Concerto Piccolo

SKU: KN.10414

UPC: 822795104141.

Selected and arranged by professional flutist/educator Amy Kempton and edited by Carl Strommen, these grade 6 editions will become valuable additions to the piccolo repertoire.

Contents:
Concerto (Cimarosa); Sonata In C Major (Fasch); The Wren (Damare).

SKU: SU.80101386

Concerto piccolo (in memoriam Eberhard Kraus) (2017) is titled in memory of the prolific German composer Eberhard Kraus (1931-2003). In three movements: Capriccio, Arietta, Chorale. Instrumentation: Organ Duration: 11' Composed: 2017 Published by: Zimbel Press.

SKU: SU.50028150

(Reduction of string orchestra).Copyright 1991. Published by: Seesaw Music.

SKU: HL.48183620

UPC: 888680871055. 9x12 inches.

Edison Denisov: Concerto piccolo (Saxophone & Percussion).

SKU: MA.EMR-56571

1. Epic Fantasy / 2. Fantasia Italiana / 3. The Middle Age / 4. Fantasia Espanola / 5. The Conquest of The Oceans.

SKU: MA.EMR-56156

1. Storm In My Soul / 2. Look In The Mirror / 3. Wild Heart / 4. Less Is More / 5. Funny Dream.

SKU: MA.EMR-54441

1. A Russian Fantasy / 2. Variations On A Nordic Song / 3. The Wild West Adventure / 4. The Conquest Of Space / 5. Sonata Classica.

SKU: HL.14008367

ISBN 9780711975422. 8.25x11.75x0.105 inches.

Piccolo and Piano Reduction. This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 23 April 1997, by Stewart McIlwham and the Royal Philharmonic Orchestra, conducted by the composer. The three movements should be played without a break. The piccolo may have obvious limitations as a solo instrument, but Davies is not one to shirk a challenge. What he does is to play with the stereotypical modes of the instrument, so that the military pipe and drum effect is hinted at near the beginning of the third movement, while the jaunty manner is recalled at the close of the first, but as through a veil. A potentially comic partnership with the bass clarinet is also dignified when the two instruments engage in meditative dialogue in the second movement. Duration c. 15 minutes. Study Score on sale. Conductor's score and orchestral parts are available on hire.

SKU: HL.14009826

UPC: 884088810931. 8.5x11.0x0.162 inches.

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.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.