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Esther. (Opera in Three Acts). By Hugo Weisgall. Vocal ensemble. For Soprano, Mezzo-Soprano, Contralto, Tenor I, Tenor II, Tenor III, Tenor IV, Baritone I, Baritone II, Countertenor, Bass-Baritone, Bass, Chorus, Children's Chorus, Piccolo, 3 Flutes, Alto Flute, 2 Oboes, English Horn, 2 Clarinets, Bass Clarinet, 2 Bassoons,. Charles Kondek. Opera. Piano reduction/vocal score. Standard notation. 316 pages. Published by Theodore Presser Company (PR.411411190). With Standard notation. opera.
Instruments: Choir, Piano, Piccolo, Bass Clarinet, Oboe, Bassoon, English Horn, Mezzo Soprano Voice, Vocal, Piano and Keyboard, Flute, Woodwinds, Clarinet, Voice
Genres: Classical, Opera, Miscellaneous
Mazurka (Bass Clarinet Solo) by Norman Tailor. For bass clarinet and wind band. Swiss import. Grade 4. Score and parts. Published by Editions Marc Reift (MA.EMR-10298).
Instruments: Bass Clarinet, Clarinet, Woodwinds
Clarinettissimo by John G. Mortimer. For clarinet and wind band (concert band). Swiss import. Original Composition. Grade 4. Score and parts. Published by Editions Marc Reift (MA.EMR-10505).
Instruments: Clarinet, Woodwinds
Flash!. (For Piccolo and Band). By Daniel Dorff. Concert band. For Solo Piccolo, 2 Flutes, 2 Oboes, Eb Clarinet, 2 Bb Clarinets, Bb Bass Clarinet, 2 Bassoons, Contrabassoon, 2 Eb Alto Saxophones, Bb Tenor Saxophone, Eb Baritone Saxophone, 3 Bb Trumpets, 4 F Horns, 2 Trombones, Bass Trombone, Euphonium, Tuba, 3 Percussion. This edition: Band. Contemporary. Set of parts. Standard notation. Composed OCTOBER 2008. Duration 6 minutes, 30 seconds. Published by Theodore Presser Company (PR.11540204M). With Standard notation. contemporary. Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.
Instruments: Piccolo, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Percussion, Tuba, Flute, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Pictures at an Exhibition (Full Score). By Modest Petrovich Mussorgsky (1839-1881). Arranged by Bruno Peterschmitt. Reduced symphonic orchestra. For Flute (and Piccolo), Oboe (and English horn), Bb Clarinet (and A Clarinet), Bassoon, Horn, 2 Violins, Viola, Cello, Double Bass, Harp, Percussion. Classical. Grade 5. Score and set of parts. 151 pages (score); 146 pages (parts). Published by FLEX Editions (FL.FX070624).
Instruments: Piccolo, B-Flat Clarinet, Oboe, Bassoon, English Horn, Violin, Cello, Viola, Double Bass, Harp, Percussion, A Clarinet, Flute, Woodwinds, Clarinet, Strings
Chronicles. (Trumpet Feature). By Joseph Turrin (1947-). For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, 2, 3, Eb Clarinet, Bass Clarinet, Bb Contrabass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Solo Bb Trumpet, Bb Cornet 1, 2, 3, Bb Trumpet 1, 2, F Horn 1, 2, 3, 4, Trombone 1). Grade 6. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.06790). I composed "Chronicles" during the summer of 1998. It is the second large trumpet work I have written for Philip Smith, the first being the Concerto for Trumpet commissioned by the New York Philharmonic in 1988. This work in many ways could also be considered a concerto, if not in a strict sense of form, at least in its expansiveness.The first movement (Prologue) has several thematic ideas that interweave throughout. There is a mixture of pointillism versus lyricism here along with a driving pulse create by running scale passages shared between soloist and ensemble. I also use a fanfare-like motif (as in the opening solo trumpet cadenza) which serves as a unifying force that reappears throughout. There is a quick coda, ending with a seven-bar chorale in which the solo trumpet recaps material from the opening cadenza.The second movement (Lamentation) begins with a chorale and consists of several contrasting sections: Section A, the opening chorale with the soloist entering in the latter half of the section. Following is Section B (a restless agitato). This section builds to a short climax which leads us to Section C (a plaintive melody in the clarinets followed by a building of tension in the brass). Section D follows (a lyrical trumpet melody with a steady ostinato accompaniment). There is a short trumpet cadenza followed by the return of the opening chorale. The movement slowly fades into silence.The last movement (Epilogue) is a rondo in 3/4 time. There are several sections, all of which lead to a trumpet cadenza. Following the cadenza is a fast coda bringing back material from the first movement. The solo trumpet states one last high staccato fanfare as the piece whirls to its conclusion.