Search results for: 'brixton+AND+1211=1211'
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One Night
Composer: Buss, Howard J.
Instrumentation: Duet and Piano Instruments: Clarinet, Piano, Tenor Sax
Genre: ContemporaryClarinet, Tenor Saxophone, and Piano; Dedicated to Dr. Barry McGinnis.
I. Evening Zephyrs (2’20”)II. Midnight Musings (2’12”)
III. Venturing Out (3’26”)
IV. Sounds from the Blue Door (2’45”)
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Where Leaves and Birds a Music Spin
Composer: McMillan, Benjamin
Instrumentation: Duet and Piano Instruments: Flute, Piano, Tuba
Genre: ContemporaryFor Flute/Piccolo, Tuba and Piano
From the composer:
“Where Leaves And Birds A Music Spin” consists of six short movements, each loosely depicting a scene in nature.
- Borne On a Great Wind
- And the River Flows Ever Onwards
- Emerson’s Acorn
- Through Dawn Mist, A Doe
- Dauwtrappen
- Lithic Engines
The first scene is a fantasy of being carried on the wind, rushing over the landscape below. The second follows the journey of a river, through winding meandering paths to rapids. The third movement is based on a quote from Ralph Waldo Emerson’s essay on History that reads, “The creation of a thousand forests is in one acorn.” In the fourth, a scene unfolds of a foggy morning and the appearance of a doe. The word Dauwtrappen comes from Dutch and describes the concept of walking barefoot in the morning grass when the grass is still covered in dew. The final movement imagines the inner workings of the planet, with lithic, or rock and magma, engines driving continents, creating new lands, mountain ranges, as well as the slow destruction and recycling of the old.
Although I have suggested scenes with each title, I don’t intend these to be concrete depictions, and the listener should let their minds wander freely and create their own scenes as the piece progresses.
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Suite for Euphonium and Tuba
Composer: York, Barbara
Instrumentation: Duet Instruments: Euphonium, Piano, Tuba
Genre: Contemporarywith Piano Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.As low as $24.00
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Four Pieces
Composer: Bruch, Max Arranger: Micklich, Albie
Instrumentation: Duet and Piano Instruments: Bassoon, Clarinet, Piano
Genre: RomanticClarinet, Bassoon and Piano
This arrangement of Four Pieces from “Eight Pieces, Op. 83” by Max Bruch started while I was working on my DMA degree at Michigan State University and performing as a member of the Trio Sonor, a clarinet, bassoon, and piano trio. Since repertoire for this particular combination is surprisingly limited, we arranged additional works that suited our trio.
Upon first hearing it, the phrase materials and harmonies of Bruch’s Op. 83 impressed us as strikingly beautiful and immediately accessible to audiences. Since Bruch composed two versions of Op. 83 – a version for clarinet, viola, and piano, and another version for violin, cello, and piano – I had more liberties with the technical considerations and musical aesthetics to arrange the bassoon part from both viola and cello scores. The range and lyrical style translated easily to the bassoon and beautifully exploited the register timbres of the instrument. Additionally, the majority of the technical writing in the parts for viola and cello lent itself well to the bassoon.
–Albie Micklich
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Inflection Points
Composer: Dempster, Thomas
Instrumentation: Duet and Piano Instruments: Bassoon, Flute, Piano
Genre: ContemporaryFlute, Bassoon and Piano
Composer Thomas Dempster says, “In differential calculus, an inflection point is a point on a curve at which the curvature changes sign – between positive and negative curvature. I construe the entirety of the piece as a somewhat long arc; the inflection point of the entire piece happens somewhere during the second movement. The first movement (‘Quirky Rays and Charming Segments’) takes the idea of a stationary point as a tonal center as more literally sees a line, or a curve, or pitches and motives passed around between the ensemble.This movement juggles a number of ideas and verily proffers some short-lived, rhythmically unstable and tonally ambiguous lines and arcs that return later on. The second movement (‘Distant Planes and Objects’) contains a fair amount of parallel motion, open and sparse figures, and static textures. Motion in pitch space extends outward in both directions from Ab and eventually returns, retracing the points. The final movement (‘Jiggly Dots and Origins’) is a mildly psychotic gigue that melds together the ideas of the previous two movements.”
