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Concerto Per Due Chitarre E Orchestre. (For Guitar and Orchestra). By Mario Castelnuovo Tedesco (1895-1968) and Mario Castelnuovo-tedesco (1895-1968). For Flute 1, Flute 2, Oboe, Clarinet 1, Clarinet 2, Bassoon, Horn 1, Horn 2, Trumpet, Timpani, Drum, Percussion 1, Percussion 2, Violin 1, Violin 2, Viola, Cello, Double Bass. Set of parts. Standard notation. Opus 201. Published by Berben (PR.576007210). With Standard notation.
Instruments: Guitar, Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Percussion, Timpani, Woodwinds, Brass, Strings, Trumpet
Genres: Classical, 20th Century
Variations on an Original Theme for Orchestra "Enigma" by Edward Elgar (1857-1934). Edited by Christopher Hogwood. For 2 flutes, 2 oboes, 2 clarinets (b flat), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, organ, kettledrum, percussion. This edition: Urtext edition. Set of wind parts. Opus 36. 142 pages. Published by Baerenreiter Verlag (BA.BA9042-65). ISBN 9790006527779. 32.5 x 25.5 cm inches.
Instruments: Organ, Flute, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Tuba, Piano and Keyboard, Woodwinds, Brass, Trumpet
Genres: Classical, 20th Century
Suite by Gabriel Grovlez (1879-1944). For alto saxophone in Eb solo, string quintet (violin 1 and 2, viola, cello and double bass), horn in F, flute and harp. This edition: Instrumental. Small ensemble music. Grade 3. Instrumental parts. 9 pages. Duration 16 minutes. Published by Anne Fuzeau Productions - France (FZ.3390). ISBN M230633901. 21 x 29.7 cm inches. For alto solo saxophone in Eb, strings' quintet (violin 1 and 2, alto, cello and double bass), horn in F, flute and harp.
Instruments: Flute, Alto Saxophone, Horn, Violin, Cello, Viola, Double Bass, Harp, Woodwinds, Saxophone, Brass, Strings
Genres: 20th Century, Classical
Symphony AD 78 by Gordon Jacob (1895-1986). For Concert Band (Piccolo, 1st Flute, 2nd Flute, Oboe 1/2, Bassoon 1/2, Eb Clarinet, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet, Bb Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, 1st Bb Cornet, 2nd/3rd Bb Cornet, 1). Band Music. Grade 5. Score and parts. Duration 15:30. Published by C. Alan Publications (CN.R10158). With this Symphony, Gordon Jacob proclaims his absolute mastery of idiom and instrumentation with a triumphant rejoicing. Written in 1978 as a commission from Arthur Doyle (hence the "AD" in the title, a typical piece of Jacob wit), it lay virtually unplayed save for the efforts of his Estate, Troy Peterson and Geoffrey Brand and CBDNA (College Band Directors Association, USA), who between them ensured that it was professionally recorded in 1994 and published in 1995.There is little point in indulging in semantics as to whether the piece is a Symphony. It is Jacob's approach to his tuneful, folk-based material which is symphonic: weighty in exposition and development, sonorous and expressive in the slow movement, with a scherzo-like last movement and a giocoso coda.After a brilliant opening fanfare, the quick triple-meter first theme (Allegro Risoluto) is introduced on clarinets, punctuated with brass. It is soon followed by a contrasting melody for saxophone. In all this material the interval of a 4th is prominent, and throughout the work the 4th and 7th are important. Perhaps it is the frequent use of the 7th which gives a feeling of restlessness without resolution which pervades this movement as the themes are dissected and developed.The second movement follows directly after a horn bridge. Still the melody outlines the 7th and the ear is not satisfied until the full band (with organ), comes to rest in Bb major. This point of repose and the magic pianissimo which follows shortly after when the slow theme is re-stated, are the apex of the Symphony's construction.Soon, however, we are transported, via a fanfare, into a helter-skelter 9/8 romp: rustic, English, and almost vulgar, this theme is thrown around the group before exploding into a boisterous 2/4 coda.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Cornet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: Classical, 20th Century
Trombone Concerto. (Trombone Feature). By Derek Bourgeois (1941-). For Soloist(s) with Concert Band (Solo Trombone, Piccolo, 1st Flute, 2nd Flute, Oboes, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*, 1st/2nd F Horn, 3rd/4th F Horn, 1st B). Band Music. Platinum Band Series. Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.R10024). The first movement of Derek Bourgeois' Trombone Concerto is constructed Classically: the solo trombone immediately launches into the opening theme in F minor, conceived harmonically in a sequence of descending thirds and it is the solo trombone too that introduces the lyrical second idea, in A flat, presented over chords which are given mobility by dark-toned alto and bass clarinets.These contrasting subjects give the composer ample opportunity to let loose his fertile imagination, whether expanding on the Baroque qualities of the opening material in a fugato section for woodwinds, or boldly stating the romantic second theme on brass leading to cascading sextuplets, or with the soloist presenting the first theme in augmentation against a ripple of semi-quavers.After this development, there is virtually a formal recapitulations in the woodwinds and the soloist repeats the second theme in tonic (F) major. The movement closes with pianissimo chords - no great bravura here, but leading us in mood to the second movement which opens a tone lower in E-flat.Here, the rich tone of the soloist is matched by three accompanying trombones - with the writing equaling the expressiveness of a cello quartet. Gradually, the rest of the low brass join as the solo trombone weaves a seamless, almost Wagnerian theme, extending phrases sequentially. This movement has two separate thoughts and a solo clarinet answers the trombone with a new theme accompanied only by three horns, euphonium, and pizzicato string bass.Whilst most of the slow movement is contemplative, Bourgeois allows the band to unleash the full fortissimo passion implied in the second, clarinet theme, before the movement closes as it began - but this time only two trombones accompany the soloist, and all three are muted.After the passion of the slow movement, Bourgeois adopts a Classical rondo form as a 6/8 Scherzo, marked Presto, which gives the release we need. It is fun, to be thrown off lightly as we enjoy the semitone shifts with a wry smile. Towards the end of the movement is a cadenza which alludes to the thematic content of the first movement, but aurally the hard work has been done. For the soloist however, the music requires a virtuoso combination of slide and tongue.Derek Bourgeois' Trombone Concerto was commissioned by the British Trombone Society for the International Trombone Workshop at Eton, England, July 1989 with gratefully acknowledged assistance from Southern Arts. The world premiere was given by Christian Lindberg.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Horn, Trombone, Woodwinds, Clarinet, Saxophone, Brass
Genres: Classical, 20th Century, Latin
Concerto for Saxophone & Wind Symphony. (Saxophone Feature). By Jere Hutcheson. For Soloist(s) with Concert Band (Piccolo, Flute 1/2/3, Oboe 1/2, English Horn, Soprano Clarinet in Eb, Clarinet in Bb 1/2/3, Bass Clarinet in Bb, Bassoon 1/2, SOLO ALTO SAXOPHONE (doubling Soprano Saxophone in 2nd mvt), Trumpet in Bb, Horn in F 1/2, Trombone 1, Bass Trombone, Euphonium, ). Band Music. Grade 5. Score and parts. Duration 18:00. Published by C. Alan Publications (CN.14140). Concerto for Saxophone is dedicated to Joseph Lulloff, saxophonnist, and The Michigan State University Wind Symphony, John Whitwell, conductor.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Soprano Saxophone, Bassoon, English Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Trombone
Symphony No. 2: Genesis by David Gillingham. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, English Horn, Bassoon 1/2, Eb Soprano Clarinet, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in B). Band Music. Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.14760). Like Symphony No.1 (Apocalyptic Dreams), Symphony No. 2 ("Genesis") is programmatic and based on Biblical scripture. Symphony No. 2 is inspired by the first nine chapters of Genesis and is divided into five movements: I. In the beginning; II. Eden and the forbidden fruit; III. Noah and the Ark; IV. The floodgates of heaven; and V. The sign of the covenant.Movement I. In the beginning, opens mysteriously with the whirring of flexible plastic hoses in the percussion and a pedal G in the vibraphone which signify chapter 1, verse 2, "Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters." God's presence and voice are represented by repeated notes leading to a note a half step above and then back down, (the "God motive") first heard by the horns in the thirteenth measure. Following are ascending passages in the Eb clarinet over harp-like passages in the piano indicative of chapter 1, verse 3, "And God said 'Let there be light', and God saw that the light was good, and he separated the light from the darkness." An accumulation of texture follows building into an expansive tone cluster which breaks into G major with a soaring melodic line in the horns. The section represents chapter 1, verse 6, "And God said, 'Let there be an expanse between the waters to separate water from water.'" Ensuing is the essence of chapter 1, verse 11, "Then God said, ' Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds.'", and chapter 1, verse 14-15, "And God said, 'Let there be lights in the expanse of the sky to separate the day from the night, and let them serve as signs to mark seasons and days and years, and let there be lights in the expanse of the sky to give light on the earth.'" Strident