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  Clarinet Secrets

  Clarinet Secrets - 100 Performance Strategies for the Advanced Clarinetist: ab 47.99 €

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  The Clarinetist-Vol.1

  Paquito D'Rivera (clarinet), Niels-Henning Orsted-Pedersen (double bass), Wolfgang Haffner (drums), European Art Orchestra...

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  Sonaten für Klarinette

  Julian Bliss and James Baillieu present a recording Johannes Brahms' Clarinet sonatas, Op.120 and an arrangement of his 4 Ernste Gesänge, Op.121 arranged by Bliss. These late works were inspired by the great clarinetist Richard Mühlfeld, principal clarinet of the Meiningen Court Orchestra, without whom we would not have had this clarinet repertoire.

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  Johannes Brahms: Late Piano Pieces

  Brahms composed his last four collections of works for the piano during the Summers of 1892 and 1893. Clara Schumann called this cycle of works "a treasury of masterpieces". This recording presents the three collections of Fantasies, Opus 116, Intermezzi, Opus 116 and Piano Pieces, Opus 118. The cycle of "Fantasies" in the Opus 116 are symphonic in character, with a more extroverted, energetic character. The 3 Intermezzo of Opus 117 are more intimate, on a much smaller scale than the more massive works of the Opus 116. Brahms called these three Intermezzi "the cradles of my sorrows" in a letter to Clara Schumann during their composition. These pieces were inspired by the Scottish poem "Lady Ann Bothwell's lament" as translated by Herder. It has been theorised that the third intermezzo was inspried by the poem "Victor Galbrfaith" by Longfellow. The six pieces of Opus 118 are more diverse in their atmospheres and forms (4 Intermezzi, a Ballade and a Romanze). Brahms was also at work on his series of works for the clarinet (two sonatas, the trio and the quintet)) at the same time he was working on this cycle, and it would seem there are stylistic similarities between these six pieces and the works for clarinet. The last Intermezzo (in the key of Eb minor) is a sort of long, tragic meditation which seems to be a cousin of the slow movements in the symphonies of Mahler. ============================================= Pianist Raj Bhimani's concerts are "virtuosic, heartfelt and eloquent," writes New York Times critic Michael Kimmelman. Time Out NY noted him for being a "gifted and highly expressive pianist." Mr. Bhimani performs regularly across North America and Europe. His performances have been broadcast on Indian National Radio and Television, Portuguese National Radio, and on WQXR and WHUS Radio in the United States. Recent New York performances include Merkin Concert Hall, the 92nd Street Y, St. Paul's Chapel, and Saint Peter's Church, where he performs frequently. Mr. Bhimani also appeared on the inaugural season of Baruch College's Engelman Recital Hall, where he returned recently with clarinetist Anna Maria Baeza and cellist Eliot Bailen, and at the Tenri Cultural Institute, where he performed with acclaimed mezzo-soprano Katherine Ciesinski. Additional successes include Montreal, La Jolla, and Idaho State University, where his playing was lauded for "combining a searching intellect with emotional sensitivity and drama." In Europe, Mr. Bhimani plays annually on the Atelier Concert Series at the American Church in Paris. He recently presented his 27th annual recital on that series. He has also performed at the Salle André Marchal in the same city. He has toured Portugal and Italy, and recently gave a highly celebrated concert in the Komitas Chamber Music Hall in Yerevan, Armenia. This past season Mr. Bhimani appeared for the second time at New York's Lincoln Center for the Performing Arts and has been invited back for the 2012-2013 season. In December he will be touring India, presenting concerts and masterclasses in different parts of that country. Mr. Bhimani is a champion of new music, and has developed particular expertise in French piano literature. He has worked closely with composer Henri Dutilleux, who declared him "a great artist who performs with sensitivity and intelligence." Composer Thérèse Brenet, moved by Mr. Bhimani's performance of her previous work, composed for him To the West Wind, which Mr. Bhimani premiered in 2001, Never, Never More, which he premiered in 2005, and Avec des éclats dorés d'éspérance, which was first heard in 2008. She recently completed Three Preludes, which had their first hearings in 2009. Mr. Bhimani has built a strong reputation as an educator and has taught at the 92nd Street Y School of Music, New York University and Concordia College. In addition to a very busy private studio in New York, he is in great demand across the country for his educational outreach programs, which include master classes, private coaching for both soloists and chamber ensembles, and lecture-demonstrations, as well as lectures on French piano literature. Mr. Bhimani's teaching methods establish a strong foundation of technical and musical skills, guiding students from beginners to concert-level performers, and he is a frequent judge and lecturer on piano pedagogy. He currently serves on the board of The Leschetizky Association, an organization committed to upholding the great pedagogue's ideals of beautiful tone production and musical integrity. Recordeded by Joe Patrych au Patrych Sound Studios.

