Double Reed Ensemble
G. F. Handel "Arrival of the Queen of Sheba" (Score & Parts)-2OB/2EH/2BSN/CBSN
Gustav Holst "Fantasia on the Dargason from "Military Suite #2" (Score & Parts)-Double Reed CHOIR
for double reed ensemble
by Gustav Holst (1874-1934)- English composer
Arranged by Mark Perchanok for Double Reed Septet: 2 oboes, 2 English horns, 2 bassoons, and contrabassoon.
Scott Joplin "The Entertainer" (2ob, EH, bsn)
Arranged by Ken Watson for double reed quartet. There is an alternate part for bass oboe in lieu of bassoon.
Igor Stravinsky "Firebird Suite" for Double Reed Choir: 4OB/2EH/5BN/CBSN
for double reed choir
I. Infernal Dance
III. Final Hymn
A fantastic (challenging - not for sight reading on double reed day!) arrangement by Marc Vallon for 4 oboes, 2 EH, 5 bassoons, and contrabassoon
Valerie Coleman "Umoja" for WW Quintet
Umoja The First Day of Kwanzaa
for woodwind quintet
by Valerie Coleman (b. 1970)- American composer
Umoja is the Swahili word for "unity" and is the first day in seven in the African-American celebration of Kwanzaa. The original composition calls for unity through the tradition of call and response and was first meant to be a simple family sing-along song for Kwanzaa. As it was added to the wind quintet repertoire of Imani Winds, it soon became a signature piece of the ensemble. The melody is mainly a French horn solo with supporting rhythms from the upper winds and a constant motor played by the bassoon. Even though the meter is in 3/4, the melody and percussive upper wind accompaniment is mostly phrased in 6/8 when there is syncopation. Most importantly, the entire feel should be in one. Alto saxophone may substitute if there is no French horn available.
Daniel Dorff "Cape May Breezes for Wind Quintet"
Inspired by the quaint beach town at the southern tip of New Jersey, Dorff’s five-movement suite is a natural outgrowth of the composer’s blend of pastoral beauty, bubbling scherzos, and iridescent wind writing. The movement titles depict a day in Cape May: I. Breezing Into Town (Exit 0); II. Autumn Monarch Migration (Fluttering Fields of Orange); III. Victorian Garden Party (Sarabande, Bourrée, Gigue); IV. Dusk at Sunset Beach; and V. Night Breezes on the Boardwalk. Each movement of the 18-minute quintet may also stand alone for shorter programming needs. Cape May Breezes was written for and dedicated to Jenny Cline for The Monmouth Winds, who adds, "The music is filled with imagery and the audience will be able to hear the joyful beginning of a vacation, delicate fluttering butterfly wings, the musical entertainment at a party, a beautiful sunset and mournful Taps at a flag ceremony, and exploding fireworks after dark."
Amanda Harberg "Suite for Wind Quintet"
The depth and charming inventiveness of Harberg’s Suite can only be described as remarkable. Each movement has a degree of archaic inspiration (seen in the movement titles), newly stirred up into dramatic, exciting sounds and stories. Cantus begins with the imitative entries of Renaissance motets and maintains a modal flavor. Furlana plays on the Italian folk dance rhythm in 6, punctuated by lots of unexpected 5’s. Fantasia hints at being a lullaby with an animated middle section, and the closing Cabaletta is true to its 19th-century meaning of an ornate closing section following beautiful lyricism.
Malcolm Arnold "Divertimento" for Flute, Oboe, and Clarinet
Jenni Brandon: "Double Concerto" for Oboe, Bassoon, Piano, and Optional Percussion
Jenni Brandon: "Going to the Sun: Snapshots from Glacier National Park" for Oboe and Bassoon
Going to the Sun: Snapshots from Glacier National Park
for oboe and bassoon
by Jenni Brandon (b. 1977)- American composer
Going to the Sun for oboe and bassoon explores the beauty of Glacier National Park in Montana. Wen Jennifer Gookin Cavanaugh approached me about writing a work, she told me how much she has always loved visiting the part and that it had been a family tradition for many years. Both Jennifer and Elizabeth Ball Crawford, who premiered the work, taught at the University of Montana at the time of writing this work. I thought it fitting to write a work that highlighted the performer's close connection to the area in which they lived.
As I began to spend time with hiking books, topographical maps, and pictures taken by many visitors to the park over the years, I knew that a work about a journey through this park would be a great way to share not only Jennifer's memories, but also the many travelers on the Going to the Sun Road. Those fifty miles across the park bring the visitor in contact wit lakes, weeping walls, animals, meadows, the Continental Divide, and the power of the glacier that now moves closer and closer to extinction due to climate change.
The work is in one movement; however, it is broken into several sections. I liked the idea of telling these stories like looking back at snapshots you might take on your vacation to remind you of these natural and manmade wonders.
