Chamber & Ensemble Music

Total Page:16

File Type:pdf, Size:1020Kb

Chamber & Ensemble Music Chamber & Ensemble Music New Releases 2000–2011 Contents I. WORKS BY COMPOSER – Alphabetical List ���������������������������������������������������������� p.3 A. New compositions and arrangements �������������������������������������������������������������������� 3 B. Additions to the catalogue ��������������������������������������������������������������������������������������� 25 II. WORKS BY GENRE ��������������������������������������������������������������������������������������������������� 30 1. Solo instrumental (also with accompaniment) ������������������������������������������������������� 30 1.1. Violin ��������������������������������������������������������������������������������������������������������������������������� 30 1.2. Viola ���������������������������������������������������������������������������������������������������������������������������� 31 1.3. Cello ��������������������������������������������������������������������������������������������������������������������������� 31 1.4. Double bass ��������������������������������������������������������������������������������������������������������������� 32 1.5. Flute ��������������������������������������������������������������������������������������������������������������������������� 33 1.6. Oboe ��������������������������������������������������������������������������������������������������������������������������� 33 1.7. Clarinet/Bass clarinet ������������������������������������������������������������������������������������������������� 33 1.8. Saxophone ����������������������������������������������������������������������������������������������������������������� 34 1.9. Bassoon ��������������������������������������������������������������������������������������������������������������������� 34 1.10. Horn ��������������������������������������������������������������������������������������������������������������������������� 35 1.11. Trumpet ���������������������������������������������������������������������������������������������������������������������� 35 1.12. Trombone ������������������������������������������������������������������������������������������������������������������� 35 1.13. Guitar .......................................................................................................................... 35 1.14. Harp ��������������������������������������������������������������������������������������������������������������������������� 36 1.15. Other �������������������������������������������������������������������������������������������������������������������������� 36 2. Piano(s) ���������������������������������������������������������������������������������������������������������������������� 36 2.1. Other keyboard ����������������������������������������������������������������������������������������������������������� 38 3. Ensemble and chamber without voice(s) ���������������������������������������������������������������� 38 3.1. String quartet �������������������������������������������������������������������������������������������������������������� 38 3.2. Other string ensemble ������������������������������������������������������������������������������������������������ 40 3.3. Piano trio �������������������������������������������������������������������������������������������������������������������� 40 3.4. Piano quartet �������������������������������������������������������������������������������������������������������������� 41 3.5. Piano quintet �������������������������������������������������������������������������������������������������������������� 41 3.6. Clarinet quintet ����������������������������������������������������������������������������������������������������������� 41 3.7. String quartet + other instrument(s) ���������������������������������������������������������������������������� 41 3.8. Woodwind quintet (also with piano/harp) ������������������������������������������������������������������� 42 3.9. Other woodwind ensemble (also with piano) �������������������������������������������������������������� 42 3.10. Saxophone ensemble ������������������������������������������������������������������������������������������������� 43 3.11. Brass ensemble ���������������������������������������������������������������������������������������������������������� 43 3.12. Guitar ensemble ��������������������������������������������������������������������������������������������������������� 44 3.13. Mixed duo ������������������������������������������������������������������������������������������������������������������ 44 3.14. Clarinet, cello and piano ��������������������������������������������������������������������������������������������� 44 3.15. Other mixed trio ���������������������������������������������������������������������������������������������������������� 44 3.16. Mixed quartet ������������������������������������������������������������������������������������������������������������� 45 3.17. Other mixed ensemble ����������������������������������������������������������������������������������������������� 46 3.18. Percussion ������������������������������������������������������������������������������������������������������������������ 49 4. Solo instrument(s) and chamber ensemble ������������������������������������������������������������ 49 5. Ensemble