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Baron Piquant's Pas de Trois
Composer: Grantham, Donald
Instrumentation: Duet and Piano Instruments: Bassoon, Euphonium, Harpsicord, Piano
Genre: ContemporaryBassoon, Euphonium and Harpsichord or Piano
From composer Donald Grantham:
“Baron Piquant’s Pas de Trois is one of a series of dance pieces based on characters drawn from voodoo lore; the previous ones are Baron Cimetiere’s Mambo, Son of Cimetiere, Baron Samedi’s Sarabande (and Soft Shoe), Baron La Croix’s Shuffle and Baron Piquant on Pointe. The four Barons are all members of the family Ghede, the spirits in charge of the intersection between the living and the dead. Despite this grim association, the Barons have a lighter side. All three are notorious tricksters with a marked fondness for brandy and tobacco. All dress alike – in black tailcoats and tall black hats, dark glasses with one lens missing, and carry canes and smoke cigars. The music depicts both their dark and light sides. Textures are primarily transparent and ethereal, but the atmosphere of all four works is a bit sinister, mordant and menacing.”
This work was written for Pat and Mary Stuckemeyer.
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Roadrunner
Composer: Batterham, Andrew
Instrumentation: Duet and Piano Instruments: Piano, Trumpet
Genre: Contemporarywith PianoRoadrunner portrays the never-ending chase between the roadrunner bird and the wily coyote. Musically this is achieved using canon and stretto, both funky and Classical. Does the coyote ever catch up? Maybe…
Roadrunner was commissioned by Portuguese master musician Sérgio Carolino. The world premiere was given by him and Shimpei Tsugita with Rena Hashimoto, piano, at the Yamaha Studio in Ginza, Japan in 2017. Sérgio also presented the European premiere with Daniel Perantoni on tubas and Telmo Marques, piano, at the Gravissimo Festival in Alcobaça, Portugal in 2018.
This piece is available in versions for trumpets, horns, euphoniums or tubas. It can also be performed with any combination of the above instruments: you only need a Roadrunner, a Coyote, and a piano.
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Roadrunner
Composer: Batterham, Andrew
Instrumentation: Duet and Piano Instruments: French Horn, Piano
Genre: ContemporaryHorn duet with Piano
Roadrunner portrays the never-ending chase between the roadrunner bird and the wily coyote. Musically this is achieved using canon and stretto, both funky and Classical. Does the coyote ever catch up? Maybe…
Roadrunner was commissioned by Portuguese master musician Sérgio Carolino. The world premiere was given by him and Shimpei Tsugita with Rena Hashimoto, piano, at the Yamaha Studio in Ginza, Japan in 2017. Sérgio also presented the European premiere with Daniel Perantoni on tubas and Telmo Marques, piano, at the Gravissimo Festival in Alcobaça, Portugal in 2018.
This piece is available in versions for trumpets, horns, euphoniums or tubas. It can also be performed with any combination of the above instruments: you only need a Roadrunner, a Coyote, and a piano.
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Roadrunner
Composer: Batterham, Andrew
Instrumentation: Duet and Piano Instruments: Euphonium, Piano
Genre: Contemporarywith Piano
Roadrunner portrays the never-ending chase between the roadrunner bird and the wily coyote. Musically this is achieved using canon and stretto, both funky and Classical. Does the coyote ever catch up? Maybe…
Roadrunner was commissioned by Portuguese master musician Sérgio Carolino. The world premiere was given by him and Shimpei Tsugita with Rena Hashimoto, piano, at the Yamaha Studio in Ginza, Japan in 2017. Sérgio also presented the European premiere with Daniel Perantoni on tubas and Telmo Marques, piano, at the Gravissimo Festival in Alcobaça, Portugal in 2018.
This piece is available in versions for trumpets, horns, euphoniums or tuba. It can also be performed with any combination of the above instruments: you only need a Roadrunner, a Coyote, and a piano.
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Roadrunner
Composer: Batterham, Andrew
Instrumentation: Duet and Piano Instruments: Piano, Tuba
Genre: Contemporarywith Piano
Roadrunner portrays the never-ending chase between the roadrunner bird and the wily coyote. Musically this is achieved using canon and stretto, both funky and Classical. Does the coyote ever catch up? Maybe…
Roadrunner was commissioned by Portuguese master musician Sérgio Carolino. The world premiere was given by him and Shimpei Tsugita with Rena Hashimoto, piano, at the Yamaha Studio in Ginza, Japan in 2017. Sérgio also presented the European premiere with Daniel Perantoni on tubas and Telmo Marques, piano, at the Gravissimo Festival in Alcobaça, Portugal in 2018.