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  Clarinete Solo. Mexico Vol. 1

  SOLO CLARINET Mexico Vol. 1 Javier Vinasco Fifty years of music for solo clarinet. Mexico (1957-2007) Composers born in the 20th century To record a CD for solo clarinet with pieces by Mexican composers has been an arduous, difficult, and at the same time rewarding undertaking. On this journey we have investigated a variety of routes and paths that composers had taken and have come to recognize that there is an ample compendium of creators dedicated to writing for the clarinet. These composers have explored languages that range from the acknowledgment of tradition to less conventional experimentations, demonstrating both significant evolution and compositional maturity. Our efforts have resulted in an anthology that shows a glimpse of the variety, quality, and expressivity of the ample spectrum of compositions that, in this case, were selected with an inquisitive spirit from archives, catalogs and private collections. At the same time, this CD presents two new compositions written especially for this project by Alejandro Colavita and Fernando Cataño. Mario Lavista (1943- ) wrote Madrigal (1985), in collaboration with the clarinetist Luis Humberto Ramos, to whom the piece was dedicated. It is a work articulated in two contrasting sections: the first calls to mind the medieval form of the madrigal with the use of a single pedal and two voices, one superior and the other inferior, thus creating an illusion of polyphony within the instrument's monophonic possibilities. The second section, on the other hand, makes use of non-conventional fingerings to achieve different colours of the same note as well as to produce two or more sounds simultaneously. Lavista then re-elaborates this resource, for the piece's conclusion, in an organum, and so, achieves coherence and unity. Elegía (1962) by composer, Manuel de Elías (1939- ), is a piece in a single movement of lyrical nature in which there is a perceived motor impulse from beginning to end. In Imago (1977), the composer liberates the metric and delves deep into the use of technology external to the instrument, in this case the echo chamber, affecting the clarinet's sound. This device provokes in the listener an alternate perception of sounds from the direct source with other moments in which one can detect their reflection. Divertimento (1985) by composer, Gabriela Ortiz (1964- ) and dedicated to Luis Humberto Ramos, is a piece written in a single movement that retains a rhythmic preeminence and that has it's roots in popular music. Although this is one of her earliest compositions, it is possible to recognize -by the construction of phrases and her ample dynamic palette- an efficient combination of technique and intuition. The náhuatl legend of the 'five suns' is the background for the piece titled Macuiltonatiuh (2007), by the composer, Alejandro Colavita (1973- ). This composition was worked closely with the clarinetist, Javier Vinasco, to whom it was dedicated. Macuiltonatiuh is comprised of five continuous movements in a contemporary language that makes use of the extensive gamut of expressive resources in today's clarinet technique. It is possible to discern a search for timbres which, in turn, determine each movement's structure, as well as the overall form of the piece. It is a pursuit that initiates in the depths of the lowest register of the clarinet (shalomuo register) and slides, in continuous ascent, to the instrument's highest limits. Clamoreo (1991) for clarinet and magnetic tape, by the composer Víctor Rasgado (1959- ) is a fragment from his opera Anacleto Morones. Here, the composer carries out a timbrical exploration by combining an acoustic instrument with electronic sounds. It is written in a single movement in which the clarinet presents two motives that persist throughout the entire piece, thus reacting to the changes generated by the tape. Tres Epigramas (1999), for their part, are movements elaborated as independent and self-contained units in which one can appreciate the influences of serialism. The first and third were dedicated to Guido Arbonelli while the second was dedicated to José Luis Nieto Bustamante. Fernando Cataño (1928- ) wrote Llanuras and Ternura in 1957 and 2006, respectively. Both pieces are composed in a single movement in which the inspiration originates from a mystical search undertaken by the composer. Through contemplation, Cataño explores themes related to Mexico's religious syncretism. In these searches, the composer exalts mestizo spirituality within a nationalist frame, and so, demonstrates congruency throughout his pieces with the use of common elements present from his earliest compositions. Up to this point, Llanuras had remained unedited, while Ternura was composed especially for this project. In this recording both pieces make their first public appearance. Cuatro estudios (1975) by composer Jorge Córdoba (1953- ) have a didactic purpose insofar as they develop the musician's technical abilities while exploring different musical elements in each one of them. In the first, articulation works in function of the phrasing, in the second, rhythm is explore by combining measures in simple and compound time, the third fosters perfection of the legato technique, while the fourth contrasts with the previous one, by emphasizing the use of staccato notes. Javier Vinasco is currently one of the most distinguished clarinet players in Latin America. He devotes a significant amount of his work to the interpretation and diffusion of his continent's music, as can be appreciated in his recordings with Música de Cámara Latinoamericana and Cero Records. His warmth and depth of sound, his pure technique and his refined musicality have led diverse composers - among them, Diego Vega, Jesús Lara, Nathan Bounviri and Alejandro Colavita- to write pieces specifically for him. His presentations -including chamber concerts, soloist appearances with orchestral accompaniment, master classes and courses- have been received enthusiastically by critics and public alike in Colombia, Mexico, Argentina, Venezuela, Panama, Italy, the United States, Canada and Japan. Javier holds a Bachelor's degree from Colombia's Universidad del Valle, perfectionism of clarinet studies from the Conservatorio Otorino Respighi in Italy, and his Master's from the UNAM in Mexico City. Throughout his musical career, Javier has studied with Emilio Montoya, Francesco Belli, Roberto Mantilla, and Luis Humberto Ramos.

