• Widmann Fieberphantasie B-Flat Clarinet - Sheet Music

Widmann Fieberphantasie B-Flat Clarinet - Sheet Music

With the title of this composition, Fever Fantasy, Jorg Widmann refers to its musical air: 'I often feel Robert Schumann's melodic shape to be like the amplitude of a temperature curve: nervous, flickering, feverish, an infinite number of small and large wave crests and troughs within the principal line.'The composer approaches this sound phenomenon with a setting for acoustic instruments. Nevertheless, he succeeds in conjuring up very unusual sound spectrums. Over long sections, the notation of this score mirrors the musical progressions, containing no concrete pitches but detailed performance instructions instead. Slowly, individual tones emergefrom ascending pizzicato lines, colourless sound surfaces, sounds of harmonics roughened by tremolos, and virtuoso clarinet scales, tones that do not reveal their origin until the work ends: C - F - E - D sharp, the beginning of Schumann's first violin sonata.

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Details

Summary
Instrument:
B-Flat Clarinet Piano
Publishers:
Schott Music
ISBN:
9790001136778
Format:
Score Set of Parts Score and Parts
Item types:
Physical
Level:
Advanced
Usages:
School and Community
Number of Pages:
132
Shipping Weight:
1.45 pounds
Detailed Description
Piano, string quartet and clarinet in Bb (bassclarinet in Bb) (P/ST) - difficult

SKU: HL.49033265

Composed by Joerg Widmann. This edition: Saddle stitching. Sheet music. Edition Schott. Score and Parts. Composed 1999. 132 pages. Duration 13'. Schott Music #ED 9744. Published by Schott Music (HL.49033265).

ISBN 9790001136778.

With the title of this composition, Fever Fantasy, Jorg Widmann refers to its musical air: 'I often feel Robert Schumann's melodic shape to be like the amplitude of a temperature curve: nervous, flickering, feverish, an infinite number of small and large wave crests and troughs within the principal line.'The composer approaches this sound phenomenon with a setting for acoustic instruments. Nevertheless, he succeeds in conjuring up very unusual sound spectrums. Over long sections, the notation of this score mirrors the musical progressions, containing no concrete pitches but detailed performance instructions instead. Slowly, individual tones emergefrom ascending pizzicato lines, colourless sound surfaces, sounds of harmonics roughened by tremolos, and virtuoso clarinet scales, tones that do not reveal their origin until the work ends: C - F - E - D sharp, the beginning of Schumann's first violin sonata.

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