and chamber with voice(s) ��������������������������������������������������������������������� 49 5.1. Music theatre �������������������������������������������������������������������������������������������������������������� 52 Sales items listed with ISMN or ISBN are available at you local music dealer Music indicated for ‘Rental’: Please address yourself to [email protected] POD = Print on demand: Please address yourself to [email protected] ( ) = Music in preparation: Please address yourself to [email protected] Also visit www.boosey.com/OnlineScores July 2011 I. Works by composer A. New compositions and arrangements COMPOSER WORK TITLE MIN. ENSEMBLE SCORING & DETAILS AVAILABILITY Aa, Michel van der Here [in circles] (2002) 15’ cl.bcl.tpt—perc(1)—strings(1.1.1.1.1); small cassette Rental (*1970) for soprano and ensemble recorder(eg Sony TCM-939) Text: Michel van der Aa (E) Just before (2000) 11’35 979-0-2025-3203-4 for piano and soundtrack Mask (2006) 15’ 1.0.1.0—1.1.1.0—perc(1)—strings(1.1.1.1.1)— Rental for ensemble and soundtrack soundtrack(laptop, 1 player) Memo (2003) 9’ 979-0-2025-3173-0 for violin and portable cassette recorder rekindle (2009) 8’ 979-0-2025-3235-5 for flute and soundtrack Transit (2007) 12’35 piano and video projection (via DVD player), amplification Rental for piano and video projection (for the video soundtrack) Adams, John American Berserk (2001) 6’ 979-0-051-24626-7 (*1947) for solo piano Fellow Traveller (2007) 5’ POD for string quartet Son of Chamber Symphony (2007) 23’ 1(=picc).1.1.bcl.1—1.1.1.0—perc(2):chimes/keyb Rental for chamber ensemble sampler(or high thunder sheet)/3 bongos/conga dr/clave/susp.cym/cowbell;keyb sampler/glsp/temple bl/cast/3bongos/conga dr/clave/wdbl/hi-hat cym/susp. cym/cowbell/3 low tam-t/pedal BD—pft(=cel or keyb sampler)—strings(1.1.1.1.1) String Quartet (2008) 28’ POD Andriessen, Louis Anaïs Nin (2009/10) 30’ woodwind1(cl;dbcl;ssax).woodwind2(cl;bcl;asax)— Rental (*1939) for singer (amplified), ensemble and film hn.tpt—perc(1):glsp/lg guiro/tamb/2 high metal sounds/ Text: Anaïs Nin (E) maracas/coarse sandblock/4tpl.bl(1tuned)/5metal chimes/ 2tuned cowbells/2t.bells/gong—pft—vln(amplified).db Bells for Haarlem (2002) 8’ perc(1):vib/glsp—pft—cel—synth Rental for 2 keyboard players and percussion Christiaan Andriessens uitzicht op de Amstel (2009) 9’ 2.0.1.asax.ssax.0—1.1.2.1—perc:2susp.cym/3tgl(1 lg)/ Rental for ensemble horse shoes/dr kit/tam-t—elec.gtr.bass.gtr—pft(=synth) Garden of Eros (2002) 10’ Parts: POD; for string quartet Study Score: 979-0-060-12090-9 Garden of Eros (2003) 10’ 979-0-060-80953-8 for violin and piano Hague Hacking Scrap, The (2003) 5’ (POD) for 2 pianos Inanna (2003) 90’ 4 singers, choir, vln, sax quartet, dbcl Rental for ensemble with film Text: Hal Hartley (E), Th. J. H. Krispijn (Sumeric) Inanna’s Descent (2000) 15’ picc.ob—percA(2–6):glsp(2ad lib)/vib(2ad lib)/crot/t.bells/ Rental for female voice and small ensemble chimes; percB(2–6):10tam-t/pitched dr/rototoms/congas/ Text: Aramaic bongos—pft—vln Letter from Cathy (2003) 5’ perc—harp—pft—vln.db Rental for voice and ensemble Life (2009) 16’ ssax(or cl)—perc(1):vib/foot BD/lg tgl/sizzle.cym/gong/ Rental for ensemble, with film by Marijke van Warmerdam almglock or cowbell/5 metal objects—pft—gtr—vlc.db ...miserere... (2006/07) 16’ Parts: POD; for string quartet Study Score: 979-0-060-12090-9 New Math(s), The (2000) 16’ can be performed alone, or with film Rental for voice, flauto traverso, violin, marimba and CD Text: William Blake (from the ‘Book of Thel’) (E) RUTTMANN Opus II, III, IV (2003) 9’ fl—3sax—hn.3tpt.3trbn—pft—db Rental for large ensemble with film 3 Bach, Johann Sebastian – Prelude in B minor (2006) 5’ (Rental); Andriessen, Louis for string quartet Study Score: 979-0-060-12090-9 Barratt, Carol Prelude & Jig (arr.2008) 4’ Rental (*1945) arranged for oboe and string quartet by Karl Jenkins Beyer, Frank Michael Choreographie (2007) 12’ Rental (1928–2008) Three mythic dances for 12 celli Imago (2002) 8’ 979-0-2025-3074-0 for solo cello Lichtspuren (2006) 25’ pft—vln.vlc
Recommended publications
  • Yesterday for Saxophone Sextet Sheet Music
    Yesterday For Saxophone Sextet Sheet Music Download yesterday for saxophone sextet sheet music pdf now available in our library. We give you 6 pages partial preview of yesterday for saxophone sextet sheet music that you can try for free. This music notes has been read 2740 times and last read at 2021-09-27 05:41:01. In order to continue read the entire sheet music of yesterday for saxophone sextet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone Ensemble: Mixed Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Yesterday For String Sextet Yesterday For String Sextet sheet music has been read 3103 times. Yesterday for string sextet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-28 08:51:49. [ Read More ] Jrme Savari Sextet For Ssaatb Saxophone Sextet Jrme Savari Sextet For Ssaatb Saxophone Sextet sheet music has been read 3917 times. Jrme savari sextet for ssaatb saxophone sextet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 13:06:51. [ Read More ] Yesterday Beatles Classic Saxophone Quartet Yesterday Beatles Classic Saxophone Quartet sheet music has been read 3763 times. Yesterday beatles classic saxophone quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 22:41:31. [ Read More ] Yesterday For Saxophone Quartet Yesterday For Saxophone Quartet sheet music has been read 2597 times. Yesterday for saxophone quartet arrangement is for Beginning level.