- Joseph Turrin.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Cornet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Sapphire. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Solo Alto Saxophone, Bb Trumpet 1-4, F Horn 1-4, Trombone 1/2, Bass Trombone, Euphonium, Tub). Grade 5. Score and parts. Duration 11:20. Published by C. Alan Publications (CN.08610). "Sapphire" is a one-movement concerto for alto saxophone and concert band or wind ensemble, commissioned by Mr. Lynn Klock, Professor of Saxophone at the University of Massachussetts at Amherst. It consists of three connected sections: the fast opening section is full of energy and edgy intensity; the second is a meditative ballad in improvisatory style, linked by a cadenza to the third section, which is a lively salsa, giving the percussion section a real workout. The themes of all the sections are reunited in the coda of the piece, as it culminates in a long trill by the solo saxophone, with instruments gradually added for a noisy, celebratory climax. The piece was composed entirely during the month of September 2000, and the title Sapphire refers to September's birthstone.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: 20th Century, Classical
Quodlibet (on 15th-century French song texts) by Mauricio Kagel (1931-). Contemporary Large Ensemble/Orchestra. For Soprano/Alto Voice Solo, [2(I+II=Piccolo+Alto Flute).1.English Horn.2(II=E-flat Clarinet).Bass clarinet.1.Contrabassoon/Bassoon-188.8.131.52], 2 Percussion, Harp, Piano, Electric organ, Strings [0.0.0.6/8.4/6]. Modern. Score. Composed Composed: 1986-88. Duration circa 19 minutes 30 seconds. Published by Edition Peters (PE.P08744).
Instruments: Piano, Organ, Piccolo, Bass Clarinet, E-Flat Clarinet, Bassoon, English Horn, Harp, Percussion, Alto Voice, Piano and Keyboard, Flute, Woodwinds, Clarinet, Strings, Voice, Vocal
Genres: 20th Century, Argentinian, Classical, Latin
L'Enfance du Christ (Die Kindheit Christi) (Trilogie sacree). By Hector Berlioz (1803-1869). Edited by Paul Prevost. For Soli STBarB, SATB Choir, 2 Flutes, 2 English Horn, 2 Clarinets, 2 Bassoons, 2 Horns, 4 Trumpets 3 Trombones, Timpani, Harp, 2 Violins, Viola, Cello, Contrabass, Organ. This edition: paperbound. Oratorios; French Sacred Music; Use during the church year: Christmas. Level 3. Score. Language: German/French. 25. 336 pages. Duration 95 min. Published by Carus Verlag (CA.7003800). ISBN M-007-08686-2. With Language: German/French. Oratorios; French Sacred Music; Use during the church year: Christmas.
Instruments: Choir, Organ, Flute, Clarinet, Bassoon, English Horn, Violin, Cello, Viola, Double Bass, Harp, B-Flat Trumpet, Trombone, Percussion, Timpani, Vocal, Piano and Keyboard, Woodwinds, Strings, Trumpet, Brass
Genres: Christian, Christmas, French, Religious, Miscellaneous, World
Der feurige Engel by Juraj Filas. For wind orchestra (piccolo, 2 flutes, 1 oboe, 3 clarinet (Bb), bass clarinet, 1 bassoon, 2 alto saxophones, 1 tenor saxophone, 1 baritone saxophone, 3 trumpets, 3 horns, 3 tubas, 2 baritone, 2 tubas, timpani, gran cassa, piatti a due, contrabass a 5 cordi). Contemporary. Parts. Composed 1993. Duration 10'. Published by Editions BIM (ET.OV2C).
Instruments: Flute, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Concertino (for Clarinet). By Gaetano Donizetti (1797-1848). Arranged by Jos van de Braak. For Clarinet and Concert Band. Grade 3. Full score and set of parts. Duration 4:00. Published by Baton Music (BF.BM022-SET). A short solo work by the Italian composer Donizetti who, in addition to his many operas, also composed a few concert works for wind instruments. Suitable for beginning soloists.
