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| Sandroff,Howard F. (1949-) | |
| Sex | Male |
| Comments | |
| Five aphorisms |
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| Written | 1979 | ||
| Duration | |||
| Comments | Text by Kathleen Lombardo. | ||
| Publisher |
American Music Center | ||
| Inst. | [4] Clarinet in Bb, Piano, Soprano, Violin | ||
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| Comments | |||
| La Joie (The Joy) for clarinet trio |
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| Written | 1996 | ||
| Duration | |||
| Comments | La Joie (the joy) for clarinet trio was commissioned by clarinetists Larry Combs, John Bruce Yeh from the CSO and Depaul University clarinet professor Julie DeRoche in the spring of 1996. La Joie is named for and is dedicated to my wife, soul mate and inspiration Mary Ann La Joie in celebration of our 25th Anniversary and was premiered by Mr. Combs, Yeh and Ms. DeRoche at the la Cite Musique in July 1996 in Paris. The musical material of La Joie began life as The Brides Complaint, a 1987 composition for soprano and computer generated electronics and is in keeping with my compositional ideal of using a single musical idea (sound object); portraying it in many versions and contexts without revealing its evolution from one state to another. Using the same compositional techniques I have used in other works, I sought to create a more lyrical expression befitting a love song. The entire work is based upon a sound object made up of five pitches. This object is continuously manipulated to generate melodic, harmonic and timbral material. | ||
| Publisher |
Garlic | ||
| Inst. | [3] Clarinet in Eb, Clarinet in Bb, Bass Clarinet | ||
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| Comments | |||
| Tephillah for clarinet and digital audio processors |
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| Written | 1990 | ||
| Duration | |||
| Comments | Tephillah (1990) for Clarinet and Computer Controlled Digital Audio Processors, was commissioned in the winter of 1990 by Yamaha Corporation of American, Musical Instrument Division at the request of Chicago Symphony Clarinetist, John Bruce Yeh. Loosely based upon Hebrew liturgical chant, Tephillah owes its inspiration to the style and character of Eastern European Jews at prayer. The work could best be described as an abstraction of the seemingly disordered and spontaneous manner in which a service is conducted by Orthodox Jewish men of the Ashkenazic tradition. The word, Tephillah, is Hebrew for prayer. The work consists of three movements which are performed without pause. Movement I is a declaration of the material. Movement II is styled like a cadenza. Movement III is also declarative in character using more robust versions of the opening sound objects. The construction and material of Tephillah is consistent with my aesthetic goal of using static sound objects that, rather than develop, are varied by their continually changing association with other sound objects. The audio processing system consists of digital delay, reverberation and mixing systems which are controlled in real- time by a micrprocessor and the Musical Instrument Digital Interface. These systems are manipulated by a second performer who essentially "plays" the sound of the live clarinet. The combination of clarinet and audio processing exists as a single instrument rather than the more traditional approach of duet between the acoustic and electronic instruments. The work is dedicated to the memory of my maternal grandfather, Henry (Henoch) Faber. | ||
| Publisher |
Garlic | ||
| Inst. | [2] Clarinet in Bb, Electronics, Technician | ||
| Grade | virtuoso work | ||
| Comments | |||
Prepared on Wed Apr 29 19:11:45 2009