    [Show full text]
  • Wind, String, & Mixed Chamber Groups
    WIND, STRING, & MIXED CHAMBER GROUPS - SPRING 2019 (v 2.1) - including piano, harp, and percussion - PLEASE read the “Rules of the Road” for chamber music on the “performance” section of INSIDE MUSIC on the School of Music website: https://www.cmu.edu/cfa/music/current-students/ensembles/chamber-music.html Each group should select/elect/draft a “contact person” and submit that person’s name to the chamber music Graduate Assistant, Yalyen Savignon: [email protected] Please note that this is the second draft of the roster. All registered students have been placed, and all requests have been fulfilled. We hope that few if any further changes will need to be made. Remember, other students’ education depends on your being a reliable member of your group! IF YOU SPOT MISTAKES ON THIS LIST, PLEASE CONTACT PROF. WHIPPLE. RJW and CW, February 6, 2019 57-228 OR 57-928 SEXTETS sec A - WIND & PIANO SEXTET Alisa Smith, flute Elizabeth Mountz, oboe Elizabeth Carney, clarinet Ji Won Song, horn Andrew Hahn, bassoon Winfred Wang, piano coaches: R. James Whipple QUINTETS sec B - GRADUATE WIND QUINTET Theresa Abalos, flute Evan Tegley, oboe Alex Athitakas, clarinet Diana McLaughlin, horn Nicholas Evans, bassoon coach: Thomas Thompson sec C - “VENTUS FERRO” TBA, flute Alicia Smith, oboe Zack Neville, clarinet Ziming Zhu, horn Dreya Cherry, bassoon coach: James Gorton sec D - PROKOFIEV: Quintet in g minor Christian Bernard, oboe Bryce Kyle, clarinet TBA, violin Angela-Maureen Zollman, viola Mark Stroud, bass coach: James Gorton STRING QUARTETS 57-226 OR 57-926 1. Jasper Rogal, violin Noah Steinbaum, violin Angela Rubin,viola Kyle Johnson, cello coach: Cyrus Forough 2.
    [Show full text]
  • Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
    MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
    [Show full text]
  • New and Lesser Known Works for Saxophone Quartet: a Recording
    New and Lesser Known Works for Saxophone Quartet: A Recording, Performance Guide, and Composer Interviews by Woodrow Chenoweth A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Christopher Creviston, Chair Joshua Gardner Michael Kocour Ted Solis ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative , was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition.
