Clarinets In Chorus

Easy Instrumental Duets-24 favorite melodies from top classical composers in easy duet arrangements for two instrumentalists are featured in this collection including Air on the G String • Blue Danube Waltz • Canon in D • Eine Kleine Nachtmusik • Hallelujah Chorus • Jesu Joy of Man's Desiring • Minuet in G Major • Ode to Joy • Pictures at an Exhibition • Sheep May Safely Graze • Trumpet Voluntary • William Tell Overture and more.Arrangements work for two clarinets or can be used with the other woodwind titles from this series.

ORCHESTRATION: Fl(s) (opt); (2) Ob; Cl(s) (opt); Bsn; Hn(s) (opt); 2 Tpt; Trb(s) (opt); Timp; Str. This edition gives the ‘original’ orchestration of 2 Oboes (though both play together doubling the soprano chorus line) Bassoon (continuo) 2 Trumpets (parts are given in D and Bb and are shown in the score at concert pitch) Timpani strings and SATB chorus. However additional parts are included for Flutes Clarinets in Bb Horns and Trombones which double the chorus lines and can be used either to reinforce the choral line or to replace it completely to provide an orchestra-only concert version. One chorus part is included in the orchestral set and additional copies areavailable should they be required. Many choirs and singers already have copies of the ‘Messiah’ and most should be compatible with this orchestral version. Duration 4.5 mins.

This edition is faithful to Parry's original orchestration with the exception that the Clarinets were in A and the Trumpet parts were originally written in F. Here Bb copies have been provided for both. The work may be played by orchestra alone or with the addition of a solo voice or a choir. We do not publish vocal or choral copies of this work but this orchestral edition is fully compatible with the original vocal and unison choral editions published by Roberton Publications and readily available.Duration: 2½ minutes Orchestration 2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons4 Horns in F 2 Trumpets in Bb 3 Trombones TimpaniStrings (Violin 1 Violin 2 Viola Cello Bass)Voice or chorus (optional)

William Walton Edited by Steuart Bedford Belshazzar's Feast Vocal score 136 pages 279x216mm for SATB, baritone solo & orchestra A newly engraved edition of this vibrant choral work and fully compatible with the Walton Edition full score. There are minor adjustments to the piano reduction to improve playability and the text underlay is now English only, as Walton's original. Forces or Category SATB, baritone solo & orchestra Duration 35 minutes Difficulty Difficult Orchestration piccolo, 2 flutes, 2 oboes, cor anglais (optional), 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, organ, 2 harps, strings, mixed chorus, baritone solo, 2 brass bands (optional), each consisting of 3 trumpets, 3 trombones, and tuba

For chorus (SSATB) 2 clarinets 4 violins violoncello contrabass and basso continuo.

Par WEILL KURT. Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)/ Répertoire / Violon et Orchestre d'Instruments à Vent

Played in a fast swing style this easy piece will get your audience clapping and toe-tapping right from the downbeat. The percussion parts are written to be played similar to the way a set drummer would drive a big band. The saxes and clarinets in the chalumeau register are featured in a stop-time chorus that should bring your audience to its feet.

For Soprano and Barintone soloists SATB and junior chorus and Orchestra.English text selected by Nicholas Fisher from the New Revised Standard Version of the Old and New Testaments. John Joubert 's An English Requiem was commissioned by the Grimmitt Trust for the 2010 Gloucester Three Choirs Festival and was given its first performance at Gloucester Cathedral on 9th August 2010 with the Festival Choirs of Gloucester Hereford and Worcester Carolyn Sampson (Soprano Neal Davies (Baritone) and Philharmonia Orchestra conducted by Adrian Partington. Instrumentation: 3 Flutes (III/Piccolo)3 Oboes (III/Cor Anglais)3 Clarinets (III/Bass Clarinet)3 Bassoons (III/Contrabassoon)4 Horns in F3 Trumpets3 TrombonesTubaTimpaniPercussion (2 Players);Bass Drum Tenor Drum Side Drum Cymbals Tam-tam Crotales Triangle Tubular BellsHarpOrganStrings

Going North was commissioned by the Young People’s Chorus of New York for ‘Transient Glory the Voices of Children’ Francisco J. Nunez artistic director. First performed at the Transient Glory Concert on 29th April 2006 at the Ethical Culture Society New York City. The composer writes of her composition 'It is challenging to find a way to compose that hopefully will be interesting and fun for young people and yet not too difficult. A major concern of course is to find the right text: something that will be appreciated by urban young people. I thought that this 'nonsense' poem of John Keats would be highly suitable. It is set for young voices soprano and alto andaccompanied by two clarinets.' Set of parts.