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  American Kaleidoscope

  The Silverwind Duo presents a colorful combination of flutes and clarinets, offering variations of the standard instrumental combination. The Duo's repertoire covers a wide range of styles from Baroque to Jazz with a large body of contemporary works and new additions to the repertoire written for the ensemble. The Silverwind Duo has presented recitals and performed throughout Arkansas, Louisiana, Michigan, Mississippi, Maine, and New York. Nicole J. McPherson is the principal flutist of the Orchard Park Symphony Orchestra and performs with the Chautauqua Symphony Orchestra, the Erie Philharmonic and the Buffalo Philharmonic Orchestra. She has been a soloist with the Michigan State University Symphony Orchestra and the Rochester Philharmonic Orchestra. McPherson teaches at the State University of New York at Fredonia. She studied at Ithaca College and completed her doctorate at Michigan State University. Clarinetist Andrew Seigel teaches at the State University of New York at Fredonia. An active chamber and orchestral musician, Seigel performs with the Fredonia Wind Quintet, the Fluriano Trio and the Western NY Chamber Orchestra. Seigel studied as a Fulbright Scholar at Hungary's Franz Liszt Academy of Music. He earned degrees from Michigan State Univeristy and California State University, Fresno. During the summer, he is a faculty artist at the New England Music Camp in Maine.