articulations of chords along with the brake drum begin this section, likened to lightening, followed by rustling in the clarinets over clusters in the brass followed again by a soaring horn melody emulating the voice of God. Trills and ascending passages in the woodwinds and piano over low brass chords characterize the next section which expresses the creation of living creatures expressed by chapter 1, verse 20 and 24, "And God said, 'Let the water teem with living creatures, and let birds fly above the earth across the expanse of the sky'"; "And God said, 'Let the land produce living creatures according to their kinds: livestock, creatures that move along the ground, and wild animals, each according to its kind.'" A quiet and most reverent section ensues which expresses the voice of God (the "God motive") as He creates his most prized possession, Man, as written in chapter 1, verse 26, "Then God said, 'Let us make man in our image, in our likeness and let them rule over the fish of the sea and the birds of the air, over the livestock, over all the earth, and over all the creatures that move along the ground'". The movement ends with a sort of benediction which utilizes the "God motive" and ends quite peacefully in G major, all inspired by chapter 2, verse 2, "By the seventh day God had finished the work he had been doing; so on the seventh day He rested from all His work.'"Movement II. Eden and the Forbidden Fruit, seeks to exploit both the beauty and the wrath of God. The first part of the movement is devoted to the Garden of Eden, the creation of the woman (Eve) and The Tree of Knowledge of Good and Evil. Verses 8-9, 16-17, and 21-22, from the 2nd chapter of Genesis provide the inspiration for this part of the movement: "Now the Lord God had planted a garden in the east, in Eden; and there He put the man He had formed. And the Lord God made all kinds of trees grow out of the ground--trees that were pleasing to the eye and good for food. In the middle of the garden were the tree of life and the tree of the knowledge of good and evil." "And the Lord God commanded the man, 'You are free to eat from any tree in the garden; but you must not eat from the tree of the knowledge of good and evil, for when you eat of it you will surely die.'" "So the Lord God caused the man to fall into a deep sleep; and while he was sleeping, He took one of the man's ribs and closed up the place with flesh. Then the Lord God made a woman from the rib He had taken out of the man, and He brought her to the man." The mood begins to change when the euphonium plays the first two phrases of the hymn O God Our Help in Ages Past (Tune by William Croft 1708; "St. Anne"). Tempted by a most crafty serpent, Adam and Eve eat the forbidden fruit from the tree of knowledge of good and evil: "When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it. She also gave some to her husband, who was with her, and he ate it" (chapter 3, vs. 6). The hymn abruptly ends articulated by stopped horns. Following, is a section filled with angry and evil motives and dissonant textures which allude to the consequences of eating the forbidden fruit: "To the woman he said, 'I will greatly increase your pains in childbearing; with pain you will give birth to children. Your desire will be for your husband, and he will rule over you'" (chapter 3, vs. 16). And to Adam he said, "Cursed is the ground because of you; through painful toil you will eat of it all the days of your life. It will produce thorns and thistles for you, and you will eat the plants of the field. By the sweat of your brow you will eat your food until you return to the ground, since from it you were taken; for dust you are and to dust you will return" (chapter 3, vs. 17-19). The movement ends in woeful reflection of the curse that God bestowed upon mankind.Movement III. Noah and the Ark, is in a scherzo-trio structure. The scherzo section is set in compound duple meter and reflects Noah's overwhelming job to build a most expansive ark as described in chapter 6 of Genesis. The trio is almost child-like in mood and quotes the hymn All Things Bright and Beautiful (Words by Cecil F. Alexander, 1848, 17th century English melody):All things bright and beautiful,All creatures great and small,All things wise and wonderful,The Lord God made them all.The hymn serves to create the image of boarding all the "creatures" on the ark: "You are to bring into the ark two of all living creatures, male and female, to keep them alive with you. Two of every kind of bird, or every kind of animal and of every kind of creature that moves along the ground will come to you to be kept alive." (Chapter 6, vs. 16-20.) The recapitulation of the trio is interrupted by a dissonant textural crescendo leading to movement IV.Movement IV. The Floodgates of Heaven, begins with falling rain (closed hi-hats) over a pedal Eb. After several strikes of lightning, tutti chords, the heavens open up and