Instruments: Clarinet, Woodwinds
Genres: Opera, Miscellaneous
Intermezzo (from the Opera Rusalka). By Antonin Dvorak (1841-1904). Arranged by Erik Somers. For Wind Ensemble (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, cello, string bass). Grade 3. Full score and set of parts. Duration 6:30. Published by Baton Music (BF.BM210-SET).
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Cello, Double Bass, Woodwinds, Brass, Strings
Genres: Romantic Period, Opera, Classical, Miscellaneous
A Glimpse Retraced. (Piano Solo and Chamber Ensemble). By Jason Eckardt (1971-). For Piano Solo, Flute (Dbl Piccolo), Clarinet in Bb, Violin, Cello. The world premiere was given in Weill Recital Hall at Carnegie Hall, New York City on April 12, 1999 by Marilyn Nonken, piano; David Fedele, flute; Jean Kopperud, clarinet; Rolf Schulte, violin; and John Whitfield, violoncello.. Set of parts. 129 l pages. Duration 15 minutes. Published by Carl Fischer (CF.MXE21M). ISBN 082587162X. The title of this concerto for piano with four instruments is a metaphor for its formal design: a fleeting observation, made in passing, is retraced and elaborated, then condensed and distilled. Eckardt's A Glimpse Retraced was commissioned by Carnegie Hall and is dedicated to Marilyn Nonken, who gave its first performance in Weill Recital Hall at Carnegie Hall, New York City on April 12, 1999.
Instruments: Piccolo, B-Flat Clarinet, Violin, Cello, Flute, Woodwinds, Clarinet, Strings
Der Mann Mose. (Geistliche Oper in zehn Episoden). By Felicitas Kukuck (1914-). For soloists (TB), mixed choir, Soprano Recorder, oboe, clarinet, 2 bassoons, trumpet, 3 trombones, percussion, guitar, organ, viola and cello. Set of parts. Published by Moseler Verlag (M2.MOS-68835-60). ISBN M-2037-7122-7.
Instruments: Choir, Guitar, Organ, Clarinet, Oboe, Bassoon, Cello, Viola, B-Flat Trumpet, Trombone, Percussion, Soprano Recorder, Vocal, Piano and Keyboard, Woodwinds, Strings, Trumpet, Brass, Recorder
Serenade Es-dur : fur Flote, Oboe, Klarinette, Fagott, Horn, 2 Violinen, Viola, Violoncello und Kont
Serenade Es-dur : fur Flote, Oboe, Klarinette, Fagott, Horn, 2 Violinen, Viola, Violoncello und Kontrabass, opus 14 by Bernhard Sekles (1872-1934). For flute, oboe, clarinet, bassoon, horn, 2 violins, viola, cello and double bass. Orchestral music. Set of 11 parts. Published by Noten Roehr (NR.85694).
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, Woodwinds, Brass, Strings
Concerto No. 1 in D Minor for Marimba (Marimba Feature). By Noah D. Taylor. Arranged by A. Dancy. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon 1, Bassoon 2, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3,). Grade 5. Score and parts. Duration 30:00:00. Published by C. Alan Publications (CN.10923). The Marimba Concerto No. 1 in D Minor was completed in August 2003. This concerto was composed for marimbist Brenton Dunnington and was Taylor's first work for a solo mallet-percussion instrument. Taylor's Concerto displays confident youth as the composer ambitiously recalls the Romanticism of the past. The work is a large-scale undertaking for the soloist and the orchestra. Taylor has truly constructed a solo part of transcendental technique and virtuosity. The Concerto is tangible and tuneful, visually captivating and memorable from the first encounter.The first movement employs late 19th century harmony blended with Taylor's personal aesthetics. The full and rich orchestration is most evident here. The movement also displays the endurance and facility of the soloist. The opening fanfare and romantic theme form the basis for shaping the movement. Taylor thoroughly develops the theme in a romantically expanded sonata form. The solo cadenza (with improvisational intent) emerges from the end of the development and drives on to explore the theme. It demands intricate, complete command of the marimba and fearless composure from the soloist to accomplish the aggressively fluctuating tempi, the broad dynamic spectrum, and perilous octave descents. After a brief adagio, the first movement reaches