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  Clarinet Romance: Brahms & Schumann

  The dynamic duo of clarinetist, Chad Burrow and pianist, Amy I-Lin Cheng bring the Romantic works of Schumann and Brahms alive. The duo was established in 1999 at Yale University and has been touring the world since then. Chad Burrow is recognized as one of the premiere clarinetists of his generation. Burrow has appeared as a soloist and chamber musician in concert halls across the globe. The European press has said that Burrow performs with "brilliant technique and tonal beauty mixed with an expressive ferocity." Danish critic, Henrik Svane, went on to describe a Burrow performance as filled with 'virtuosity, energy, and power without compromise.' The New York Times recently called a Carnegie Hall appearance in Poulenc's Sonata as giving a "strong impression" and being a "bright and genial account." In 2009, Burrow was appointed to the clarinet faculty of the University of Michigan, where he teaches clarinet, chamber music, and serves as the director for the Michigan Chamber Players. Additionally, he serves as co-artistic director for the Brightmusic Society of Oklahoma, which includes regular performances throughout the year and an early summer music festival in Oklahoma City. Burrow is the former principal clarinetist of the Oklahoma City Philharmonic and the New Haven Symphony. He was also the past associate professor of clarinet at the Wanda L. Bass School of Music at Oklahoma City University, as well as the principal clarinetist with the Quartz Mountain Music Festival and the Arizona Musicfest Orchestra. Burrow's recent concert engagements abroad have included the Alpenkammermusik Festival in Austria, Denmark's Thy Chamber Music Festival, a recital in the National Concert Hall in Taipei, Taiwan, concerts in Strasbourg, France and concerto appearances with the Taichung Philharmonic, the "Classic" Orchestra of Taichung and the Shin Sharn Ensemble in Taipei. Recent performances in the United States have included appearances on a series of Benny Goodman centennial concerts in Carnegie Hall and Yale University. Other performances have included venues at Rice University, the Museum of Jewish Heritage in New York, the University of Houston, three International Clarinet Association conferences, Notre Dame University, the Music Mansion in Providence (RI), the University of Arkansas, Texas Christian University, the University of Texas, Louisiana State University, and the University of Oklahoma Clarinet Symposium, among many others. In addition to his own schedule of performances, Burrow is the clarinetist for Duo Clarion, formed in 1999 at Yale University with pianist Amy I-Lin Cheng. Duo Clarion maintains an active series of performances throughout the United States, Europe, and the Far East. Duo Clarion's work has been recorded and released by Albany Records and by Wei Studios. Violinist Yung-Hsiang Wang joins Duo Clarion to form Trio Solari. The trio has had a regular touring schedule around the world since 2006. Burrow is the winner of prizes and awards from the 2001 Young Concert Artist International Competition in New York City, the 2000 Woolsey Hall Competition, the 2000 Artist International Competition, and the 1997 Fischoff National Chamber Music Competition. He holds a bachelor of music degree from Northwestern University where he was a student of Russell Dagon, and a master of music degree from Yale University, where he was a student of David Shifrin. Burrow is a performing artist for Buffet Crampon Clarinets and Vandoren. Born in Taiwan, pianist Amy I-Lin Cheng has appeared in concerts across the United States, in Germany, Switzerland, Denmark, Taiwan, Brazil and Israel. Amy made her Boston concerto debut at the age of 17 at Jordan Hall under the direction of Benjamin Zhander. She has appeared as a concerto soloist with the 'Musica Viva' Moscow Chamber Orchestra, Taichung Philharmonic, Orchestra of the Pines in Texas and the Oklahoma City Philharmonic, among others. An avid chamber musician, Amy is the co-Artistic Director of the Brightmusic Society of Oklahoma in Oklahoma City, as well as the pianist for Duo Clarion and Trio Solari. A graduate of The Curtis Institute of Music (BM), Yale University School of Music (MM and Artist Diploma), and the New England Conservatory (DMA), Amy studied with Claude Frank, Wha-Kyung Byun and Rolf-Peter Wille. Currently Amy teaches at the Ann Arbor School for the Performing Arts. In addition to serving as a collaborative pianist, Amy is a Lecturer of Piano at the University of Michigan School of Music, Theatre & Dance.