it begins to pour (cascading woodwind passages). As described in Chapter 7, vs. 11-12: "In the six hundredth year of Noah's life, on the seventeenth day of the second month--on that day all the springs of the great deep burst forth, and the floodgates of the heavens were opened. And rain fell on the earth forty days and forty nights." Under the cascading woodwinds the horns and trumpets sing a theme of destruction. The intensity grows and reaches its height in C major and becomes quiet with a repeated eighth note pedal on C in the trumpets. Then, motives from the death chant, Dies Irae, appear in the woodwinds and piano representative of Chapter 7, vs. 23: "Every living thing on the face of the earth was wiped out; men and animals and the creatures that move along the ground and the birds of the air were wiped from the earth. Only Noah was left, and those with him in the ark." The section builds to a partial statement of the chant by the full ensemble ending with a pedal on G by the timpani.Movement V. The Sign of the Covenant is the fifth and final movement of the symphony. The first part of the movement reflects the dove sent by Noah to find land. The piccolo solo aptly alludes to the bird as it flies toward land and brings back the olive branch: "He waited seven more days and again sent out the dove from the ark. When the dove returned to him in the evening, there in its beak was a freshly plucked olive leaf! Then Noah knew that the water had receded from the earth" (chapter 8, vs. 10-12). Below the continuing song of the piccolo (the dove), the horns sing a theme of celebration as Noah and the animals step off the ark onto dry land. A prayer follows with a series of overlapping cadences alluding to Noah building an altar and God vowing not to ever again destroy the living things on earth (chapter 8, vs. 20: "Then Noah built an altar to the Lord.."; Chapter 8, vs. 21-22: "Never again will I curse the ground because of man, even though every inclination of his heart is evil from childhood. And never again will I destroy all living creatures, as I have done."). The symphony ends in fanfare modulating dramatically to E major and then fading away to a single E major chord in the marimba which then fades to silence (Chapter 9, vs. 12-13: "This is the sign of the covenant I am making between men and you and every living creature with you, a covenant for all generations to come: I have set My rainbow in the clouds, and it will be the sign of the covenant between Me and the earth.").Dedicated to Dr. Mallory B. Thompson in celebration of her first decade as Director of Bands at Northwestern University.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Elias (Elijah) (Elie) (Ein Oratorium nach Worten des Alten Testaments). By Felix Bartholdy Mendelssohn (1809-1847). Edited by R. Larry Todd. For Soli SATB, SATB Choir, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horn, 2 Trumpets, 3 Trombones, Oficleide, Timpani, 2 Violins, Viola, Cello, Contrabass, Organ. This edition: paperbound. Score available separately - see item CA.4013001. Oratorios; Stuttgart Urtext Editions; Use / Occasion: Psalms. Level 4. Score. Language: German/English. Composed 1844-1846. 70. 496 pages. Duration 130 min. Published by Carus Verlag (CA.4013000). ISBN M-007-08778-4. With Language: German/English. Oratorios; Stuttgart Urtext Editions; Use / Occasion: Psalms.
Instruments: Choir, Organ, Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Trombone, Percussion, Timpani, Vocal, Piano and Keyboard, Woodwinds, Brass, Strings, Trumpet
Serenade nach Altgrazer Kontratanzen by Jeno Takacs (1902-). Edited by Armin Suppan. Various concert music. For wind orchestra (Flute (Piccolo), Oboe, 3 Clarinet, Alto Saxophone, bassoon, 2 Horns, 2 trumpets, Trombone, Baritone, Bass Drum, Percussion). Set of parts. Op. 83d. Published by Doblinger Music Publishers (DB.74-00803-ST).
Instruments: Flute, Clarinet, Oboe, Alto Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Woodwinds, Saxophone, Brass, Trumpet
Concerto for Percussion. (Solo Percussion Feature). By Derek Bourgeois (1941-). For Soloist(s) with Concert Band (Piccolo, Flute 1-2, Oboe 1-2, Bassoon, Eb Clarinet, Bb Clarinet 1-3, Eb Alto Clarinet, Bass Clarinet, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1-3, Bb Trumpet 1-2, Horn in F 1-4, Trombone 1-3, Euphonium, TC Baritone, Bass , Strin). Band Music. Grade 6. Score and parts. Duration 21:00. Published by C. Alan Publications (CN.16130). Focused mainly on the marimba and vibraphone, the soloist is also called on to play a multi percussion set up including congas, bongos, toms, and snare drum. The first two movements are highly improvisatory in sound while the final movement's 16th note patterns lend it a frolicking perpetual motion effect.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Cornet, Trombone, Euphonium, Percussion, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical, 20th Century