an exhilarating orchestral conclusion.The slow second movement, still rooted in romanticism, slips in and out of 20th century harmonies. The movement is a tale of love and passion. Titled Adagio, the movement, opening in C major, is monothematic, but for a brief recapitulation of the first movement's main theme. The movement's poignant melody is carried by each of the oboe, clarinet, and flute solos with marimba. There is a tender, recurring duo between solo marimba and harp followed by a dramatic, climactic chorale where the soloist employs six-mallet technique. The movement culminates in a vivid new statement of the movement's main melody and fades off into the distance.A thematic transformation develops several stages further in the third movement. The Finale is a hero's tale of battle, danger, love, and triumph. Each section evokes a different account on the journey. Taylor reemphasizes the D minor tonality of the opening movement. The third movement bursts into the exhilarating and vigorous first subject, which features a thrilling rhythmic motif and interchange between the soloist and orchestra. The tale moves through a central, lyrical episode in place of a development section. Again, earlier material is recalled. As the final Vivace builds to a climax, the soloist unleashes fiery virtuosity with the orchestra. The majestic recapitulation, now in D major, surveys all of the Finale's opening material concluded by the coda in a brilliant presto and fortissimo.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Marimba, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Percussion
Monologues (Euphonium Feature). By Joseph Turrin (1947-). Arranged by Dennis Wright. For Soloist(s) with Concert Band (Solo Euphonium, Piccolo, Flute 1-2, Oboe 1-2, Bassoon 1-2, Eb Clarinet, Bb Clarinet 1-3, Bass Clarinet, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1-5, F Horn 1-4, Trombone 1-3, Euphonium, Tuba, Piano/ Harp, Timpani, Percussion 1 ). Grade 5. Score and parts. Duration 22:00. Published by C. Alan Publications (CN.17050). Monologues was commissioned by the following consortium of universities:John N. Culvahouse, UGA Wind Ensemble / University of GeorgiaDavid Waybright, UF Wind Symphony / University of FloridaJim Copenhaver, USC Symphonic Band / University of South CarolinaCody Birdwell / George Boulden, UK Wind Ensemble / University of KentuckyGary Sousa, UT Wind Ensemble / University of TennesseeJohnnie Vinson, AU Symphonic Band / Auburn UniversityDavid Willson, UM Symphonic Band / University of MississippiDwayne Sagen/Tom Verrier, VU Wind Ensemble / Vanderbilt UniversityElva Kaye Lance, MSU Symphonic Band / Mississippi State UniversityFrank Wickes, LSU Wind Ensemble / Louisiana State UniversityW. Dale Warren, UA Wind Symphony / University of ArkansasKen Ozello, UA Wind Ensemble / University of AlabamaPERFORMANCE NOTESChaconne: Although written in 4/4 the metronome marking is in two. I would like this movement to have a two feel throughout. It will probably work best conducted in a moderate two instead of a fast four. Make sure that bar 60 keeps pace and does not slow down too much. This section needs to have some breath while maintaining a forward motion. The piece that comes to mind with this movement is Ravel's Bolero.Arioso: Make sure the triplets are played musically in the ensemble. Crescendos and decrescendos should be dramatic and powerful. Intonation is important especially in the close harmonies and clusters. Bar 57 through 72 is a chamber group section with only a few instruments playing. Make sure that the solo euphonium, since he or she is out front, is balanced in the texture.Intermezzo: This movement should be light and steady. Staccatos need to be short and animated and the sixteenth note passages need to have personality and flair. Make sure that the movement keeps its tempo and does not bog down.Capriccio: Not much to know about this movement except to be careful not to cover the soloist. Pay attention to the balance. The key word here is energetic. Keep the drive and excitement throughout.
Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Harp, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Double Image. (Saxophone Duo Feature). By David R. Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Bassoon 1, Bassoon 2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, ). Grade 5. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.17060). Double Image was commissioned by Jeff Heisler and Shawn Teichmer, two former saxophone alumni from Central Michigan University. The work is a concerto in three movements that exploits four of the common instruments of the saxophone family as performed by two players. The first movement features the tenor and baritone saxophone, the second, the alto and the tenor saxophone and the third, soprano saxophones.The movements of the concerto are starkly contrasting. The first movement, Passacaglia Lamento, is a dark, somber and mysterious set of variations on a bass line consisting of chromatic mediant relationships and angular leaps. The solo baritone saxophone begins the thematic bass line and is then joined by the solo tenor saxophone. Variation I begins with keyboard percussion accompanying the horns on the theme with the solo tenor saxophone on cascading scale passages. The solo baritone saxophone joins the tenor on the tail of the theme with added chimes. Preceded by a short transition in the wind ensemble, Variation II is abbreviated and features a dance-like interplay between the two solo saxophones in asymmetrical meter (7/16). Variation III ensues in which the solo saxophones alternate a skeletonized version of the theme in augmentation accompanied by ascending scales in the upper woodwinds. A heavy, ponderous interlude in the brass leads to Variation IV. Variation IV is perhaps the most dark and mysterious section of the movement that features a ghosted half-tone ostinato in the solo saxophones over only the harmony of the passacaglia. The tail of the variation is then played by low brass and woodwinds accompanied by piano and keyboard percussion. A brief brass fanfare leads to Variation V, which is a spirited duet by the solo saxophones alternating between 4/4 and 7/8 meter, with the wind ensemble accompanying on short articulations of the harmonic background. Horns, flutes and eventually trumpets, enter playing the tail of the theme culminating dramatically on four strongly articulated sonorities by the full ensemble with an underlying timpani solo diminishing into a coda using the head of the passacaglia and ending on an unresolved sonority.Movement II, Reveries, takes advantage of the two most expressive saxophones (in my opinion), the alto and the tenor. The movement is dreamy consisting of beautiful, lyrical melodic lines, extended tertian harmonies and an array of shifting tonality. The movement is in free form and begins with a sort of "sighing" melodic line that cascades downward and scale-wise. Both saxophones freely exchange this motive over shifting tone color. A variation of sorts follows with the solo saxophones exchanging the motive over a static F# minor tonality. An interlude follows in Bb Major, with an interplay between solo oboe and flute utilizing the motive which leads into a new section in A Major beginning with sweeping harp-like passages in the piano. The solo saxophones begin interplay amongst themselves on a contrasting motive consisting of rising and falling scale-based passages. The texture and dynamic of the section increase and rise to a dramatic moment which brings back the original descending motive in E Major. The passage diminishes in volume and segues into E Minor with the solo saxophones engaging in free development accompanied by the marimba and the piano. The development continues with a bubbly, staccato pattern in the clarinets and marimba and a return of the original motive in imitation between the solo saxophones in C Minor. A transition precipitates a change of mode into C Major and the movement concludes in dreamy fashion with the return of the descending motive and a coda beginning in A Major and coming to rest in Gb Major.Movement III, Perpetual Motion, was conceived to be an exciting "romp" from beginning to end highlighting the technical skills of the two soprano saxophones. The movement is in a free sonata-rondo form (ABACDABA) with an extended development section. The rondo theme is based on ascending and descending passages of an octatonic scale and its transpositions. Following the initial statement of the theme by both solo saxophones, a short episode follows (B) which consists of large leaps within compound duple meter, still derived from octatonic scale material. This is followed by the return of the rondo (A) after which a rather angry trumpet fanfare leads into C Major and a second episode (C) providing relief from the static harmonic nature of the octatonic scale. Shifting tonality moves the episode through a circle of fifths progression beginning on Ab Major and ending on G Major. The development section follows (D) beginning first with a textural build up utilizing fragments of the rondo theme followed by an interplay between the solo saxophones alternating between 4/4 and 6/8 meter. This is followed by a section which combines the harmonies of the C octatonic scale with that of the C# octatonic scale articulated by the piano and the woodwinds against a re-working of the rondo motive by the solo saxophones. A short section follows that features shifting major tonality with the solo saxophones recalling the material of episode C. The solo saxophones then segue into a 6/8 pattern of ghosted half tones interspersed with slap tongued notes accompanying fragments of the rondo motive in the percussion and various instruments of the wind ensemble. Low brass follow with a syncopated pattern which continues to accompany rondo motives. The percussion then begin an interplay amongst themselves which accompany motives from the rondo and the first episode (B) leading to a retransition to the rondo theme characterized by a thickening of the harmonic texture using overlapping diminished seventh chords. Following the reprise of the rondo, the second episode material is accompanied by a rather "comedic" waltz pattern in the low brass, horns, piano and tambourine. A rousing coda follows which reprises some of the rondo theme and brings the movement to an exciting conclusion.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Concerto for Marimba & Wind Ensemble. (Marimba Feature). By David J. Long. For Soloist(s) with Concert Band (Solo Marimba, Flute 1/2, Oboe 1/2, English Horn, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3 , Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1, Horn in F 2, Trom). Ensemble: grade 4 / Solo: grade 6. Score and parts. Duration 30:00:00. Published by C. Alan Publications (CN.02840). You can hear a recording of this version on Nathan Daughtrey's CD, "Spiral Passages" (also available from C. Alan). Also available with wind ensemble or orchestra.