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  Border Crossings

  Border Crossings Performed by members of Pacific Serenades Mark Carlson, flute Gary Gray, clarinet Clayton Haslop, violin (Concierto barroco) Connie Kupka, violin (2nd, Three Folksongs & Pacific Serenade) Miwako Watanabe, violin (1st, Pacific Serenade) Roger Wilkie, violin (1st, Three Folksongs) Roland Kato, viola (Three Folksongs) Simon Oswell, viola (Pacific Serenade) David Speltz, cello Patricia Mabee, harpsichord Joanne Pearce Martin, piano The Music All of these works were commissioned and premiered by Pacific Serenades. Concierto barroco for flute, violin, cello, and harpsichord (2002) Commissioned by Jack & Florence Irving for Pacific Serenades. A few years ago I had the opportunity to read the novel Concierto barroco, written in 1974 by the brilliant Cuban writer Alejo Carpentier (1904-1980). The novel mentions a chance encounter in the city of Venice at the beginning of the 18th Century between three great musicians of the time: Domenico Scarlatti (1685-1757), George Frideric Handel (1685-1759), and Antonio Vivaldi (1678-1741). In an amusing passage, it tells how they get together and play their favorite instruments, Scarlatti at the harpsichord, Handel at the organ, and Vivaldi at the violin, and perform an exceptional jam session. I did borrow the novel's title for my quartet but, in spite of my great admiration for the music of Scarlatti, Handel, and Vivaldi, my intention in Concierto barroco was not to imitate these or other great composers of the 18th century, but rather, to create an original baroque musical style of my own. My objective was not unlike that of the Mexican composer Manuel M. Ponce (1882-1948) in his baroque compositions for guitar, or the Brazilian Heitor Villa-Lobos (1887-1959) in his Bachianas Brasileiras cycle. The compositional process that I undertook involved combining traditional forms of the baroque period, of the Spanish baroque, and modern Latin American dances. -Enrique González-Medina Three Folksongs for clarinet and string quartet (1992) Commissioned by Elizabeth H. Henderson for Pacific Serenades Three Folksongs was composed in 1992, a commission from Mark Carlson and Pacific Serenades. Each of the three movements is centered on a vernacular-styled melody, which is placed in a traditional Western classical form. In the first movement, a Scotch/Irish ballad is contained by sonata form, the second is a theme and variations on an African-American-styled spiritual, the third movement is a Brazilian samba, realized as a rondo. At the time, I was interested to see whether these different 'ethnic' themes could co-exist in a piece without it sounding like a hodgepodge. But if Bach used French, Italian, and German styles incorporated into the distinct movements of a suite, then, I thought, I should be able to do so with Irish, African, and Brazilian music! In the years since composing this piece, my interest in incorporating the vernacular with the classical styles has only deepened and continues to grow. It is how I hear music. My thanks to Mark Carlson for his terrific support and for the unique work that he does in bringing new work into the world. Thanks also to the performers for their artistry and for their passion. -Robert Livingston Aldridge Sonata for cello and piano (1998) Commissioned by Virgil & Lynn Roth for Pacific Serenades As is almost always true with my music, this piece is rather eclectic, various styles being blended and juxtaposed, reflecting my varied musical roots and interests. The opening and closing movements are both rather busy, the first one often agitated and the last an upbeat dance. The middle movement begins and ends in relative calm, though in it's middle section a high singing melody in the cello evolves into a sort of subdued anguish. The third movement deserves special note here, as it is based on a kind of dance and song peculiar to Venezuela, the merengue, which is in 5/8 time. My fascination with this kind of music