SKU: HL.48185645
Guy-Claude Luypaerts's first volume in the series Of the Flute, which provides exciting pieces for Flute and Piano or accompanying CD. Ensuring that teachers and students are able to find adequate melodic and technical pieces, the Of the Flute series covers all styles necessary for auditions or competitions. Parisian composer and flautist Luypaerts (b. 1994) has written notable concertos and works for the instrument, some of which have been commissioned by the French Culture Ministry and by Radio France. Luypaerts is also a sought after teacher and all his experiences and expertise combined have lead to the popular Of the Flute series. The first volume contains a variety of inspiring pieces, suitable for beginner to intermediate level..
SKU: HL.48185644
UPC: 888680843533. 9.0x12.0x0.117 inches.
Guy-Claude Luypaerts's first volume in the series Of the Flute, which provides exciting pieces for flute and piano or accompanying audio. Ensuring that teachers and students are able to find adequate melodic and technical pieces, the Of the Flute series covers all styles necessary for auditions or competitions. Parisian composer and flautist Luypaerts (b. 1994) has written notable concertos and works for the instrument, some of which have been commissioned by the French Culture Ministry and by Radio France. Luypaerts is also a sought after teacher and all his experiences and expertise combined have lead to the popular Of the Flute series. The first volume contains a variety of inspiring pieces, suitable for beginner to intermediate level.
SKU: FG.55011-896-6
ISBN 9790550118966.
Roope Mäenpää's Sonata for flute and piano (2020) was composed on a small island Utö in the Archipelago Sea (in the Baltic Sea). Isolated from his normal environment the composer didn't find so much peace or harmony as insecurity and introversion. These sensations of otherness, together with an intensive creative project, left a diary-like mark on the sonata. It is commissioned by and dedicated to Sami Junnonen and Tuomas Turriago.Roope Mäenpää (b. 1990) is a Finnish composer and musician based in Tampere. Mäenpää’s oeuvre includes orchestral and chamber music, and his works have been performed by the Finnish Radio Symphony Orchestra, the Tampere Philharmonic and the Lapland Chamber Orchestra. He has also worked in close collaboration with the TamperRaw contemporary music ensemble. Mäenpää has composed two musical fairytales for narrator and orchestra: Hipinäaasi apinahiisi (2019-20) and the Insect Symphony (2021), which he conducted in 2022 at the concert by the Tampere Philharmonic. The symphony is a valuable addition to children’s culture and an exciting work which sets out to explore nature through the miraculous world of little organisms.
SKU: HL.14043012
ISBN 9788759829271.
Hans Abrahamsen 's Flowersongs (2012 version) for Flute, Oboe and Clarinet. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word, but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen.
SKU: HL.14043011
ISBN 9788759829288. 9.7x14.0x0.079 inches.
Hans Abrahamsen 's Flowersongs (2012 version) for Flute, Oboe and Clarinet. Parts. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word, but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen.
SKU: PR.114417570
ISBN 9781491107867. UPC: 680160636013. 9x12 inches.
The famous set of dances by Norway's greatest composer were written for piano duet. Grieg later created a piano solo version, but refused to orchestrate the set. After some study of Grieg and his music, Michael Webster has arranged the four dances for Flute, Clarinet, and Piano in a faithful setting, using the piano duet version as a guide. This lively Grieg classic will be a welcome new addition to performance programs. For advanced performers._______________________________________Text from the scanned back cover:Born in 1944, MICHAEL WEBSTER made his New York recital debut at Town Hall in 1968 with his eminent father, Beveridge Webster, as pianist. In the same year, he won the Young Concert Artists International Competition and succeeded his teacher, Stanley Hasty, as Principal Clarinet in the Rochester Philharmonic, a position he held for twenty years. Webster has performed with the Chamber Music Society of Lincoln Center, the 92nd Street Y, with the Tokyo, Cleveland, Muir, Ying, Enso, and Dover String Quartets, and with the festivals of Marlboro, Santa Fe, Norfolk, Chamber Music Northwest, Angel Fire, Steamboat Springs, Park City, Sitka, Kapalua, Bowdoin, Orcas Island, Skaneateles, La Musica di Asolo, Stratford, Victoria, and Domaine Forget.As soloist he has appeared with many orchestras, including the Philadelphia Orchestra under Aaron Copland and the Boston Pops under John Williams. His travels have taken him as performer and teacher to most of the 50 states, as well as Canada, Mexico,Puerto Rico, Central and South America, Europe, Japan, China, Australia, and New Zealand. Webster was Acting Principal Clarinet of the San Francisco Symphony, and has served on the clarinet and/or conducting faculties of New England Conservatory, Boston University, University of Michigan, and the Eastman School, from which he earned his three degrees. Currently he is Professor of Music at Rice Universityâ??s Shepherd School of Music and Artistic Director of the Houston Youth Symphony, which has won multiple first prizes in national performance competitions.With his wife, flutist Leone Buyse, and pianist Robert Moeling, he plays in the Webster Trio, which has recorded his arrangements on Tour de France and World Wide Webster for Crystal Records. Otherarrangements were recorded for Nami and Camerata Tokyo in Japan with pianist Chizuko Sawa. Webster has also recorded for Albany, Arabesque, Beaumont, Bridge, Centaur, CRI, and New World. He has played at many ClarinetFests for the International Clarinet Association and written a column entitled â??TeachingClarinetâ? in The Clarinet Magazine since 1998. Michael Webster is a Buffet artist-clinician, performing on Buffet clarinets exclusively. NORWEGIAN DANCES (Grieg)Michael Websterâ??s transcriptions for Flute, Clarinet, and Piano have created the core literature for this instrumental genre. Working directly from Griegâ??s original piano four-hands version of the charmingly familiar Norwegian Dances, Webster has given flutists and clarinetists another addition to the ensembleâ??s repertoire.
