These songs were written for the Old Vic production of Shakespeare's The Tempest in 1962. The original instrumentation was Piccolo, Flute, Clarinet, Horn, Timpani, Harp, Bells and Harpsichord. The instrumentation in this edition (Piccolo doubling Flute, Clarinet in B flat, Horn in F, optional percussion (small Bass Drum and Bells) and Harpsichord or Piano) is Tippett's revised version. / Voix Et E…

Trinity College London Theory Model Answers Paper (2015) Grade 2 has been created to further aid in exam preparation by demonstrating the correct answers, or those which would attract the highest marks. This item contains two model answer papers for Trinity College London?s Grade 2 exam in music theory, for the exams sat in both the May and November sessions of 2015. These answer papers can be use…

Par CURTIS MIKE. Bulgarian Bat Bite was written in 2003 as a commission by the Quartetto Italiano di Clarinetti. It is an adaption and expansion of the composer´s 1992 duet, Khyberian Catfit, which is included in his 10 Klezmer Duos, published by Advance Music of Germany. The Duo‘s name referred to the antics of the family cat, Khyber, without alluding to the Balkan influences upon the composers f…

Method for Clarinet. Par KASTELEIN / MICHIEL OLDENKAMP. Edited by acclaimed educator Philip Sparke, these exciting method book/CD packs for beginners contain songs, music puzzles, games to increase your understanding of music, information about your instrument, and lots of fun pieces to play - either with the CD provided or with other students. Books include helpful diagrams and fun illustrations …

Par DE HAAN JACOB. This concert work, the latest of Jacob de Haan works based on American states, is a suite in three movements, based on a well-known folk tune from Arkansas. In the course of this varied work the folk song appears in its complete form and in fragments, in major and in minor, as a ballad in a lyrical orchestration, as a blues, accompanied by a jazzy rhythm and at the end again in …

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s struc…

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s struc…

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s struc…

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s struc…