stems from three trips to Venezuela, during which I began to explore the folk and popular music of this uniquely multi-cultural country. My piece here is not meant to be a replica of the merengue so much as a kind of synthesis of it's rhythms and overall form and my own language. I guess I am sort of a stylistic sponge: music that I hear and am attracted to often gets absorbed into my personal vocabulary. This movement is a further manifestation of my long-standing attraction to South American popular music, and I have a hunch that it will be one of a number of pieces influenced by Venezuelan music. I wrote the piece especially for David Speltz and Joanne Pearce Martin, and they premiered it on a Pacific Serenades concert in 1998. -Mark Carlson Pacific Serenade for clarinet and string quartet (1998) Commissioned by Dr. Eberhardt & Deedee Rechtin for Pacific Serenades Written in 1998, Pacific Serenade is a "peaceful serenade"-a serenade as in: romantic, quasi-improvised music which should be sung at night under the stars. The main "singer" here is the clarinet. In general, the music is extremely quiet, delicate, sensuous, and sentimental. The sensuousness is created by Latin song elements, especially the nostalgic Brazilian folk song, which is at times combined with blues-style melody and harmony. The string quartet has a technically and expressively challenging part, which is not merely the accompaniment to the clarinet, but rather it is responsible for setting the mood in which the clarinet sings. This is my opus 59, and it was commissioned and premiered by Pacific Serenades in Los Angeles in 1998. Of course, the ensemble's name inspired the name of this work, as well as it's mood, since Gary Gray is the clarinetist. In an age of boom boxes, media bombardment of information, and pop culture becoming increasingly aggressive, boisterous, and violent, I felt the need to write just the opposite, to show once more that less is more. Pacific Serenade is published by Peermusic/Theodore Presser. Later, I wrote versions for optional saxophone and piano. -Miguel del Aguila The Composers Composer Robert Aldridge's music, for orchestra, opera, music-theater, dance, solo and chamber ensembles, has been performed throughout the United States, Europe, and Japan. He has received fellowships and awards from the Guggenheim Foundation, the American Academy of Arts and Letters, the National Endowment for the Arts, the New York Foundation for the Arts, the Lila Wallace Reader's Digest Fund, Meet the Composer, and the American Symphony Orchestra League. He was commissioned by Orpheus Chamber Orchestra and the Los Angeles Chamber Orchestra for a clarinet concerto, which was premiered in 2005. His tone poem, Leda and the Swan, a four-orchestra consortium commission, was premiered in 2003. His opera, Elmer Gantry, was given it's full stage world premiere by Nashville Opera in 2007. He holds a Doctorate in Composition from the Yale School of Music, and is Director of the John J. Cali School of Music at Montclair State University, where he is also an Associate Professor of Music Composition/Theory. Composer Mark Carlson's lyrical, emotionally powerful, and stylistically unique music has earned him the admiration of audiences and musicians throughout the United States, Canada, Mexico, and Europe. A versatile composer, his works include art songs, chamber music, choral music, concertos and other large ensemble works, and songs for musical theater. He has been commissioned by the National Shrine in Washington, DC, and the New West Symphony, among other organizations, as well as by many individual performers. One of his CDs, The Hall of Mirrors, was a winner of the Chamber Music America/WQXR Records Awards for 2001. He has taught music theory and composition at both UCLA and Santa Monica College for many years. The Founder and Artistic Director of Pacific Serenades, he is also active as a flutist. Carlson attended the University of Redlands, graduated from CSU Fresno, and received MA and PhD

