Tromboverture is celebration of the trombone choir. Beginning with a lively and joyous motif, it dances among the players. Transitioning to the middle segment, a grand melody emerges, evoking strength and confidence. The concluding section merges the earlier themes, culminating in a vibrant and triumphant finale!
A brief, lyrical, single-movement work for oboe, cello, and piano.
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PRELUDE AND FUGUE IN E♭, Op. 28, No. 1 for Trumpet, Horn, and Euphonium
Oskar Böhme Catalogue number: 128CC120323A
Oskar Böhme’s “Prelude and Fugue, Op. 28, No. 1” for is a captivating piece that showcases the virtuosity and unique timbral qualities of these brass instruments. The composition is divided into two distinct sections: the Prelude and the Fugue. The Prelude, in C minor, features melodic lines intertwined among the trumpet, horn, and baritone, creating a rich tapestry of harmonies and textures. The Fugue displays intricate interplay among the instruments, showcasing their individual characteristics while harmonizing together to create a cohesive and intricate musical fabric. Scored for Trumpet (B♭), Horn (E♭), and Euphonium (C). Set includes parts for Horn in F and Baritone in B♭.
Wilhelm Fitzenhagen Catalogue number: 057CC110123A
In Ave Maria, Fitzenhagen skillfully adapts the melody of the prayer for the cello ensemble, allowing each cello to express different facets of the music. The four cellos blend harmoniously to create a rich and sonorous texture, which is well-suited to the devotional nature of the prayer. Fitzenhagen's arrangement is known for its lyrical and expressive qualities, which allow the performers to convey a deep sense of reverence and spirituality.
VARIATIONS ON A JEWISH FOLK THEME, Op. 24 for String Quartet
Mikhail Gnessin Catalogue number: 066CC113023A
“Variations on a Jewish Folk Theme, Op. 24” is a compelling and expressive work for string quartet by Russian Jewish composer and teacher, Mikhail Gnessin. Completed in 1917, this piece showcases Gnessin's mastery in incorporating Jewish folk elements into classical music.
The work is structured around a central Jewish folk melody, which serves as the foundation for a series of variations. Each variation explores different musical elements such as rhythm, harmony, and instrumentation while maintaining the essence of the original theme. Gnessin skillfully weaves intricate and emotive melodies, allowing the listener to experience the rich cultural heritage of Jewish music within a classical framework.
Swan Hennessy, an Irish-American composer born in 1866 and spent much of his life in France, was heavily influenced by his Celtic heritage. His Petit Trio Celtique, Op. 52 incorporates lively and spirited melodies that evoke the traditional music of Ireland, accompanied by rich harmonies and rhythmic patterns reminiscent of Celtic folk dances like jigs and reels. As the work's title suggests, Petit Trio Celtique has a more intimate and less formal character compared to larger chamber compositions. Despite its smaller scale, the piece is often praised for its charm, elegance, and the skillful integration of Celtic motifs into the classical chamber music idiom.
Swan Hennessy’s Trio for 2 Clarinets and Bassoon, Op. 54, composed in 1927, showcases his signature fusion of Celtic folk influences with a late-Romantic harmonic language. Hennessy, an American composer of Irish descent who spent much of his career in Paris, is known for blending traditional European classical forms with folk melodies and rhythms. Hennessy's music in this period combines the impressionistic tendencies of French music with the rhythmic and modal influences of Irish folk traditions. Hennessy imbues the piece with a lyrical charm, vivid character, and rhythmic vitality.
Duo de Concert by Paul Jeanjean is a charming and dynamic piece written for clarinet, bass clarinet, and piano. Jeanjean, a prominent French composer and clarinetist, is well-known for his technical studies for clarinet, but in this work, he explores the chamber music format with a focus on the interplay between the clarinet and bass clarinet, supported by the piano.
The Duo de Concert alternates between lyrical passages and fast, intricate sections, demanding precision, agility, and expressive playing from both the clarinet and bass clarinet. The interaction between the two clarinets is dynamic, featuring playful exchanges, intricate harmonies, and moments where they merge into a single, blended sound. The piano part adds harmonic richness and rhythmic drive, providing both support and contrast to the clarinet lines.
The piece moves through various moods, from playful and energetic to more reflective and lyrical moments, embodying a wide emotional palette. Its virtuosic passages allow performers to display their technical mastery. The dialogue between the two instruments creates a lively conversation, with each taking turns in leading melodic lines and engaging in playful exchanges.
The piano serves as both an accompanist and a partner, providing harmonic support and rhythmic drive. Jeanjean's writing for the piano is expressive, allowing moments of lightness and intensity to shape the overall structure of the piece."
Heinrich Molbe (Pseudonym of Heinrich Freiherr von Bach) Catalogue number: 164CC092024A
OBOE, HORN, and PIANO
Air Arabe, Op. 77 is a short, evocative musical piece that falls under the Romantic period’s characteristic style of exoticism. Composed for oboe, horn, and piano, it reflects a fascination with Eastern cultures, common in 19th-century European art. The work is infused with what Western composers imagined as “Arabian” or “Oriental” sounds, featuring chromatic melodies, modal scales, and rhythmic patterns that evoke the mystique of the Middle East.
Molbe’s use of lyrical, flowing lines and embellished ornamentation gives the piece an improvisational feel intended to mimic the Arabic musical traditions that inspired him. While not a well-known composer today, Heinrich Molbe (pseudonym for Heinrich Freiherr von Bach) captured the spirit of the time by blending European Romantic idioms with an exotic, foreign flair. The title itself, Air Arabe, suggests that the piece was meant to evoke a particular atmosphere rather than strictly adhere to authentic Arabic musical practices.
Arnoldo Sartorio transcribed and edited by Marc Linwood Catalogue number: 006XY102023A YOUNG MUSICIAN SERIES
A collection of 16 popular German Christmas carols in easy arrangements for string quartet, suitable for public performance, holiday gatherings, and worship services. Titles include: “Silent Night,” “Lo, How a Rose e’er Blooming,” “Shepherds, Awake,” “Come, Little Children,” “Oh, Christmas Tree,” and more.
Ole Olsen (1850–1927) was a prominent figure in Norwegian music during the late 19th and early 20th centuries. His “Serenade for Clarinet and String Orchestra” showcases his melodic craftsmanship and skillful orchestration. The composition follows the traditional structure of a light and often romantic piece, evoking a pleasant, serene atmosphere. The inclusion of the clarinet as a solo instrument adds a distinctive character to the piece, allowing for expressive and lyrical passages. A version for Clarinet and Piano (piano reduction by the composer) is also available from the publisher (catalog number 007CC121123B).
Ole Olsen (1850–1927) was a prominent figure in Norwegian music during the late 19th and early 20th centuries. His “Serenade for Clarinet and String Orchestra” showcases his melodic craftsmanship and skillful orchestration. The composition follows the traditional structure of a light and often romantic piece, evoking a pleasant, serene atmosphere. The inclusion of the clarinet as a solo instrument adds a distinctive character to the piece, allowing for expressive and lyrical passages. The original version for Clarinet and String Orchestra is also available from the publisher (catalog number 007CC121123A).
