SKU: HL.48182075
UPC: 888680847401. 9.0x12.0x0.072 inches.
Eugène Goossens: Concerto en 1 Mouvement Op.45 (Oboe & Piano).
SKU: HL.14029849
8.5x11.75x0.409 inches.
Commissioned by the Lontano Ensemble, and first performed by them on 21st January 1981. In this piece, one instrument per movement is given musical prominence over the other two. Duration: c. 15 minutes.
SKU: HL.14023893
ISBN 9788759854785. English.
After the success of Carpe Diem!, a Clarinet Concerto written in 1990, Kaipainen went on to write his Oboe Concerto in 1994. Carpe diem! exemplifies the increasingly Classical ideals espoused by Kaipainen over the years. He develops this strand even further in his 'Oboe Concerto', which is a much more restrained and balanced work in darker tones.The piece contains three movements, the first of which combines elements of a traditional opening movement and scherzo. The slow movement is an affecting elegy. The finale consists mostly of quietly played perpetuum mobile figures, interspersed with sudden dramatic passages.
SKU: PR.160000280
ISBN 9781491137185. UPC: 680160034154.
SKU: HL.48181576
UPC: 888680906900. 9.0x12.0x0.129 inches.
“Published in 1953, the Concerto for Clarinet and Orchestra was composed by the French composer, conductor and winner of the Grand Prix de Rome in 1927, Henri Tomasi (1901-1971). This concerto was dedicated to Ulysse Delécluse (1907-1995), a French Clarinettist known for his transcription of 'Quinze études' by J. S. Bach for the clarinet. Each of its three movements were chosen to be the examination pieces at the Paris Conservatoire, the first movement for the Examination Solo in 1953 and the second and third for the Contest Solo in 1966. This concerto begins with an unconventional start, the clarinet playing on its own and being joined later by the orchestra. It also contains some unusual material such as polychords and dissonances through the piece. Notes on this concerto by Henri Tomasi himself were written in 1957, describing the importance of the improvisation for the principal topic.”.
SKU: HL.280392
UPC: 888680971069. 8.5x11.75x0.281 inches.
The Cello Concerto is in four main sections that are played without a break. As with most of my work, the music throughout is generated from the ideas presented in the fi rst few bars, and these ideas and their variants appear freely in the different sections. Recurring material and references to earlier sections are used deliberately to create not only a sense of unity but also an impression of familiarity that aspires to induce a dream-like perception of the passing music, a kind of spiral. The piece opens with a slow introduction that gradually quickens into the first main section, an allegro. The form of the second section, which is in a lighter mood, is based on an early 13th century verse form, the Sestina, which consists of six stanzas of sixlines each, followed by an envoi. The words that end each line in the first stanza are rotated in a strictly prescribed pattern* to give the line-endings of the remaining stanzas; in this adaptation, each line consists of four bars, and the repetitions ensue according to the plan. The intricate repetition inherent in this form can also be seen as a form of spiral. The third section is an extended slow movement interrupted by a quicker episode that refers to the fi rst section. Generally lighter and in a similar vein to the second section, the final section includes a reference to the slow movement before returning to the lighter music that ends the piece. This work is dedicated to Natalie Clein.
SKU: HL.14008396
ISBN 9780711921337. 8.5x12.0x0.533 inches.
This work was commissioned by the Royal Philharmonic Orchestra to celebrate its 40th birthday. The first performance took place in June 1986 at St. Magnus' Cathedral, Kirkwall, as part of the tenth St. Magnus Festival. Written for and first performed by Isaac Stern, Davies's Violin Concerto brings together two streams in his music: symphonism and folk-fiddling. In its strongly developed substance, it asks to be measured in the company of Beethoven, Brahms and Sibelius, while there is also, particularly in the middle movement, a strong element of the Scots lament. The orchestra is generally muted in colour, though there is a dramatic role for the timpanist. There are three movements, played without a break - this is only one of many connections with the Mendelssohn Violin Concerto. Duration c. 30mins.
SKU: HL.14020990
ISBN 9780711923904. 5.5x7.5x0.283 inches.