Instruments: Flute, B-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, B-Flat Trumpet, Marimba, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Percussion
Lifesongs. (with SATB Choir). By David Gillingham. For Choir with Concert Band (Flute 1/Piccolo, Flute 2, Oboe, Bassoon, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, F Horn 1/2, F Horn 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba, S). Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.08400). The text for Lifesongs comes from three poems by Henry Wadsworth Longfellow, titled, "Sunrise on the Hills," "A Psalm of Life," and "The Light of Stars." These three poems divide the work into three large sections, which are performed without a break. All three poems are life affirming and hence the title Lifesongs. I have renamed each section to coincide with three stages of life, "Song of Birth," "Song of Life," and "Song of Eternity.""Song of Birth" ("Sunrise on the Hills") musically depicts the most wonderful picture of one standing on the hilltop watching the sunrise. The choir, solists, and wind ensemble collaborate in painting this colorful picture. Though this picture is radiant and upbeat, there are changes of mood along the way, such as with lines like "hosts in battle overthrown," "I heard the distant waters dash," "the music of the village bell come sweetly to the echo-giving hills," and "the wild horn, whose voice the woodland fills, was ringing to the merry shout." All of these words are scored appropriately to sway the listener back and forth between these moods. I personally believe that Longfellow was trying to say that all this beauty of the sunrise precipitates an array of emotions. But the pinnacle of the section is at the end where Longfellow suggests that it is easy for us to forget the "sorrows" of the world if we "go to the woods and hills," for "No tears dim the sweet look that Nature wears.""Song of Life" ("Psalm of Life") begins somewhat mournful and depressing with the line, "tell me not, in mournful numbers, life is but an empty dream." The section is about the whole struggle of life and our purpose here on earth. Like the first movement, there is a tug-of-war between emotions. Consider, for example, the line, "Art is long, and Time is fleeting, and our hearts, though stout and brave still, like muffled drums, are beating funeral machines to the grave." Sometimes the music becomes dark and militaristic to lines such as, "in the world's broad field of battle," and "trust no Future, howe'er pleasant!" But the lesson to be learned in this section comes later in the poem when Longfellow states, "Lives of great men all remind us we can make our lives sublime." Here the music becomes more reflective and leads to pure joy when the choir sings the final four lines, "Let us, then, be up and doing, with a heart for any fate; still achieving, still pursuing, learn to labor and to wait."In "Song of Eternity" ("The Light of Stars"), Longfellow alludes to death, but, as with all of his poetry, there is a positive overtone. Like the second section, it begins darkly with an undertone of undulating clarinets in their low register. This backdrop of sound is appropriate for lines such as "the night is come, but not too soon," and "there is no light in earth or heaven but the cold light of stars." But the darkness soon gives way to light and the D-minor tonality moves to C-major. The soprano and baritone begin by joyfully singing the line, "O star of strength! I see thee stand and smile upon my pain." Then comes excitement in the music with a brass fanfare followed by the choir singing, "The star of the unconquered will, He rises in my breast." Finally the soprano, baritone, and choir end the work by singing the final four lines, "O Fear not in a world like this, and thou shalt know erelong, know how sublime a thing it is to suffer and be strong." These lines are as meaningful today as they were in Longfellow's time, and are a true lesson of life.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Symphony No. 2 by Kimberly Archer. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombone ). Band Music. Grade 5. Score and parts. Duration 21:00. Published by C. Alan Publications (CN.10180). Symphony No. 2 is my doctoral dissertation. At this significant point in my life and career, I feel it is important to pay homage to three people who have been critical in my getting this far, both personally and professionally.I. March is dedicated to Andy Waggoner, my first composition teacher in graduate school. By form it is a march, but by style, a scherzo. It is intended to be playful and humorous (reflective of our personal relationship), but also makes use of several of the concepts and skills he taught me, including how to use octatonic collections.II. Passacaglia is dedicated to Pat Dunnigan. Pat taught me to use Finale, premiered several of my early band compositions (including