Kapelle Rubin, Getzmann, Buser

Inhalt: Traditional English Melody: All in a garden green – Traditional Welsh melody: All through the night – Vivaldi: Autumn from ‚The Four Seasons‘ – Bach: Bist du bei mir – H?ndel: Bourr?e from ‚Water Music‘ – Traditional English melody: Country gardens – 16th-century melody: Greensleeves – Schubert: Impromptu – Dvor?k: Largo from ‚New World Symphony‘ – H?ndel: March – Schubert: Marche militaire – Mozart: Minuet from ‚Eine kleine Nachtmusik‘ – H?ndel: Minuet from ‚Water Music‘ – Morley: My bonny lass she smileth – Mozart: Non piu andrai from ‚The Marriage of Figaro‘ – Beethoven: Ode to joy – Mozart: Papageno’s aria from ‚The Magic Flute‘ – Hassler: Passion chorale – 16th-century melody: Pavan – Traditional Scottish melody: Skye boat song – Schumann: Soldiers‘ march – Vivaldi: Spring from ‚The Four Seasons‘ – Spiritual: Steal away – Tallis: Tallis‘ canon – Joplin: The entertainer – Gibbons: The silver swan – MacDowell: To a wild rose – Clarke: Trumpet voluntary – Spiritual: Were you there – When the saints go marching inAusgabe: SpielpartiturSeitenzahl: Leider keine AngabeSchwierigkeitsgrad: 1-3Bearbeitet von: Tambling, ChristopherMedienart: Noten

Die drei Duos für Klarinette und Fagott WoO 27 gehören stilistisch Beethovens frühester Schaffensperiode an. Durch ihren heiteren Charakter, das geschickte Klangfarbenspiel und das Fehlen größerer technischer Schwierigkeiten zählen sie seit jeher zu den Paradestücken der Bläserkammermusik und sind zudem bevorzugte Werke für Schüler und Studenten. Die einzige Quelle für den Notentext ist eine Druckausgabe, die erst nach Beethovens Tod erschien vermutlich ein Nachdruck von Pariser Editionen, die heute ebenso wenig greifbar sind wie die Originalmanuskripte. Unsere Ausgabe folgt dem Notentext der Beethoven-Gesamtausgabe (Band VI/1); der Spielpartitur für das Fagott liegen zwei alternativ verwendbare Stimmen für Klarinette in B und C bei.

Die Musik Aaron Coplands ist charakteristisch und zweifellos amerikanisch. Aufgrund seiner dauernden Bemühungen, durch seine Werke sowohl den Durchschnittsmenschen als auch andere Künstler anzusprechen, wurde er zu einer der meist ausgezeichneten Persönlichkeiten in der Kulturgeschichte der Vereinigten Staaten. Unter zahllosen Preisen und Ehrenauszeichnungen, die Copland erhielt, sind auch der Pulitzerpreis und die Presidential Medal of Freedom. Diese äußerst ansprechende Sammlung von instrumentalen Arrangements bieten Solisten die Gelegenheit, etwas von Coplands musikalischer Pionierarbeit durch einmalige amerikanische Themen zu erleben. Schwierigkeitsgrad: 3 Seitenanzahl: 14 Inhalt:- Billy and His Sweetheart from Billy the Kid -Ching-a-Ring Chaw from Old American Songs, Set 2 -Dirge in the Woods -Fanfare for the Common Man -Going to Heaven! from Twelve Poems of Emily Dickenson -I Bought me a Cat from Old American Songs, Set 1 -I’ve Heard an Organ Talk Sometimes from Twelve Poems Of Emily Dickson -Laurie’s Song from The Tender Land opera -Simple Gifts from Old American Songs, Set 1 -The Little Horses from Old American Songs, Set 2 -Vieux Poeme -Zion’s Wall from Old American Songs, Set 2

18th century ballroom dances. Instrumentation: Flute (ad lib.), Clarinet (ad lib.) and String orchestra

Commissioned for the 1997 celebrations of the Year of Ninian, one of the founding fathers of Christianity in Scotland. St Ninian, the first bishop of Whithorn, was believed to have arrived in Galloway in the south-west of the country in 397 AD, nearly two centuries before St Columba landed on Iona. The three movements are based on three of the so-called Miracles of Ninian, ‚The reiver and the bull‘, ‚The dream of Pectgils‘ and ‚A mystical vision of the Christ-child‘. These strange and evocative tales about the saint and his followers were documented in a Latin poem written a few centuries after his death. As well as being a concerto, the work is therefore also a collection of tone-paintings which give an impression of these ancient tales. A vibrant and approachable concerto which offers a satisfying balance between depth of expression and technical display. Instrumentation: Clarinet and Orchestra

