Festival Classics for Clarinet

Par NORMAN HEIM. Cette collection de musique arrangée pour clarinette de si bémol et piano est divisée en deux sections. La première comprend onze chansons folkloriques de partout dans le monde qui peut être joué par des artistes de niveau intermédiaire (les deux instruments). La deuxième section se compose de dix compositions qui sont bien connus et ont été écrits dans les XVIIIe et XIXe siècles par des compositeurs estimés comme Pachelbel, Handel, J.S. Bach, Mendelssohn et Beethoven. Cette musique peut être jouée par les clarinettistes de niveau intermédiaire, et l'accompagnement au piano sera de défi modérée. Les airs de chaque section sont de longueur modérée et peuvent être joués pour les occasions de festival, église, école et les loisirs. L'accompagnement au piano est disponible en téléchargement gratuit. / Niveau : Intermédiaire / All Styles - Solos / Recueil / Clarinette

This collection of music arranged for B-flat clarinet and piano is divided into two sections. The first features eleven folk songs from around the world that can be played by intermediate-level performers (both instruments). Thesecond section consists of ten compositions that are well known and were written in the eighteenth and nineteenth centuries by esteemed composers such as Pachelbel Handel J.S. Bach Mendelssohn and Beethoven. This music can beplayed by intermediate-level clarinetists and the piano accompaniment will be of moderate challenge. The tunes in each section are of moderate length and can be played for festival church school and leisure occasions. Thepiano accompaniment is available as a free download.

Performed by John Cipolla clarinet Accompaniment: Stuttgart Festival Orchestra Conductor: Emil Kahn From Bach to Tchaikovsky this collection of classics offers a unique treat spanning two centuries of great music. Arranged for clarinet and concert band. Includes a high-quality printed music score and a compact disc containing a complete performance in split-channel stereo with the soloist on the right channel; and a second performance in full stereo minus the soloist.

By the age of forty Finnish composer Magnus Lindberg was one of the busiest concert composers in the world. His music avails itself of all manner of modern innovations but there is a Neo-Classical orientation in his harmoniesand formal design that makes his works appealing to a wide audience. The Quintet for Clarinet and Strings was comissioned by Kuhmo Chamber Music Festival and first performed in this festival in Finland in 1992. In the composer'sown words: 'Despite its rather extended duration (almost 20 minutes) the work is in one continuous movement. Sections are based on either a static material composed of different scales giving the music an 'insect like'appereance or on directional processes forcing the music to gradually change character or even physically pushing the music to extreme registers or speed.' This edition contains all the Parts.

By the age of forty Finnish composer Magnus Lindberg was one of the busiest concert composers in the world. His music avails itself of all manner of modern innovations but there is a Neo-Classical orientation in his harmoniesand formal design that makes his works appealing to a wide audience. The Quintet for Clarinet and Strings was comissioned by Kuhmo Chamber Music Festival and first performed in this festival in Finland in 1992. In the composer'sown words: 'Despite its rather extended duration (almost 20 minutes) the work is in one continuous movement. Sections are based on either a static material composed of different scales giving the music an 'insect like'appereance or on directional processes forcing the music to gradually change character or even physically pushing the music to extreme registers or speed.' This is the Score.

Postcards was written in 1991 for the Vega Wind Quintet who first performed it at the Huddersfield Festival in the same year. It is a reworking of a set of eight Bagatelles written in 1965: each movement has been rewritten and enlarged to a greater or lesser extent. The title was chosen to emphasise the nature of the pieces which are in a sense brief postcards from different genres (fugato dance etc). John McCabe (1939-2015) was a British composer pianist and music administrator. He studied at the Royal Manchester College of Music and built a career as a virtuoso pianist. However he also wrote several hundred musical compositions ranging from large-scale orchestral works to chamber music and solo instrumental pieces - it is said the only classical genre he did not write for was opera. 

Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical

While Gordon Jacobs composed a vast amount of music more than four hundred pieces -- he was particularly celebrated for his work for Viola and for woodwinds as well as for his books on music pedagogy. Jacob had an early success with his Viola Concerto of 1926 which was premiered at a Promenade concert and which was the beginning of a series of strong contributions to Viola repertoire. This Sonatina for Viola and Piano demonstrates his sensitive writing for the instrument. It works very well when performed on clarinet as well.While many composers of the 20th century rejected serialism atonality and other avant garde effects in favour of Romanticism Jacob was much morean adherent to the musical models of the classic and baroque eras while still encompassing modern harmonies. His work Music for a Festival for symphonic wind band and brass ensemble was used for the post-war Festival of Britain and he arranged the British national anthem for the coronation of Queen Elizabeth II.