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  Around the World in 60 Minutes

  Melissa Koprowski is Assistant Professor of Clarinet at the University of Wisconsin - Eau Claire. She graduated Summa Cum Laude from the University of Alabama, and completed her Master's and Doctorate degrees in clarinet performance from The University of Southern California, where she had the privilege to study with Yehuda Gilad. She has also studied with Danny Granados, Scott Bridges and Judy Donaldson. Dr. Koprowski is an active performer and soloist. She has won first place in numerous competitions, some of which include the International Clarinet Association Young Artist Competition, Pasadena Showcase, MTNA Young Artist, Grand prize from the Birmingham Music Club, and a three time first prize recipient of the Alabama Federation of Music Clubs Competition. At the age of 18, Dr. Koprowski was appointed as the 2nd/Eb clarinetist of the Tuscaloosa Symphony. She has also performed with many orchestras across America including the Alabama Symphony, Huntsville Symphony, Downey Symphony, Burbank Philharmonic, American Youth Symphony, and Debut Orchestra. Dr. Koprowski can be seen and heard as clarinetist on the Dreamworks film, The Soloist. Roberta Garten grew up in San Diego, CA and received her bachelor's and master's degrees from University of Southern California, where she studied with Johanna Graudan and Nancy Bricard. She has been on faculty of the Colburn School of Performing Arts as staff accompanist for over 30 years. Roberta has performed with principal players in many symphony orchestras, including the Los Angeles Philharmonic, Chicago Symphony, and New York Philharmonic and as has performed through the US, Spain, Japan, South Korea, and South America. She can be heard on Summit Label, and is very pleased to have performed and recorded with Melissa Koprowski. Russian-born Victor Babin (1908 - 1972) is best known in the United States as a duo-pianist with wife Vitya Vronsky, and as Director of the Cleveland Institute of Music from 1961 - 1972. His style is distinctly post-romantic - conservative but colorful. The Hillandale Waltzes for clarinet and piano (1947) was composed toward the end of World War II. The waltzes are based on a theme of the German composer Johann Nepomuk Hummel (1778-1837), which he used in his Introduction, Theme and Variations for oboe and piano. A series of eight waltz variations, some of which test the technical prowess of the clarinetist, follow the landler-like theme. The composition was dedicated to Anne Archbold, who kindly provided housing for the Babins in the Hillandale Mansion in Washington D.C., near Georgetown University, shortly after their immigration to the United States. Viennese-born composer Joseph Horovitz (1926 - ) emigrated to England in 1938 where he studied music at New College, Oxford. He was an official lecturer in music appreciation to the Forces and gave piano recitals in army camps. After completing his BMus and MA degrees, he studied composition with Gordon Jacob at the Royal College of Music and with Nadia Boulanger in Paris. He has won numerous prestigious composition awards throughout his long career. The Sonatina for clarinet and piano was composed in 1981 at the request of Gervase de Peyer and Gwenneth Pryor. It is light-hearted and utilizes the traditional three-movement division. The first movement concentrates on the middle register of the clarinet, mainly lyrical against a rippling piano background, and is in classical sonata form. The second movement is an A-B-A song structure employing some of the lowest notes of the wind instrument in a long cantilena over a slow chordal accompaniment. A loose rondo form is used for the finale. It alternates two themes in equal proportions, exploiting the upper register of the clarinet. The harmonic idiom of the whole work is tonal and is melodically and rhythmically influenced by jazz and other popular music. Arthur Benjamin (1893 - 1960) was Australian by birth before moving to London as a young man, where he studied composition and piano. He was active in the growing musical life of the time, giving many performances of new works, including his own. During the 1940's his music was inspired by the music of Caribbean natives. Le Tombeau de Ravel is a set of six contrasting Valse-Caprices framed by an introduction and a finale. This work is loosely modeled after Ravel's Valses nobles et sentimentales which, in urn, were inspired by two sets of waltzes by Schubert. The composition evokes the sound world of Ravel and the general atmosphere of French music of the time, including hints of the salons, echoes of the café-concert and images which seem to leap from Toulouse-Lautrec's illustrations. American composer, Sy Brandon (1945 - ), was recently commissioned by the Arizona Centennial Commission to compose a band composition to celebrate Arizona's 100th anniversary of statehood. Other first prize awards include WITF-FM's 25th Anniversary Composition Contest, and Franklin and Marshall College's Wind Ensemble Composition Contest. The Czech National Symphony Orchestra, the Philharmonia Bulgarica, and the Kiev Philharmonic have recorded his music. Two compositions of his are heard on this CD. Badinerie, composed in 2001, is a rhythmic exciting piece in a modal style. The piece is in a large ABA form. The A sections contain much syncopation and counterpoint. The B section has a more sustained clarinet part over an ostinato in the piano. Die Fledermaus Fantasy, which closes this CD, is modeled after Sarasate's 'Carmen Fantasy'. It uses themes from the opera and expands upon them in order to show off the solo instrument. The material used comes from the overture along with Rosalinde's Csardas inserted in the middle. Carlos Guastavino (1912 - 2000) was born in Santa Fe, Argentina. He was one of the foremost Argentine composers of the 20th century. His reputation was based almost entirely on his songs, and Guastavino has sometimes been called "the Schubert of the Pampas." His style, always tonal and lusciously romantic, is fully based on Argentine folk music. Tonada y Cueca (1965) is comprised of two contrasting pieces exploring rhythms from Northwestern Argentina. A Tonada is defined as a Latin American folk song of the sentimental type or as a work song that accompanies such diverse tasks as milking, farming, maize milling, and harvesting. The Cueca, derived from the Peruvian 'Zamacueca', is a lively couple's dance of courtship and is also the national dance of Chile.

