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The work consists of an "outward" section labeled Original, followed by a "return" section labeled Miroir (Mirror), each lasting about 15 minutes. [3] Each section is composed of six sheets or cahiers (notebooks) marked A–F. [4] In the solo clarinet version, the performer plays the six Original sections in a sequence he or she chooses, after which the six Miroir sections are played. [4]
Nilo Wellington Hovey was born in Iowa on September 22, 1906, to Leroy Dana and Lois Graham Hovey. Raised in Cedar Falls, Iowa, Hovey participated in the Cedar Falls Municipal Band, initially on saxophone, but eventually on most of the reed instruments, and attended Iowa State Teacher's College (now the University of Northern Iowa).
Compositions for clarinet, violin, cello and piano (3 P) Pages in category "Compositions for clarinet" The following 25 pages are in this category, out of 25 total.
Initially intended as a 3-volume series of increasing difficulty, the middle volume titled Clarke's Technical Studies (1912) would gain a following independent of the other volumes, becoming "one of the most widely used trumpet method books" [1] and drawing comparisons to the Arban Method. [2]
Concerto for flute, oboe, clarinet, horn, trumpet, trombone, violin, viola and piano, op. 24 (1934) Three Lieder on texts by Hildegard Jone, for voice and piano, op. 25 (1934–35) Das Augenlicht, for mixed choir and orchestra, on a text by Hildegard Jone, op. 26 (1935) Variations, for solo piano, op. 27 (1936)
The following works are some of the most universally respected and established cornerstones of the band repertoire. All have "stood the test of time" through decades of regular performance, and many, either through an innovative use of the medium or by the fame of their composer, helped establish the wind band as a legitimate, serious performing ensemble.
To Beep or Not to Beep is a Merrie Melodies animated short starring Wile E. Coyote and the Road Runner.Released on December 28, 1963, the cartoon was written by Chuck Jones, John Dunn, Michael Maltese [1] (albeit uncredited), and directed by Jones, Maurice Noble and Tom Ray were the co-directors (albeit the latter is left uncredited). [2]
It is the most frequently performed work in the solo bassoon repertoire. [1] Osborne recorded the rhapsody in collaboration with Sol Schoenbach for a 1952 radio program of contemporary American music run by WNYC in New York. The piece's working title was "Study for Bassoon", but Osborne intended to make it playable on clarinet as well.