SKU: HL.14011531
ISBN 9788759877104. 10.25x14.25x0.44 inches. Danish.
Hans Abrahamsen 's Flowersongs (1973) for three Flutes. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of the new simplicity,minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word: but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen.
SKU: HL.48024880
ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.
This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.
SKU: HL.49046797
UPC: 842819115670. 9.0x12.0x0.099 inches.
The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous pianopieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazil Say's arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars havebeen presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra. It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation.
SKU: PR.11440719S
UPC: 680160011087. 8.5 x 11 inches.
Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary.
SKU: HL.49045770
9.0x12.0x0.12 inches.
My fascination with the culture of the Navajo Native Americans and their healing ceremonies based on harmony and beauty motivated meto listen to ethnographic recordings of their songs, which are customarily accompanied by rattles and drums. A number of these songsinspired me to create two works for different instrumental ensembles for students at the Conservatoire de Versailles. Both pieces represent miniature versions of ceremonial events. Thierry Pecou.
SKU: HL.49045771
0.15 inches.
SKU: HH.HH445-FSP
ISBN 9790708146520.
Sonata 1 in D major opens with a Larghetto full of the rhetorical kind of expression one associates with Handel. It is followed by a busy Allegro and a concise Tempo di Minuetto movement that celebrates the extreme popularity of this dance, which, in contrast to its role in the Classical symphony, most often serves as a finale in works written around the middle of the century. | Sonata 2 in G major is in a traditional pastoral key. This association is confirmed immediately in a charming siciliana marked Andante. The Allegro assai that follows is dominated by its three-hammer-blow opening motive, which Balicourt treats with great insistence and some ingenuity. The concluding pair of movements illustrates Balicourt’s Janus-like cultivation of both galant and baroque musical languages. The Andante in E minor takes us into the world of a slow movement in a mid-eighteenth-century operatic sinfonia, while the Allegro has all the characteristics of a Corellian giga written fifty years earlier.
SKU: MH.1-59913-064-5
ISBN 9781599130644.
I wrote Galloping Ghosts (A Ragtime March) to conclude a concert of my chamber music in New York City on October 28, 1986. It is the final part of a work called Rags for Divers Players. This work was written to show the variety possible within the standard rag form. I used all the players available for the finale -- two violins, viola, cello, bass, flute, oboe, clarinet, horn, bassoon, and piano. Since this is a rather unusual instrumental combination and not easy to reassemble, I decided to rescore the work for concert band. Galloping Ghosts is written in a standard march form but incorporates many of the syncopations found in ragtime. The uniquely American music called ragtime traces its history to African rhythms brought over by slaves. Over the years this music became welded to European musical forms such as the quadrille and the march. Drums and banjos and the minstrel tradition lent a special flavor, and from all these elements ragtime slowly evolved within the largely unknown black subculture of the late 19th century. In the late 1890's it emerged as a fully developed form in the classic piano solos of Scott Joplin (1869-1917). Joplin's 1899 hit, Maple Leaf Rag, was an overnight sensation and brought ragtime worldwide fame. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 and 2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass and Bb Contrabass Clarinet, 2 Bassoon 1 and 2, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 Horn 1 and 2 in F, 2 Horn 3 and 4 in F, 4 Trombone 1 and 2, 4 Bass Trombone, 2 Baritone (B.C.), 2 Baritone (T.C.), 4 Tuba, 1 String Bass, 1 Timpani, 1 Xylophone, 3 Percussion 1, 3 Percussion 2.