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  Chamber Music Favorites with Alto Saxophone

  Harry Hindson, DMA Harry Hindson graduated from Ottawa,IL Township High School in 1966, and was a member of the concert band directed by Ray Makeever that appeared at 1964 Midwest, 1965 IMEA, and 1966 Dorian Conventions. He received his BA in Music Education from Luther College in 1970, where he was Dorian Music Society President and band soloist, premiering Luther College music theory professor and composer Maurice Monhardt's 'Concert Piece for Alto Saxophone and Concert Band' at Lincoln Center with the Luther College Concert Band, under the direction of Weston Noble. Seven years of military service followed as saxophonist with the U.S. Navy Concert Band in Washington, D. C., where he founded the Navy Band's first saxophone quartet, and was selected Sailor of the Quarter. Concurrently, he earned a Master of Music degree from the University of Maryland. In 1977 he returned to the midwest to participate in family farm projects and teach at Waubonsee Community College, in Sugar Grove, IL, and begin a commuter woodwind studio serving schools in Ottawa, Oswego, and Naperville. In 1979 he began a long-standing friendship with Ron Keller and the Naperville Municipal Band by guest-soloing on the spring concert, and he has soloed yearly with the group since. He married Jean Pederson--also a Luther College alum--in 1982, and her position in Spanish at UW-LaCrosse brought them north in 1984. At that time Harry began doctoral studies at UW Madison which led to a DMA in 1992. Active as a saxophone soloist and clinician, his teachers have been Jack Williamson, Larry Livingston, Donald Sinta, George Etheridge, and Les Thimmig. Currently a very busy musician in the Coulee Region, he is a bassoonist with the La Crosse Symphony, principal clarinetist with the La Crosse Concert Band, occasional saxophonist with the Great River Big Band, and double reed section leader, conductor and soloist with the 132nd Army National Guard Band in Madison, WI. In addition to his private studio, he is currently adjunct professor of Saxophone at Luther College, and adjunct woodwind instructor at Winona [MN] State University. He has also worked for Central and Logan High Schools in La Crosse, and St. Mary's University, in Winona. With Jean being an able bass clarinetist, and now blessed with two musically inclined daughters, this is a family that attends a lot of concerts! Harry joined the WI ANG Band in 1987, and has helped guide development of clarinet and saxophone ensembles to augment the fine brass ensembles providing valuable musical support to the WI National Guard. His interest in music for larger saxophone ensembles was whetted doing background work for his dissertation, The Saxophone in American Musical Culture 1850-1980, and flowered with the acquisition and restoration of a vintage bass saxophone. He performs frequently on the entire family of saxophones, having appeared extensively in recital, and as soloist/clinician with school and municipal bands, at state and national music conventions, and at the National Music Camp at Interlochen, MI. He has regularly soloed with the LaCrosse Concert Band, and has appeared with the Illinois Valley Symphony Orchestra, and the LaCrosse Symphony Orchestra. The CD This CD is a collaborative effort by members of the LaCrosse Symphony Orchestra to leave a lasting performance legacy through a modest recording project. Since the saxophonist offered to do the groundwork, the music has a focus on the saxophone in the chamber music context. The relative rarity of a saxophone in a chamber music environment enhances the interest of many music lovers.

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  • Price: 25.44 EUR excl. shipping

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