    [Show full text]
  • Themenkatalog »Musik Verfolgter Und Exilierter Komponisten«
    THEMENKATALOG »Musik verfolgter und exilierter Komponisten« 1. Alphabetisches Verzeichnis Babin, Victor Capriccio (1949) 12’30 3.3.3.3–4.3.3.1–timp–harp–strings 1908–1972 for orchestra Concerto No.2 (1956) 24’ 2(II=picc).2.2.2(II=dbn)–4.2.3.1–timp.perc(3)–strings for two pianos and orchestra Blech, Leo Das war ich 50’ 2S,A,T,Bar; 2(II=picc).2.corA.2.2–4.2.0.1–timp.perc–harp–strings 1871–1958 (That Was Me) (1902) Rural idyll in one act Libretto by Richard Batka after Johann Hutt (G) Strauß, Johann – Liebeswalzer 3’ 2(picc).1.2(bcl).1–3.2.0.0–timp.perc–harp–strings Blech, Leo / for coloratura soprano and orchestra Sandberg, Herbert Bloch, Ernest Concerto Symphonique (1947–48) 38’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(3):cyms/tam-t/BD/SD 1880–1959 for piano and orchestra –cel–strings String Quartet No.2 (1945) 35’ Suite Symphonique (1944) 20’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc:cyms/BD–strings Violin Concerto (1937–38) 35’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(2):cyms/tgl/BD/SD– harp–cel–strings Braunfels, Walter 3 Chinesische Gesänge op.19 (1914) 16’ 3(III=picc).2(II=corA).3.2–4.2.3.1–timp.perc–harp–cel–strings; 1882–1954 for high voice and orchestra reduced orchestraion by Axel Langmann: 1(=picc).1(=corA).1.1– Text: from Hans Bethge’s »Chinese Flute« (G) 2.1.1.0–timp.perc(1)–cel(=harmonium)–strings(2.2.2.2.1) 3 Goethe-Lieder op.29 (1916/17) 10’ for voice and piano Text: (G) 2 Lieder nach Hans Carossa op.44 (1932) 4’ for voice and piano Text: (G) Cello Concerto op.49 (c1933) 25’ 2.2(II=corA).2.2–4.2.0.0–timp–strings
    [Show full text]
  • FRIDAY the 13TH: the MICROS PLAY MONK (Cuneiform Rune 310)
    Bio information: THE MICROSCOPIC SEPTET Title: FRIDAY THE 13TH: THE MICROS PLAY MONK (Cuneiform Rune 310) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: JAZZ / THELONIOUS MONK / THE MICROSCOPIC SEPTET “If the Micros have a spiritual beacon, it’s Thelonious Monk. Like the maverick bebop pianist, they persevere... Their expanding core audience thrives on the group’s impeccable arrangements, terse, angular solos, and devil-may-care attitude. But Monk and the Micros have something else in common as well. Johnston tells a story: “Someone once walked up to Monk and said, “You know, Monk, people are laughing at your music.’ Monk replied, ‘Let ‘em laugh. People need to laugh a little more.” – Richard Gehr, Newsday, New York 1989 “There is immense power and careful logic in the music of Thelonious Sphere Monk. But you might have such a good time listening to it that you might not even notice. …His tunes… warmed the heart with their odd angles and bright colors. …he knew exactly how to make you feel good… The groove was paramount: When you’re swinging, swing some more,” he’d say...” – Vijay Iyer, “Ode to a Sphere,” JazzTimes, 2010 “When I replace Letterman… The band I'm considering…is the Microscopic Septet, a New York saxophone-quartet-plus-rhythm whose riffs do what riffs are supposed to do: set your pulse racing and lodge in your skull for days on end. … their humor is difficult to resist.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s.
    [Show full text]
  • Sonata for Clarinet Choir Donald S
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1962 Sonata for Clarinet Choir Donald S. Lewellen Eastern Illinois University Recommended Citation Lewellen, Donald S., "Sonata for Clarinet Choir" (1962). Masters Theses. 4371. https://thekeep.eiu.edu/theses/4371 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. -SONATA POR CLARINET CHOIR A PAPER PRESENTED TO THE FACULTY OF TILE DEPARTMENT OF MUSIC EASTERN ILLINOIS UNIVERSITY IN PARTIAL FULFILLMENT OF TIIB REQUIREMENTS FOR IBE DEGREE MASTER OF SCIENCE IN EDUCATION DONALDS. LEWELLEN '""'."'.···-,-·. JULY, 1962' TABLE OF CONTENTS :le Page • • • • • • • . • .. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • i ile of Contents . .. ii iface ••.•....•...•........••....... •· ...•......•.•...• iii ::tion I ! Orchestra and Band ································· 1 lrinet Choir New Concept of Sound •••••••••••••••••• 2 3.rinet Choir Medium of Musical Expression . .. 2 arinet Choir Instrumentation . 3 ction II nata for Clarinet Choir - Analysis . .. 6 mmary • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 8 bliography ••••.•••••••••••••••••••••••.•••••••••••••• 10 PREFACE The available literature for clarinet choir is quite limited, and much of this literature is an arrangement of orchestral music.