This piece is available in versions for trumpets, horns, euphoniums or tuba. It can also be performed with any combination of the above instruments: you only need a Roadrunner, a Coyote, and a piano.
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Concertpiece No. 1
Composer: Mendelssohn, Felix Arranger: Micklich, Albie
Instrumentation: Duet and Piano Instruments: Bassoon, Oboe, Piano
Genre: ClassicalOboe, Bassoon and Piano
Felix Mendelssohn’s Concertpiece No. 1 in F Minor, Opus 113 was originally composed for clarinet, basset horn, and piano and carried the whimsical title: The Battle of Prague, Grand Duet for Dumpling with Pastry and Cream, or Clarinet and Basset Horn, composed and most humbly dedicated to Bärmann senior and Bärmann junior by their very loyal servant Felix Mendelssohn Bartholdy. The story behind this unique title is equally as charming as the title itself. The famous father-son clarinet duo, Heinrich and Carl Bärmann, agreed to reward their friend, Mendelssohn, with his favorite meal of dumplings with pastry and cream if he managed to compose a work for them by 5 o’clock that very day. Mendelssohn completed the composition by the designated hour, and no doubt was rewarded with a full stomach, as the clarinet repertoire was rewarded with a significant addition to its canon. It is now a pleasure to add this arrangement to the list of works for the double reed family. The world premier of this arrangement occurred at the 2015 IDRS conference in Tokyo, Japan, performed by Albie Micklich, Martin Schuring, and Midori Nagahara.
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Paolo e Virginia
Composer: Ponchielli, Amilcare Arranger: Gibbs, Gloria Inan
Instrumentation: Duet and Piano Instruments: Clarinet, Eb Clarinet, Piano
Genre: RomanticE-flat Clarinet, B-flat Clarinet and Piano
Amilcare Ponchielli was born in 1834 in Paderno, Italy, and died in Milan in 1886. Ponchielli studied at the prestigious Milan Conservatory between the ages of 9 and 18. He is most recognized for his opera, La Gioconda, and primarily its ballet, The Dance of the Hours, which premiered at La Scala in Milan in 1876. Ponchielli composed Paolo e Viginia in March of 1877 for violin, clarinet and piano. In addition to composing, Ponchielli served as an organist in Cremona, a bandmaster in Piacenza, and Maestro di Cappella at the Bergamo Cathedral. Ponchielli also taught composition at the Milan Conservatory and counted Puccini among his pupils.
Gibbs’ arrangement of Paolo e Viginia for Eb Clarinet, Bb Clarinet and Piano was commissioned in August, 2000 by Diane Cawein Barger and Thomas Leistner. It premiered as part of a memorial recital for Robert Marcellus on September 23, 2000.
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Coalescence
Composer: Kline, Tyler
Instrumentation: Duet and Piano Instruments: Euphonium, Piano, Tuba
Genre: ContemporaryEuphonium and Tuba with Piano
Composed in 2014, Coalescence is the result of a commission by a consortium of individual tuba and euphonium players, ranging from collegiate students to professionals. The work represents the coming together of people and ideas, portrayed throughout the work musically as fragmented figures gravitate towards one another to form moments of unity. Though not necessarily programmatic, the piece could be considered a glimpse into a scene rather than the telling of a story from start to finish.
The work is in two parts: Part I is characterized by the soloists playing chant-like melodic lines while the piano is fragmented and, at times, outside of the pulse. Part II is more rhythmically driving and musically together. In this section, there is an exploration of various timbres and effects, including quick dynamic swells, low percussive effects in the solo part, and the muffling of the inside strings of the piano. The juxtaposition these two parts create represents an ongoing interest I have in creating contrasts within large- and small-scale structures.
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Faraway Nearby
Composer: Chaffin, Lon
Instrumentation: Duet and Piano Instruments: French Horn, Piano, Tuba
Genre: ContemporaryHorn, and Tuba with Piano
Since the early 20th century, the art of Georgia O’Keefe has inspired, challenged and delighted us. Today, her connection to the Southwest is simply understood. The desert’s hills, sky, flowers and bones became a comfortable vocabulary with which she communicated. This music draws its creative breath from O’Keefe’s work. Each of the three movements (I. Bones, Blue and White, II. Hills, Red and Gray and III. Music, Pink and Blue) explores a subject common to her paintings. Each subject presents a dichotomy of color.