If Davies's Cello Concerto has already evoked comparisons with Elgar's, that is perhaps an indication not only of its wealth of solo melody (there is hardly a page where the cello is not singing, or if not that, then dancing), and of its predominantly slow tempos, but also of its musical stature. This second Strathclyde concerto is a virtuoso piece for the entire ensemble, which is used almost throughout as a clutch of soloists rather than as a tutti block. The general tone is one of passionate but interior dialogue, especially in the opening Moderato and the slow movement; and though the finale is more extrovert, the work ends back in quietness and rumination.
SKU: BT.WH31276
ISBN 9788759821916. English.
Commissioned by The Royal Danish Orchestra and The Swedish Chamber Orchestra. Full Score. Ensemble Violin Solo Piano Solo bring a Marimba mallet for playing inside the Piano String Orchestra (6-6-4-4-2) the number of string players may be doubled, 12-12-8-8-4 if doubling the strings then Desk 1 means Desk 1+2, Desk 2 means 3+4 etc. Performance Notes General: The set-up on stage is important, with two Violin groups on each side on the platform: Vilin 1 lefts and Violin 2 right, as seen from the audience 1st Movement : In bar 1 &, 7 the entire string group should adjust their intonation to the Double Basses and their natural harmonics. In the rest of the movement normalintonation should be used. The slow and rhythmical vibrato pulse should follow the accents 2nd Movement : The 10/5 meter is divided into two beats, and the dotted lines show the position of the second beat in each bar 3rd Movement : no comment 4th Movement : The very high harmonics are intended as mostly a high 'airy' sound. The small gliss/portamenti that will invariably occur in the fast shofts of positions are intended.
SKU: HL.14020993
ISBN 9780711952010. 5.5x8.5x0.222 inches.
The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers, now brought to the fore, are piccolo and alto flute, cor anglais, Eb and bass clarinets and contrabassoon. They make a motley group, diverse in colour as in register, and one of the tasks of the piece sets itself is to have them blend and cohere, both together as an ensemble and in partnership with the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo, recitatives for the alto flute, a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement, which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions, including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement, or sequence of short slow movements, followed by a dancing finale with its own slow episodes. Altogether this is music of songs and dances, heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe, having six chanters and a drone of variegated string texture. This work for woodwind instruments and string orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the ninth of ten concerti to be written for principal players of the Scottish Chamber Orchestra. The first performance was given in February 1995 by the Scottish Chamber Orchestra, conducted by the composer.
SKU: HL.48188488
UPC: 888680866952. 8.5x11.75x0.543 inches.
“Composed in 1978 by Henri Dutilleux, Timbres, Space, Movement is a work for Orchestra, also named ?The starry night? after a painting by Van Gogh. It was commisioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Münch. This great orchestral work lasts approximately 20 minutes and depicts the content of the painting. It is written for a full orchestra without Violins or Violas. A sketch of the placement of the instruments is given in the book as its disposition differs from a full orchestra: The Cellos placed in a half-circle in front of the conductor. The Cellos represents the space with twirling solos and more stagnant sections while the lack of Violins and Violas is for the quiet and motionless part of the painting. The solo of the Winds and Drums characterizes the clouds and the light of the moon and the stars. It is divided in two parts: 1. Nébuleuse (Nebula) and 2.Constellations, which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, amongst many others. His work also includes a Piano sonata, two symphonies, the Violin concerto 'L'arbre des songes' (The tree of dreams) and the Cello concerto 'Tout un monde lointain' (A whole distant word).”.
SKU: HL.14020989
ISBN 9780711952027. 9.0x12.0x0.433 inches.
The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers, now brought to the fore, are piccolo, alto flute, cor anglais, clarinet in Eb, bass clarinet in Bb and contrabassoon. They make a motley group, diverse in colour as in register, and one of the tasks of the piece sets itself is to have them blend and cohere, both together as an ensemble and in partnership with the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo, recitatives for the alto flute, a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement, which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions, including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement, or sequence of short slow movements, followed by a dancing finale with its own slow episodes. Altogether this is music of songs and dances, heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe, having six chanters and a drone of variegated string texture.
Kohaut was a contemporary of Dittersdorf, Vanhal and Hoffmeister. This three movement concerto, published here for the first time, offers musical and technical challenges of Grade 8 standard and above. Scored for Double Basswith a Piano reduction of the original Orchestral Score