Jenni Brandon: "Spider Suite" for Oboe, Clarinet, and Bassoon
Jenni Brandon: "Love Songs" for Oboe and Soprano
From the composer:
I have chosen this collection of texts to tell a story of the Native American woman- a story that she might tell to her child while she rocked the child to sleep. We begin with a lullaby (partially borrowed from a Chippewa lullaby) sung gently to a child, and then she begins to tell the story of herself. In "Song of Basket-Weaving" she asks the Cedar tree (mother) to prepare her for love, for bearing children, and for becoming a woman. In "Song of the Blue-Corn Dance" she work with other women to harvest corn. Falling in Love, she sings a slightly giddy song "Oh I am Thinking" which evolves into a string and steadfast song in "Love Song from the Andes". Then her lover comes to her in "Love Song" but it is not too long after that he leaves her for Sault St Marie in Michigan, never to return again (I interpret this as death- he's gone away, maybe to fight, or to hunt, but he will never return to his lover). We assume at this point in the story that the child she sings to is their child, and she is telling the story of their love. The story ends how it begins, with the woman back in the present, continuing to sing a lullaby to her child as life goes on, without her love by her side.
This work was commissioned and premiered by Aryn Day Sweeney, with funding provided by the Indiana Arts Commission in 2014. It comes as two performance scores.
Daniel Dorff "Hot Spots" for English Horn and Bb Clarinet
for English horn and clarinet in Bb
by Daniel Dorff (b. 1956)
II. On the Beach
III. The Bee and the Horseshoe Crab
Hot Spots was commissioned by Duo Del Sol, a married couple committed to expanding the repertoire for the ripe combination of English Horn and Bb Clarinet. Dorff’s inspiration came from the duo’s explanation of their name: “We like vacationing where it’s sunny!” That image and the group’s Spanish name led to a Caribbean influence throughout the work.
Jenni Brandon: "Wildflower Trio" for Oboe, Bassoon, and Clarinet
Alberto Ginastera "Duo" for Flute and Oboe
for flute and oboe
by Alberto Ginastera (1916-1983)
This title comes as one performance score. There are no individual parts.
Jean Francaix "Quatuor" for English Horn, Violin Viola, and Cello
for English horn and string trio: violin, viola, and cello
by Jean Francaix (1912-1997)- French composer
I. Allegro vivace
II. Andante tranquillo
III. Vivo assai
V. Allegro giocoso
Dedicated to Janet Craxton
Andre Jolivet: "Sonatine" for Oboe and Bassoon
for oboe and bassoon
by Andre Jolivet (1905-1974)- French composer
This title comes as one performance score. There are no individual parts.
Robert Hall Lewis: "Combinazioni III" For Oboe or EH, Percussion, and Narrator
For Oboe/English Horn, Percussion, and Narrator - Set of 3 performance scores. Composed by Robert Hall Lewis (1926-). Set of performace parts and score. With Standard notation. Composed 1977. 20 pages. Duration 12 minutes.
Thea Musgrave: "Take Two Oboes"
Take Two Oboes (2008)
for two oboes
by Thea Musgrave (b. 1928)- Scottish composer
Take Two Oboes is one of a series of light-hearted pieces written with advice from performers who are also experienced teachers. Many of these pieces explore some specific opportunities and challanges inherent in the technique of each instrument.
Thea Musgrave decided to write some pieces for pairs of instruments, partly for use in teaching and partly for the fun of hearing two of the same instruments performing together as they do in Mozart or Haydn Symphonies.
She asked me for some tricky technical challenges that one might be asking students to work on that could be difficult to have in a solo piece.
The specifics I suggested are for the fingers: the intervals D flat to E flat to E natural because of the coordination of the right hand fourth finger and left hand little finger, also the change from B flat to B natural, because of left hand little finger manipulation (although some oboe fingering systems call for left hand thumb and third finger).
An additional technical issue is the realisation of a low B flat. It is famously recalcitrant to control but wonderfully sonorous when one does. Thea uses it to great effect in her Oboe and Percussion Concerto, 'Two's Company' which she wrote for Evelyn Glennie and myself.
I also asked Thea to share the melodic lines in order to enable the student and teacher to work towards matching sound quality and I specifically asked her to write high up in the register to force teh practising of top note fingerings at all dynamics but particularly piano and cantabile.
There is nothing of this quality written for duet in this way and that makes these delighteful pieces unique.
Louise Talma: "Variations on 13 Ways of Looking at a Blackbird" For Oboe, Soprano (Tenor), and Piano
Alec Wilder: Moosacaglia for Oboe, Bassoon, and Horn
for oboe, bassoon, and horn
by Alec Wilder (1907-1980)- American composer
The horn player is meant to play from the score. There is no individual horn part.