– Lon W. Chaffin
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Without Further Ado II
Composer: MacLean, Alasdair Arranger: Gibbs, Gloria Inan
Instrumentation: Duet and Piano Instruments: Clarinet, Piano
Genre: Contemporarywith Piano
The original version of Without Further Ado II was written for clarinet, trumpet and piano. At Wesley Ferriera’s suggestion, composer Alasdair MacLean re-wrote the work for two clarinets so he and his wife Copper could perform and record it. The two clarinet version works nicely, as there is a constant interplay between the two lead instruments, and the piano adds its own special flavor with crashing chords and, at times, bebop-like syncopation. A collage of shifting textures and motivic trade-offs, this is an animated momentous work.
– Alasdair MacLean
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Concerto in D Minor
Composer: Vivaldi, Antonio Arranger: Adler-Mckean, Jack
Instrumentation: Duet and Piano Instruments: Piano, Tuba
Genre: Baroquewith Piano
Everyone may have heard of The Four Seasons, but Vivaldi has more than two hundred other concerti to his name for the violin alone, alongside countless others for cello, flute, oboe, bassoon and recorder. He also wrote many for solo chamber ensemble, and this example is one of 28 concerti he wrote for two violins, strings and harpsichord. Combining high virtuosity and showmanship in the outer movements with expressive tenderness and delicacy in the middle, this transcription allows two tuba players to work together to show off the real technical and musical potential of their instrument, authoritatively removing any residual preconceptions of what the tuba is capable of.
– Jack Adler-McKean, arranger
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Unseen Colors
Composer: Miller, Brett
Instrumentation: Duet and Piano Instruments: French Horn, Piano, Tuba
Genre: ContemporaryHorn, and Tuba with Piano
From the composer, Brett Miller:
“Chris Quade, tubist in the United States Air Force Band, inspired and commissioned Unseen Colors. Each movement represents a hidden side, or mood of the colors we think we know so well: imagine orange lying flat, pick up a corner – peer underneath and see what is swirling about. Everyone assumes red is always feisty and bold, and so it is not hard to imagine it might make an enemy. However, what color would be so bold as to fight with red? Let’s find out together…”
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A Ways In...
Composer: Oxford, Josh
Instrumentation: Duet and Piano Instruments: Flute, Piano
Genre: ContemporaryFlute duet and Piano
“In twelve tone music, all twelve chromatic pitches are arranged so that all twelve notes are played without repeating. The chromatic scale is a basic example of this concept. This technique was initially used to free composers from the dogmas of functional harmony. Many frown upon this technique because it often creates “ugly” music that is dissonant and atonal. There’s even a technique called “total” serialism where dynamics and articulations, along with pitches, are also serialized. I found that by harmonizing every note with consonant chords that plane well, such as “sus2” chords or “major 7th” chords, it’s possible to create very tonal and tuneful music– “tonal” serialism. Experimenting with this technique has led to music that sounds, at times, reminiscent of Eric Ewazen, hence the title “A Ways In…” – Josh Oxford
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Bass Clarinet Double Concerto
Composer: Russell, Jonathan
Instrumentation: Duet and Piano Instruments: Bass Clarinet, Piano
Genre: Contemporarywith Piano
Jonathan Russell’s Bass Clarinet Double Concerto for two solo bass clarinets, with piano reduction of the orchestra was composed and premiered in 2007 and features the instrument in many different capacities. The composer had the Weber Clarinet Concertos and Heavy Metal music in mind while composing this remarkable Double Concerto. He employs many different musical elements, including improvisation, asymetrical meters, and lyrical phrasing.
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Distrocto
Composer: David, James
Instrumentation: Duet and Piano Instruments: Clarinet, Piano, Violin
Genre: ContemporaryClarinet, Violin and Piano
Distrocto is a four movement work for clarinet, violin, and piano. It is composed by James M. David for Kelly Johnson in 2007. In the words of the composer, “It was inspired by the drawings of James Reed, age 8 at the time of completion. His work came to my attention through his art instructor and I was immediately impressed by the remarkable creativity of the drawings. Each one was a variation on the theme of “Distrocto” which apparently implies anything that is mechanical, extraordinarily complex, and rather menacing!”
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