for solo clarinet including sonatas, concertos, and solo works by 28 composers from the 18th, 19th and early 20th centuries. Also included are two complete volumes of collected works: Easy Duets and Album of Short Solos by Various Composers. Works include: Baermann, C. (Duo Concertante); Baermann, H. (Adagio); Beethoven (3 Duos for Clarinet and Bassoon); Berg (4 Pieces for Clarinet & Piano); Brahms (Sonata Nos. 1 & 2); Busoni (Elegie for Clarinet & Piano); Cavallini (30 Caprices for Clarinet); Debussy (Première Rhapsodie); Fauré (Berceuse); Gade (4 Fantasy Pieces); Glazunov (Saxophone Concerto [for clarinet & piano]); Jeanjean (Variations on Au Clair de la Lune); Klosé )Souvenir); Mason (Sonata for Clarinet & Piano); Mendelssohn (Concert Piece for 2 Clarinets & Piano); Mozart, L. (Concerto in Bb major); Mozart, W.A. (3 Duets for 2 Clarinets); Paganini (14 Caprices); Pierné (Pièce in G minor); Prokofiev (Visions Fugitives); Reger (Sonata Nos. 1 & 2); Reinecke (Sonata, Undine); Saint-Saëns (Sonata in Eb major); Schumann (Fantasy Pieces, 3 Romances); Spohr (Concerto Nos. 1-4); Stravinsky (3 Pieces for Clarinet Solo); Wagner (Adagio for Clarinet & Strings); Weber (Fantasia & Rondo, Grand Duo Concertante) Easy Duets Book 1: works by Fodor, Pleyel, Volckmar, Wanhal; Book 2: works by Mazas, Bruni, Campagnoli, Gebauer, Geminiani, Haydn, Pleyal, Viotti Album of Short Solos by Various Composers: 30 familiar works arranged for clarinet, including Brahms (Cradle Song), Dvorák (Humoreske), Fibich (Poéme), Handel (Largo), Giordani (Caro mio bien), Richter (Seppl-Polka), Schubert (Ave Maria), Schumann (Träumerei), Weber (Bauernwalzer), and more Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1200+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: IS.CC6226EM
ISBN 9790365062263.
Mendelssohn composed the Concert pieces for clarinet, basset horn and piano in 1833 for the German clarinet virtuosos Heinrich and Carl Bärmann (father and son). The intention was to be together as friends, as Mendelssohn himself played the piano part frequently himself. It has been said that Mendelssohn wrote the second Konzertstück in one day, in the amount of time it took for Carl to make his homemade Dampfnudel and Rahmstrudel (sweet dumplings and cheese strudel). Carl Bärmann described the scene of this day, illustrating how both he and Mendelssohn had until five o’clock to complete their respective tasks (for Carl dumplings and strudel, for Mendelssohn the new Konzertstück). When five o’clock came, each man presented their work in a covered dish. Mendelssohn was said to have claimed that Carl’s dumpling composition was more ingenious than his. The events of this particular day are the reason why Mendelssohn’s original title for his second Konzertstück was, The Battle of Prague: A Great Duet for Sweet Dumplings or Cheese Strudel, Clarinet, and Basset Horn... .
SKU: HL.49018316
ISBN 9790001158442. UPC: 841886013711. 9.0x12.0x0.07 inches.
Mozart's Kegelduette owe their name to a handed-down anecdote according to which the duets were composed during a bowling game. Originally written for two basset horns, the work became later known in the clarinet version. Our new edition has been designed for beginner and intermediate clarinettists. Difficult pitches have been provided with suggestions for transposition by the editor, thus making both parts easy to play even for inexperienced players. The duets are ideal as additional chamber music pieces for beginners and can be played by teacher and pupil or by two pupils at the same level. A valuable addition to teaching and performance repertoire.
SKU: MA.EMR-47056C
Possible instrumentations:Clarinet, Bass Clarinet & CD Playback (Play Along)Clarinet, Bass Clarinet & CD Playback (Play Along).
SKU: MA.EMR-50357
Possible instrumentations:Clarinet, Bass Clarinet & CD Play Back / Play AlongClarinet, Bass Clarinet & Organ (+ CD Play Back / Play Along optional)Clarinet, Bass Clarinet & Piano (+ CD Play Back / Play Along optional).
SKU: HL.49043935
ISBN 9790001191647. 9.25x12.0x0.158 inches.
Two instruments - sometimes two violins, sometimes violin and double-bass or clarinet and bassoon - always take the lead as a duo in the ensemble which is arranged around the audience. In the love-song of Polyphem the One-Eyed, however, the alphorn does not find a partner.