Niels Wilhelm Gade (1817-1890) left to the musical world an extensive oeuvre of orchestral and chamber music works, works for organ and piano, lieder and chants as well as incidental music. His versatility as an instrumentalist, composer, conductor and director of the conservatoire made him the most important figure in the Danish musical scene of his time. ‚Fantasiestücke‘ (Fantasiestykker) Op. 43 is among the most frequently played original works for clarinet and piano. The present edition is based on the autograph (1864) from the Royal Library of Copenhagen and on the first edition (1865) by Kistner in Leipzig. Gade’s compositions stand out due to his great mastery in instrumentation. The same applies to these four melodically and harmonically original ‚Fantasiestücke‘. The clarinet is treated like an instrument that can contribute a wide range of expressive means. Instrumentation: clarinet and piano op. 43

Jean Guillou, one of the most important organ composers of our time, studied with Marcel Dupré, Maurice Duruflé and Olivier Messiaen at the Paris Convervatoire. Following a several-year stay in Berlin (1958-63), he has been a titular organist at St. Eustache in Paris since 1963 and made appearances as a much sought-after concert organist and teacher of master classes. Written in 1955, the composition ‚Fête‘ for clarinet and organ Op. 55 is a 20-minute virtuoso concertante piece which is aimed at professional players. Instrumentation: clarinet in Bb (violin) and organ op. 55

‚Sahaf‘ is part of the cycle ‚Shifting Gravity‘ in which the Israeli composer, known worldwide for her Mozart adaptation Zaïde/Adama, explores the laws of physics and their physical realization in a playful manner. In ‚Sahaf‘ with its unusual instrumentation, a ‚flurry‘ of selective incidents is increasingly parallelized until all instruments jointly imagine the powerful twirling of an oversized ratchet rattle. Instrumentation: saxophone (baritone and sopranino) or clarinet (Eb clarinet and bass clarinet), E-guitar, piano and percussion (timpano, marimba, 2 plastic triangle liners, bamboo wind chime, ocean drum, ratchet, snare drum)

One of the most bodacious episodes in the Kalevala, the Finnish national epic tells how Joukahainen challenges the old, wise singer Vainamoinen to a competition, during which Vainamoinen sings him up to his neck into the swamp. This scene, combining stunning and comical elements, is a great subject for a musical composition, but also holds a certain risk: it would perhaps be too obvious to depict it through an abundant, romantically expressive cantilena. This would indeed be quite dull and conventional – instead, Sumpfgesang is based on the imagination of Vainamoinen’s chant and is anything but melodical (in a traditional sense) and ostensibly clamant. The paradoxical idea of the piece could rather be described as a ‚chant without melody‘, characterised by an inner tension, power and diversity as well as a fragile and bizarre musical language in parts which avoids everything superficially ‚melodic‘ yet still creates a ‚breathing‘ dramaturgy and suspense. The quintet has largely been split into even smaller instrumental units, but there is never a single voice which dominates – in fact, the few solos are the most sparse episodes of the composition. The sections are often marked by clear cuts and harsh contrasts rather than smooth transitions, but the musical language is also colourful and sophisticated in parts, building more and more tension which culminates in an unexpectedly climactic tutti. Benjamin Schweitzer Instrumentation: flute (doubling bassflute) baritone saxophone (or bass clarinet) and string trio

The compositions by the greatest Brazilian tango composer and pianist Ernesto Júlio de Nazareth (1863 -1934) are strongly influenced by Brazilian folk music. He preferred light entertainment, and his dance music has remained extremely popular in his home country until today. Heitor Villa-Lobos called him ‚the true embodiment of the Brazilian soul‘. Nazareth composed primarily choros music which is very common in Brazil, but it was his 25 tangos (25 Tangos Brasileiros for piano, Schott ED 7561) that made him famous. The melancholy waltz Confidencias in A minor (already published for piano in Valsas brasileiros, Schott ED 20304) bridges the gap between Latin American folkore and Romantic elements, as can be found in the waltzes by Chopin. The work’s specific expressive chromaticism in melody and harmony stands out particularly in the arrangement for chamber music ensemble. Instrumentation: flute, clarinet in A or B (viola) and guitar