Search results for: 'rauch romance tutak'

with Piano

I. Lights far out at Sea - Gatty
II. Down Deep within the Cellar - Fischer
III. The Water Mill - Diehl
IV. Unforgiven Days - Roeckel
V. By the Sea - Schubert
VI. Romance - Rubinstein
VII. The Pilot - Nelson
VIII. Tom Bowling - Debdin
IX. Minstrel's Song - Nicolai
X. Come brave the sea - Bellini
XI. Oh, My home - Abt
XII. The Melodies of Many Lands - Glover
XIII. The Fairy Jane - Marzials
XIV. The Harmonious Blacksmith - Handel
XV - See, The Conquering Hero comes - Handel
XVI. Faith -Glover
XVII. The Hour of Prayer - Nelson
XVIII. Peace of Mind - Sponholtz
XIX. Dear old Songs of Home - Abt
XX. On Wings of Song - Mendelssohn

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Saxophone (Soprano, Tenor, Baritone), Guitar, Percussion (Sus. Cym., Snare, Glock., Tom-tom, Cowbell, Brake Drum), and Piano

Composer Ethan Wickman says, “Set in five continuous variation movements, Atomic Variations explores some of the basic science, romance and popular mythology of the atomic bomb. Sometimes chillingly calculated, sometimes warm and humanized, the work makes an epic love story of the physics and forces that comprise the bomb. In its occasional lyricism, the work is never far from a sense of foreboding inevitability – the consequences of which, though the result of natural, even predictable processes, possess the most unthinkable known to humanity.” The five movements of Atomic Variations are titled: I. Inertia, II. Pas de Deux, III. Separation Anxiety, IV. Murder by Numbers and V. None Shall Sleep (after Giacomo Puccini).

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Bass Clarinet, Guitar, Percussion and Piano

Composer Ethan Wickman says, “Set in five continuous variation movements, Atomic Variations explores some of the basic science, romance and popular mythology of the atomic bomb. Sometimes chillingly calculated, sometimes warm and humanized, the work makes an epic love story of the physics and forces that comprise the bomb. In its occasional lyricism, the work is never far from a sense of foreboding inevitability – the consequences of which, though the result of natural, even predictable processes, possess the most unthinkable known to humanity.” The five movements of Atomic Variations are titled: I. Inertia, II. Pas de Deux, III. Separation Anxiety, IV. Murder by Numbers and V. None Shall Sleep (after Giacomo Puccini).

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"This riveting “tour de force” musically depicts the character and exploits of Washington Irving’s dashing prankster, Brom Bones, in The Legend of Sleepy Hollow. The musical ensemble consists of 2 trombone quartets, each comprised of three tenors and one bass. The work is cast in 5 movements, the first two are interconnected: I. Overture (2:00) II. The Smoke Out (2.40) III. The Schoolhouse Caper (2:00) IV. Ichabod’s Romance (3:40) V. Night Encounter (3:10) Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of brassy muted trombones, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful trombone solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. This is a “must” for the advanced college ensemble. Score & parts included." Learn More

"Brom Bones" for clarinet choir (1 Eb, 3 Bb, 2 Eb Alto, 2 Bb Bass, and 1 Bb Contrabass) musically depicts the character and exploits of Washington Irving’s dashing prankster in "The Legend of Sleepy Hollow." The work is in 5 movements: Following the energetic and heroic "Overture", in "The Smoke Out" tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, "The Schoolhouse Caper," combines very aggressive and topsy-turvy passages with humorous, plodding interjections. "Ichabod’s Romance" begins as an enchanting unaccompanied ballad, which is abruptly disturbed by a cacophony of raucous clarinets, suggesting the whining of Brom’s mocking dog. Reverent hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful bass clarinet solo. The intense final movement, "Night Encounter," depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. Learn More

"Musically depicts the character and exploits of Washington Irving’s dashing prankster in The Legend of Sleepy Hollow. The musical ensemble consists of 4 Bb trumpets (an optional Eb part is included for trumpet 1), one French horn, 3 tenor trombones, one bass trombone and tuba. This entertaining composition is in 5 movements, the first 2 are interconnected: Overture, The Smoke Out, The Schoolhouse Caper, Ichabod’s Romance, and Night Encounter. Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of muted brass, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise." Learn More

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with Piano

James Grant says, ” Slow jazz… What musical language could celebrate more appropriately the lyrical, sensuous, expressive character of the bassoon? The three Chocolates, in this version for bassoon and piano, are torch songs in the tradition of the passionate, tuneful ballads of the American 40s and 50s. The first two Chocolates, Valentine and Bittersweet, offer soulful narratives that speak to devotion, poignancy, romance, uncertainty, longing. The third Chocolate, Triple Mocha Indulgence, is slightly less soul-searching, more ebullient, and progressively becomes more animated (a sugar high, perhaps?) right up to its raucous close. Chocolates was commissioned and premiered in 1998 by violist Michelle LaCourse, to whom this music is dedicated.”

Chocolates can be heard on bassoonist Mary Stuckemeyer’s CD of the same title, published through Potenza Music.

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with Piano

Slow jazz…. What musical language could celebrate more appropriately the lyrical, sensuous, expressive character of the clarinet? The three Chocolates, in this version for clarinet and piano, are torch songs in the tradition of the passionate, tuneful ballads of the American ‘40s and ‘50s.

Originally composed for viola, the first two Chocolates, “Valentine” and “Bittersweet,” offer soulful narratives that speak to devotion, poignancy, romance, uncertainty, longing. The third Chocolate, “Triple Mocha Indulgence,” is slightly less soul-searching, more ebullient, and progressively becomes animated (a sugar high, perhaps?) right up to its raucous close.

Chocolates was commissioned and premiered in 1998 by violist Michelle LaCourse, to whom this music is dedicated.

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Composed for 8 Trombones, this is a very energetic work that works for both a High School and College ensemble. Learn More

with Wind Ensemble;

I – Soaring

II – Romance

III – Riot!

The Concerto for Tuba and Wind Ensemble was written for Alan Baer in January of 2011. It was written for Mr. Baer’s appearance with the Emporia State University Wind Ensemble.

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with Piano;

I – Soaring

II – Romance

III – Riot!

The Concerto for Tuba and Wind Ensemble was written for Alan Baer in January of 2011. It was written for Mr. Baer’s appearance with the Emporia State University Wind Ensemble.

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Op. 28: 4, 7, 20 and 22 Learn More

with Piano; A collection of artistic short pieces:

I. Lied - Leone Sinigaglia, Op. 28, No. 1

I. Humoreske - Leone Sinigaglia, Op. 28, No. 2

III. Romance Without Words - Carl Davidov

IV. Preludio - Anatoly Liadov

V. Native Horizons - G. Ilver

VI. Serenade - Alexander Borodin

These have been some of Frøydis' favorite encore and recital pieces for many years. True classics. Some original works, some transcriptions. In Norway, the word ""sviske"" - which literally means prune - has a double meaning especially known among musicians. It also means a relatively short piece of music which is already well-known, or is so easy to adapt that most people will have a sort of familiar feeling with the piece after only one hearing."

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2 Bb Cor, Trb/F Hrn, Euph Learn More