SKU: BR.EB-10995
From the early years of the clarinet concertoIn Cooperation with G. Henle Verlag
ISBN 9790201809953. 9.5 x 12 inches.
Louis Spohr's First Clarinet Concerto was written in winter 1808/09, at a time when the clarinet had just established itself as an orchestral and solo instrument. The concertos of Spohr and Weber which we know today and which date from these pioneer days around 1810 are due to the in-depth collaboration between composer and performer. Spohr wrote his technically very demanding clarinet concertos for the virtuoso Johann Simon Hermstedt. After the first successful performances, the composer decided to simplify the solo part for the printed edition.The Breitkopf Urtext edition is based on the autograph of the score and the first printing of the parts, which frequently differ from it. In the solo part, we have kept the easier variants along with the original version.From the early years of the clarinet concerto.
SKU: BR.PB-15126
ISBN 9790004214275. 10 x 12.5 inches.
SKU: BR.OB-15126-23
ISBN 9790004341919. 10 x 12.5 inches.
SKU: BR.OB-15126-16
ISBN 9790004341896. 10 x 12.5 inches.
SKU: BR.OB-15126-19
ISBN 9790004341902. 10 x 12.5 inches.
SKU: BR.OB-15126-15
ISBN 9790004341889. 10 x 12.5 inches.
SKU: BR.OB-15126-30
ISBN 9790004341933. 10 x 12.5 inches.
SKU: BR.OB-15126-27
ISBN 9790004341926. 10 x 12.5 inches.
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: BR.PB-15145
ISBN 9790004803394. 6.5 x 9 inches.
Louis Spohr's First Clarinet Concerto was written in winter 1808/09, at a time when the clarinet had just established itself as an orchestral and solo instrument. The concertos of Spohr and Weber which we know today and which date from these pioneer days around 1810 are due to the in-depth collaboration between composer and performer. Spohr wrote his technically very demanding clarinet concertos for the virtuoso Johann Simon Hermstedt. After the first successful performances, the composer decided to simplify the solo part for the printed edition. The Breitkopf Urtext edition is based on the autograph of the score and the first printing of the parts, which frequently differ from it. In the solo part, we have kept the easier variants along with the original version.From the early years of the clarinet concerto.
SKU: BR.PB-15145-07
SKU: SU.00220072
The complete Clarinet (including Eb and Bass Clarinet) parts [CD-ROM] for the 90 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 1: Beethoven, Schubert and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: AUBER Fra Diavolo Overture; BEETHOVEN Symphonies 1-9, Piano Concertos 1-5, Violin Concerto, Overtures (36 works); BELLINI Norma Overture; BERLIOZ Symphonie Fantastique, Benvenuto Cellini Overture, Roman Carnival Overture; CHERUBINI Medea Overture, Anacréon Overtures; DONIZETTI Daughter of the Regiment Overture, Don Pasquale Overture; MENDELSSOHN Symphonies 1-5, Piano Concertos 1-2, Violin Concerto, Elijah, Hebrides Overture, Midsummer Night's Dream Overture and Incidental Music, Ruy Blas Overture; SCHUBERT Symphonies 1-6, 8, 9, Fierrabras Overture, Rosamunde Overture; WEBER Symphony No. 1, Clarinet Concerto, Euryanthe Overture, Der Freischütz Overture, Oberon Overture Visit for more information
SKU: PR.11641142S
ISBN 9781491134030. UPC: 680160683772.
The Concerto for Flute and Orchestra, Op. 39 was completed in September of 1992. It was commissioned by James Galway, and is dedicated to him. The work is scored for an orchestra comprised of piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, percussion, harp, piano and strings. The Concerto is in three movements. The first movement, Moderato, is an arc-like form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations on a chorale-version of this progression. The second movement, Adagio molto, presents a lyrical melody which is spun out over a pulsating syncopated ostinato which persists through the entire length of the movement. The final movement, Presto, is a virtuoso work-out for the flutist in a rondo-like form which closes with a Prestissimo coda. The Concerto for Flute and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer.The Concerto for Flute and Orchestra, Op. 39 was completed in September of 1992. It was commissioned by James Galway, and is dedicated to him.The work is scored for an orchestra comprised of piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, percussion, harp, piano and strings.The Concerto is in three movements. The first movement, Moderato, is an arc-like form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations on a chorale-version of this progression.The second movement, Adagio molto, presents a lyrical melody which is spun out over a pulsating syncopated ostinato which persists through the entire length of the movement.The final movement, Presto, is a virtuoso work-out for the flutist in a rondo-like form which closes with a Prestissimo coda.The Concerto for Flute and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer.
SKU: BO.B.3340
ISBN 9788480207591.
English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentarios del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.