my first symphony), and has been my friend and mentor for more than ten years. His movement is composed in the style of Phillip Glass - one of his favorite composers. There are also allusions to the "Star Trek" theme and Mahler's Symphony No. 1.III. Theme and Variations is dedicated to my father, who is a former church organist, and particularly fond of the hymn "Blessed Assurance." All three movements of the symphony include elements of this hymn in some form, thus adding unity to an otherwise eclectic work, but the third movement takes the hymn as its outright theme. Some of my earliest musical experiences involved listening to my dad practice or having him accompany me for solos and auditions. I doubt I would have pursued music professionally, or have survived graduate school, had it not been for him.- Kim ArcherSymphony No. 2 is conceived for a full symphonic band rather than a true wind ensemble, which assumes that at least all the flute and clarinet parts will be doubled.The piano part for Movements II and III and the string bass part for Movements I and II should both be clearly audible, particularly in solo passages. String bass should be positioned near the front of the stage and the piano should use full stick.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Symphony for Winds & Percussion by Luigi Zaninelli. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, English Horn, Solo Clarinet in Bb 1/2, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet in Bb, Contralto Clarinet in Eb, Alto Saxophone in Eb 1, Alto Saxophone in Eb 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1,). Band Music. Grade 5. Score and parts. Duration 14:10. Published by C. Alan Publications (CN.10420). The first movement of Zaninelli's Symphony is remarkable for its conciseness and brevity. In a very short "space in time" he creates a true Sonata-Allegro movement. The language is pure Zaninelli - restless, tender, mysterious, muscular, gentle, and at all times captivating.The second movement is a theme and variations. It begins with a theme presented by the solo flute. Three variations ensue - a sexy tango, a sensuous blues, and a rousing barn dance. There is a genuine purity to Zaninelli's feel for these diverse dance forms. One senses that he has an intimate knowledge of these idioms.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, English Horn, B-Flat Trumpet, Percussion, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Concerto No. 2 for Marimba & Wind Ensemble. (Marimba Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2 , Bassoon 1/2, Clarinet in Bb 1/2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphon). Band Music. Grade 5. Score and parts. Duration 23:00. Published by C. Alan Publications (CN.11850). The Concerto No. 2 for Marimba is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns/trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto (coda) follows, ending the movement in D major.- David R. Gillingham.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Marimba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone, Percussion
Fantasy Triptych by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2/3, Bb Trumpet 1/2, Horn in F ). Band Music. Grade 5.5. Score and parts. Duration 17:40. Published by C. Alan Publications (CN.R10193). In 1972, I wrote a Sonata for Two Pianos for two friends who were piano teachers at Wellington College. When in 1995 I was asked to write a work for wind band, I returned to this Sonata and have re-arranged and in the new version renamed it "Fantasy Triptych."There are three movements:1. Le Tombeau d'Arthur BenjaminRavel wrote 'Le Tombeau de Couperin,' Arthur Benjamin wrote 'Le Tombeau de Ravel' and so the temptation to write 'Le Tombeau d'Arthur Benjamin' was overwhelming. At the end of the movement there is an oblique reference to Benjamin's own 'Jamaican Rumba' which accompanies a quote from an old Spanish folk song 'Loro, enciende el hervidor de agua.'2. Mr. Bolt goes for a ride in his motor car, and Monsieur Ravel turns in his grave.The movement is dedicated to an old friend, Geoffrey Bolt, who adores the music of Ravel. but at the time of writing was learning to drive. He always described his vehicle as a motor car. To describe him as an impatient motorist would be a gross understatement. The refined suavity of Ravel's music was in complete contrast to these early manifestations of road rage, hence the central angry outburst.3. The War March of the OstrichesThe music of Charles Ives was fascinating me at the time of writing this movement and some of the influence has rubbed off in this rondo-like march. At the end there is a quote from the very beginning of the first movement. The title was inspired by the amusing antics of a group of ostriches during a visit to Bristol Zoo.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Cornet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical