CS | New Music for OCTET

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OCTET: pdf
[score 24 A3 (11 x 17) pages: 450 K]
parts.pdf
[25 A3 pages: 500 K]

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the performance model of
OCTET I: mp3
[c. 6' 4.1 Mb] RealAudio |

OCTET No. 2: Stone On Stone
—Second in a series of new virtuoso concert pieces for piccolo (flute), oboe,
E-flat clarinet (B-flat cl), F horn, C trumpet, tenorbass trombone, & contrabass:

"Stone On Stone*
Go to pages in the score | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 |
| 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | [click on pages to *leaf* through score]

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OCTET II: Stone On Stone: pdf
[28 A3 (11 x 17) Pages 452 K]
parts.pdf
[15 A3 pages: 500 K]

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the performance model of
OCTET II: Stone On Stone: mp3
[c. 6' 2.6 Mb] RealAudio |

OCTET No. 3: Chorale [c. 8']—Third in a series of new virtuoso concert
pieces for flute, oboe, B-flat clarinet (solo concertino), F horn, C trumpet,
tenorbass trombone, & contrabass:

"Chorale*
Go to pages in the score | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 |
| 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 |
[click on pages to *leaf* through score]

Go to pages in solo clarinet part | 1 | 2 | 3 | 4 | DOWNLOAD solo clarinet PDF |

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OCTET III: Chorale: pdf
[34 A3 (11 x 17) Pages 516 K]
parts.pdf
[25 A3 pages: 508 K]

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the performance model of
OCTET III: Chorale: mp3
[c. 8' | 3.3 Mb] | RealAudio |"

Listen to
OCTETS No. 1, 2 & 3
(+ MOZART / BACH 170 / 147)
OCTET NO. 4
in streamed RealAudio [c. 48'] |

NEW: OCTET: Arr. Stravinsky Piano Rag (1919)
An arrangement of Igor Stravinsky's wildly fun and virtuosic Piano Rag:
for flute (picc), oboe, E-flat clarinet, bassoon, F horn, B-flat cornet, tenorbass
trombone & contrabass. [parts & score forrthcoming]

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OCTET Stravinsky Rag: pdf
[18 A3 (11 x 17) Pages 400 K]
parts.pdf
[16 A4 pages: 400 K]

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the performance model of
OCTET: Stravinsky Rge mp3
[c. 3' | 1.4 Mb] | RealAudio |

OCTET ARRANGEMENTS: Hear my prayer, O Lord An adaptation
of Henry Purcell's masterpiece. It is based on Psalm 102, v.1, the same text used by
Igor Stravinsky in the first movement of the Symphony of Psalms.

The arrangements are generally intended as study pieces for developing
a sense of independence of voice and unity of articulation and sound. But
they might also be played together with the other original OCTETS above
as rather more quiet and intimate concert interludes or meditations.

Go to pages in the score | 1 | 2 | 3 | 4 |

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OCTET Hear my prayer: pdf
[4 A3 (11 x 17) Pages 78 K]
parts.pdf
[8 A4 pages: 68 K]

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the performance model of
OCTET Hear my prayer mp3
[c. 2' | 776 K] |

OCTET ARR: Remember not, Lord An adaptation
of another magnificent anthem by Henry Purcell (c.1680). The text is
taken from the Litany:

Go to pages in the score | 1 | 2 | 3 | 4 | 5 |

"Remember not, Lord, our offences,
nor the offences of our forefathers, but spare us,
good Lord, neither take thou vengence of our sins,
good Lord, but spare us, good Lord, spare thy people,
whom thou hast redeemed with thy most precious blood,
and be not angry with us forever,
and be not angry with us forever.
Spare us, good Lord."

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OCTET Remember not. pdf
[5 A3 (11 x 17) Pages 76 K]
parts.pdf
[8 A4 pages: 96 K]

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the performance model of
OCTET Remember not mp3
[c. 2' 30" | 1 Mb]

OCTET: Arr. BACH C# minor Fugue
An arrangement of J.S. Bach's masterpiece from Well-temepered Clavier Book I—
for flute, oboe, B-flat clarinet, bassoon, F horn, B-flat trumpet, trombone
& contrabass.

Go to pages in the score | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 |

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OCTET Bach C# minor fugue. pdf
[13 A3 (11 x 17) Pages 160 K]
parts: pdf
[20 A4 pages 222 K]

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the performance model of
OCTET: BACH C# Fugue mp3
[c. 6' | 2.4 Mb] | RealAudio |

NEW: OCTET: Arr. BACH B minor Fugue
An arrangement of J.S. Bach's chromatic finale from Well-temepered Clavier Book I—
for flute, oboe, B-flat clarinet, bassoon, F horn, B-flat trumpet, trombone
& contrabass.

Go to pages in the score | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 |

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OCTET Bach B minor fugue. pdf
[15 A3 (11 x 17) Pages 216 K]
parts: pdf
[18 A4 pages 256 K]

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the performance model of
OCTET: BACH B minor Fugue mp3
[c. 7' | 2.4 Mb] | RealAudio |
[there are a few mistakes in
the recording...]

NEW: OCTET: Arr. Guillaume de Machaut DOUBLE HOQUET
An arrangement of Machaut's beautifully proportioned double hoquet à 3 voix: for flute,
english horn, B-flat clarinet, bassoon, F horn, B-flat trumpet, trombone & contrabass.
[improvized spatial intro with piece starting at 1'30"...]

Go to pages in the score | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 |

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OCTET: MACHAUT
Double Hoquet pdf
[17 A3 (11 x 17) Pages 156 K]
parts.pdf
[16 A4 pages: 160 K]

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the performance model of
OCTET: MACHAUT Double Hoquet mp3
[c. 7' | 2.4 Mb] | RealAudio |

OCTET ARRANGEMENTS: 170 An adaptation of the opening alto Aria from
J.S. Bach's Cantata No. 170: Vergnügte Ruh, beliebte Seelenlust (Blessed Peace, the Soul's desire)
—a warm-up piece for flute, oboe, A clarinet, bassoon, F horn, B-flat Fleugelhorn (alto solo),
tenorbass trombone, & contrabass:

"Vergnügte Ruh, beliebte Seelenlust,
Dich kann man nicht bei Höllensünden,
Wohl aber Himmelseintracht finden;
Du stärkst allein die schwache Brust.
Drum sollen lauter Tugendgaben
In meinem Herzen Wohnung haben."

Go to pages in the score | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 |

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OCTET 170: pdf
[15 A3 (11 x 17) Pages 224 K]
parts.pdf
[15 A4 pages: 392 K]

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the performance model of
OCTET 170 mp3
[c. 6' | 2.2 Mb] | RealAudio |

OCTET ARRANGEMENTS: 147 An adaptation of the chorale from the end of Part I of
J.S. Bach's Cantata No. 147: Wohl mir, dass ich Jesum habe (Jesus, Joy of Man's Desiring)
—a warm-up piece for flute, oboe, B-flat clarinet, bassoon, F horn, C trumpet,
tenorbass trombone, & contrabass:

"Wohl mir, dass ich Jesum habe,
O wie feste halt ich ihn,
Dass er mir mein Herze labe,
Wenn ich krank und traurig bin.
Jesum hab ich, der mich liebet
Und sich mir zu eigen gibet;
Ach drum lass ich Jesum nicht,
Wenn mir gleich mein Herze bricht."

Go to pages in the score | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |

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OCTET 147: pdf
[9 A3 (11 x 17) Pages 112 K]
parts.pdf
[12 A4 pages: 144 K]

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the performance model of
OCTET 147 mp3
[c. 3' | 1.2 Mb] | RealAudio |

OCTET ARRANGEMENTS: Mozart E minor K. 304

An arrangement of the first movement of Mozart's sublime Sonata for Violin and Piano—
for flute, oboe, solo A or B-flat clarinet (the performer can decide which he or she prefers),
bassoon, F horn, C trumpet, trombone & contrabass.

Go to pages in the score | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12
| 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | [click on pages to *leaf* through score]

Go to pages in solo A clarinet part | 1 | 2 | 3 | DOWNLOAD solo A & B-flat clarinet PDF |

This new version of the Mozart is a part of the Circle/Square ongoing OCTET PROJECT.
The intention is to create enough fresh repertoire to start a new kind of performance ensemble.
This particular piece is intended as the companion of the clarinet concertino OCTET No. 3,
Chorale (above) , and may be played before or after it. With both pieces together, the idea is
to set a new standard, both with regard to the quality of the music and to the level of performance.
The half circle simply walks out on stage and plays, standing, without music and without
conductor, thereby demonstrating a certain passion and seriousness
of intention not normally associated with New Music.

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OCTET Mozart E minor: pdf
[21 A3 (11 x 17) Pages 280 K]
parts.pdf
[21 A4 pages: 320 K]

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the performance model of
OCTET Mozart E minor mp3
[c. 8' | 2.9 Mb] | RealAudio |

NOTE: In the performance scores, each OCTET is prefaced with the
remark that in an ideal situation the group should play without
conductor. This is meant to be a challenge. Once one has
mastered the technical and rhythmical difficulties of each
part, then playing without a central organizing figure should
not prove too difficult. Much more demanding, in my view,
is achieving a unity of vision with regard to sound,
articulation, dynamics, and most especially, the quality and
direction of the music's movement as a whole.

At present, because time is short and standards are low,
even well-known new music ensembles do not perform
with what seems to me a truly unified vision, let alone
passion of conviction. These pieces are composed then
in an entirely different spirit. Nothing could make me happier
than to see the young 'have at them', and work until
they get things right, really right.

That's why these scores and sets of parts are freely available
via the Internet. (In this regard, I suppose one could say
that they are like 'open source' software.) Again, this is meant
as a challenge. In this sense, they are not so much free
as simply there, standing before one like an as yet
untried mountain pass over uncharted terrain. And as
even an experience guide will tell you, when striking out
on a new route, one never knows if one will make it,
or if the journey will be worth all the effort, or what one will
find on the other side. What is certain, however, is that
it is the movement of the search itself—and not simply
repeating the well-known paths of the past—that awakens
our deepest musical instincts and awareness, and brings
us together in the most exciting and creative of ways.