    [Show full text]
  • The Rise and Fall of the Bass Clarinet in a the RISE and FALL of the BASS CLARINET in A
    Keith Bowen - The rise and fall of the bass clarinet in A THE RISE AND FALL OF THE BASS CLARINET IN A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. Unlike the bass instruments in C and Bb, it is not known to have a history in wind bands. Its appearance was not, so far as is known, accompanied by any negotiations with makers. Over the next century, it was called for by over twenty other composers in over sixty works. The last works to use the bass in A are, I believe, Strauss’ Sonatine für Blaser, 1942, and Messiaen’s Turangalîla-Symphonie (1948, revised 1990) and Gunther Schuller’s Duo Sonata (1949) for clarinet and bass clarinet. The instrument has all but disappeared from orchestral use and there are very few left in the world. It is now often called obsolete, despite the historically-informed performance movement over the last half century which emphasizes, inter alia, performance on the instruments originally specified by the composer. And the instrument has been largely neglected by scholars. Leeson1 drew attention to the one-time popularity and current neglect of the instrument, in an article that inspired the current study, and Joppig2 has disussed the use of the various tonalities of clarinet, including the bass in A, by Gustav Mahler. He pointed out that the use of both A and Bb clarinets in both soprano and bass registers was absolutely normal in Mahler’s time, citing Heinrich Schenker writing as Artur Niloff in 19083. Otherwise it has been as neglected in the literature as it is in the orchestra.
    [Show full text]
  • New Zealand Works for Contrabassoon
    Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers.
    [Show full text]
  • Mozart Adagio Kv411 for Reed Quintet Sheet Music
    Mozart Adagio Kv411 For Reed Quintet Sheet Music Download mozart adagio kv411 for reed quintet sheet music pdf now available in our library. We give you 6 pages partial preview of mozart adagio kv411 for reed quintet sheet music that you can try for free. This music notes has been read 2355 times and last read at 2021-09-23 14:59:30. In order to continue read the entire sheet music of mozart adagio kv411 for reed quintet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Alto Saxophone, Bassoon, Clarinet, Oboe Ensemble: Woodwind Quintet Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Mozart Adagio Kv410 For Reed Trio Oboe Clarinet Bassoon Mozart Adagio Kv410 For Reed Trio Oboe Clarinet Bassoon sheet music has been read 2465 times. Mozart adagio kv410 for reed trio oboe clarinet bassoon arrangement is for Early Intermediate level. The music notes has 5 preview and last read at 2021-09-23 19:25:04. [ Read More ] Adagio From Piano Concerto In A Major K488 Mozart Arranged For Wind Quintet Adagio From Piano Concerto In A Major K488 Mozart Arranged For Wind Quintet sheet music has been read 2817 times. Adagio from piano concerto in a major k488 mozart arranged for wind quintet arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-22 11:16:49. [ Read More ] Mozart Clarinet Concerto K622 Mvt Ii Adagio Transposed Into Eb Wind Quintet Clarinet Feature Mozart Clarinet Concerto K622 Mvt Ii Adagio Transposed Into Eb Wind Quintet Clarinet Feature sheet music has been read 7008 times.
    [Show full text]
  • Clarinet Tips
    Teacher’s Guide by the late Nilo HoveyClarinet Nilo W. Hovey The late Nilo W.Hovey was actively engaged in the school band movement since 1925. From 1926 to 1944 he was Director of School Instrumental Music in the Hammond, Indiana, public schools. From 1944 to 1957 he was Chairman of the Music Education Department and Director of the Concert Band at Butler University, Indianapolis, Indiana. During this period he was the recipient of the J.I. Holcomb award for his contribution to the advancement of the University and the Arthur W. Baxter award for superior teaching. Hovey served as lecturer, clinician, adjudicator and guest conductor in all sections of the United States and in Ontario, Canada. In the latter capacity he appeared with the United States Navy Band, the United States Army Band, the Canadian Air Force Band, and many Intercollegiate and All-State High School Bands. Numerous instrumental methods and books of instructional material written or edited by Hovey are widely used in the schools of the United States and Canada. Hovey was an active member of the American Bandmasters Association for over twenty years and served as its President in 1970-71. He was President of the Music Industry Council in 1962-64. He was an honorary member of the Canadian Bandmasters Association, of Kappa Kappa Psi and Phi Beta Mu. Hovey was also a member of Phi Kappa Phi,Honorary scholastic fraternity,Phi Delta Kappa, fraternity of men in education, and Phi Mu Alpha (Sinfonia). Publications The following Clarinet materials have been written or edited by Mr.
    [Show full text]