SKU: HL.288115
Andalag # 11- Duo for Alto Flute and Bassoon. Part of Andalag - Suite in 11 movements. Programme note: Some years ago I was asked by the Faroese ensemble Aldubaran to compose duets for the woodwinds within the ensemble. The idea then came to me to write a Suite with the name Andalag in 11 movements. 8 movements are duets and are approximately 4 min. long. 2 movements are quartets and are approximately 8 min. long, and 1 movement is an octet which is approximately 16 min. long. In other words, the Suite will last approximately 60 min. The (octet) instrumentation is 2 flutes, 2 clarinets, 2 horns and 2 bassoons. The Faroese word andalag has a multilayerd meaning. The first half of the word is anda and means to breath or spirit, and the second half of the word lag means melodi, mood or layer. I use two small ideas in this Suite. One idea is in a sort of major mood and the other in a sort of minor mood. Sunleif Rasmussen, May 2013.
SKU: BA.BA10303-01
ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.
The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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.288112
Andalag # 2 - Duo for two Flutes (2011). Part of Andalag - Suite in 11 movements. Programme note: Some years ago I was asked by the Faroese ensemble Aldubaran to compose duets for the woodwinds within the ensemble. The idea then came to me to write a Suite with the name Andalag in 11 movements. 8 movements are duets and are approximately 4 min. long. 2 movements are quartets and are approximately 8 min. long, and 1 movement is an octet which is approximately 16 min. long. In other words, the Suite will last approximately 60 min. The (octet) instrumentation is 2 flutes, 2 clarinets, 2 horns and 2 bassoons. The Faroese word andalag has a multilayerd meaning. The first half of the word is anda and means to breath or spirit, and the second half of the word lag means melodi, mood or layer. I use two small ideas in this Suite. One idea is in a sort of major mood and the other in a sort of minor mood. Sunleif Rasmussen, May 2013.
SKU: CF.CPS243
ISBN 9781491158500. UPC: 680160917105. 9 x 12 inches.
This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite. When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet, nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to match articulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite.When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet,nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to matcharticulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.
SKU: BT.PMC3231
SKU: CF.CPS243F
ISBN 9781491158517. UPC: 680160917112. 9 x 12 inches.
SKU: CF.YPS232
ISBN 9781491158180. UPC: 680160916788. 9 x 12 inches.
Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39a50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39-50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39–50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.
SKU: CF.YPS232F
ISBN 9781491158197. UPC: 680160916795. 9 x 12 inches.
SKU: HL.49045068
ISBN 9790001174336. UPC: 888680724207. 9.0x12.0x0.058 inches.
This demanding slow duet for two bass clarinets in B-flat combines expressive melody, abrupt rhythm changes and extreme dynamics, giving this short composition a turbulent and unstable character.
SKU: MA.EMR-47005C
SKU: HL.288111
Andalag # 1 - Duo for Flute and Clarinet (2011). Part of Andalag - Suite in 11 movements.Programme note: Some years ago I was asked by the Faroese ensemble Aldubaran to compose duets for the woodwinds within the ensemble. The idea then came to me to write a Suite with the name Andalag in 11 movements. 8 movements are duets and are approximately 4 min. long. 2 movements are quartets and are approximately 8 min. long, and 1 movement is an octet which is approximately 16 min. long. In other words, the Suite will last approximately 60 min. The (octet) instrumentation is 2 flutes, 2 clarinets, 2 horns and 2 bassoons. The Faroese word andalag has a multilayerd meaning. The first half of the word is anda and means to breath or spirit, and the second half of the word lag means melodi, mood or layer. I use two small ideas in this Suite. One idea is in a sort of major mood and the other in a sort of minor mood. Sunleif Rasmussen, May 2013.
SKU: AP.1-ADV8211
UPC: 805095082111. English.
The huapango is a popular dance originating on the east coast of Mexico. Its subtle alternation of 2 & 3 can be demonstrated in this recitation: MEX-ico, EC-uador, CHI-le, COS-ta, RI-ca. The addition of an improvising percussionist could enhance performance. Arranged for clarinet and bass clarinet. Titles: 1. Santa Cruz * 2. Las Islitas * 3. Miramar * 4. Ofelia * 5. El Llano.
SKU: FL.FX073513
Instruments:Clarinet Duet and Percussions: 1 Bb Clarinet 1 Bass Clarinet 1 Bongo / Snare Drum 1 Cymbal; Difficuly Level: Grade 2.
