I love food with healthy and simple ingredients. I am a recipe developer and food blogger who is inspired by many cultures around the world. Today, I could be in Thailand having a Tom Yum Soup, and tomorrow I will be in France eating bouillabaisse!
Rogue Foodies is for everyone who loves to travel through the food they eat without borders, labels, or travel restrictions!
Become a member to get new recipes in your email every week
This page contains information about my cello concerto. Here you will read how the concerto came to be written and recorded in my home studio piece by piece, as first printed in the May, 1999 issue of Strings magazine. You can download an MP3 file of the concerto, and view photos of the recording sessions. You can also download the complete printed score, plus all of the individual printed music parts. Audio engineers who'd like to try their hand at mixing this piece can download all of the original recording session Wave files. The concerto lasts about 17 minutes, including the cadenza. I hope you enjoy it!
In the spring of 2020 I resurrected the original session recordings for two reasons: For several years I've wanted to try making a better and more realistic sounding mix, and I think I've accomplished that. But also, a friend suggested I make the original session files available to other audio engineers for mixing practice. There are many multi-track collections for pop and rock music, but none that I know of for a full-on orchestra recorded section by section. So I dug out the original software used to record this concerto, and exported all the individual track files for others to download and use.
The occasion for this concerto, which is written as one long movement, was my debut as a soloist. In seven years of playing the cello I have performed many short works at recitals but never a real concerto with full orchestra. I had written two other pieces - one has been performed by four different area orchestras - and I decided that, if nothing else, it would be a lot more rewarding to play my own concerto than a piece from the standard literature. The biggest problem was to write something with sufficient musical value, yet not so difficult that I couldn't play it myself! What began as a fun project turned into nine long months of composing, plus considerable effort to typeset the score and 26 parts.
Like many composers today, I use an electronic keyboard and MIDI sequencer program to record each part. Once the notes are in the computer, it is simple to change the melody or harmony, or try a passage an octave higher or lower, or maybe move a line from the flutes to the oboes to see which sounds better. It is indeed wonderful to be able to hear a perfect performance of a work in progress without the expense of hiring an orchestra. Synthesizers are always in tune, and they never miss an entrance. Further, all modern sequencers can export the notes into a music typesetting program (though you still have to add the slurs, bowings, and dynamic markings, and plan the page turns). This ensures that the notes you wrote make it to the score and parts without any errors. The inevitable downside, however, is that a performance by an orchestra of synthesizers sounds decidedly phony. When I played my finished concerto for a violinist friend, his first comment was, "Nice job. Was that supposed to be a French horn?" At that moment it became painfully obvious that I would need a real recording with live musicians if I ever hoped to convince a record company or well-known cellist that my concerto has merit.
I would like to thank Mrs Ingrid Spiegl for her permission to make this transcription, and David Good at GoodMusic (publishers of the original orchestral score) for his help. The full score is subtitled "An arrangement of National Airs for orchestra", and credited to "Fritz Spiegl and Manfred Arlan", but both Ingrid and David have confirmed that the arrangement and adaptation of the traditional tunes is solely the work of Fritz Spiegl.
OrchestrationPiccolo, Flute, 2 Oboes (2nd doubles Cor anglais), 2 Clarinets in Bb, 2 Bassoons2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (Snare drum, Cymbals), HarpStrings (Violin 1, Violin 2, Viola, Cello, Bass)This arrangement of National Airs from around the UK has been heard for many years at the start up of BBC Radio 4 first thing in the morning. It brings together traditional tunes from England, Wales, Scotland and Ireland including Early one morning, Rule Britannia, The Londonderry Air, Annie Laurie, What shall we do with the drunken sailor?, Greensleeves, Men of Harlech and Scotland the Brave. This work has never previously been published for sale.Early in 2006 the BBC announced that the theme would cease to be used from April 2006. This caused consternation amongst the many devotees of the early morning musical fantasy. No need for a radio - now you can play it yourself!Duration: 5 minutesA PACK comprises an A4 sized full score plus a complete set of parts including strings 4/4/3/4/2.
Only on the HOME screen just tick the box forOnly show downloadsYou can use the Filter by instrumentto show the download titles available.For ORCHESTRAL titles, use the filter for Orchestral Score then click on the individual title for full details and to display all the parts too (printed and downloads)
Along with the (optional) Bassoon part we are also offering the (optional) 3rd Trumpet and (optional) 2nd Trombone part in our new restoration. All three of these options are included in the full orchestra score (partitur) for Oklahoma!, which is now for the first time available for rental.
Need I add that the score of Oklahoma! is one of the great (greatest!) joys of the musical theatre, whether accompanied by a full orchestra, a solo piano, or our two piano arrangement. Please feel free to check in with us with any further questions you might have.
Click on the column title to change sort order: Year, Title or Composer. Click on the Play icon to listen tothe music. Click again to stop. Click on the Score icon to see or download the piano score in pdf-format. Click on the Download icon to download the mp3-file (or listen to the music if the Play icon does not work for you).
Clausen moved to Los Angeles, California in 1967 in search of television work, wanting to become a full-time composer. For nine years he did some arrangement work for singers, ghostwriting and other composing jobs such as commercial jingles, as well as working as a teacher, music copyist and a bassist. He worked as a copyist on "Come On Get Happy", the theme song to The Partridge Family. He eventually became a score writer and later the music director and conductor for Donny & Marie between 1976 and 1979. Initially, he was requested to write an emergency chart for the following day, but he was hired as a score writer and continued writing and conducting on the show, before replacing Tommy Oliver as music director. When the show moved to Utah, Clausen flew there each week from Los Angeles to record the score. He had the same role on The Mary Tyler Moore Hour in 1979. In 1981 he was nominated for the Primetime Emmy Award for Outstanding Achievement In Music Direction for Omnibus.
He conducted a 35-piece orchestra for the music, a rarity for television shows, and recorded the score for an episode every week. Clausen wrote an episode's score during the week, recorded it on a Friday, with some variation if vocals are required. The limited timeframe proved the most challenging aspect of the job for Clausen; he was once required to write 57 musical cues in one week. For the show's original songs production is much longer; Clausen records the music to the writers' lyrics, over seven or eight months the scene is animated, and then Clausen can re-record the song with a full orchestra. The full orchestra allows easy transition between the wide range of musical styles required for the show. Clausen noted:
In 2011, Clausen was awarded the American Society of Composers, Authors and Publishers Golden Note Award. ASCAP President Paul Williams said his "decades of scores for The Simpsons and other TV programs and films are as endlessly inventive as the imaginations of the shows' writers and animators. It takes a lot of serious work and thought to compose, arrange and conduct such wonderfully happy music."
On this page, it's served the music scores composed or arranged byRyuji Kunimatsu with PDF file.You can download from the Link on the right of piece title. Printingsize is A4.Please feel free to play my compositions and arrangements in public, torecord and upload on YouTube. 2b1af7f3a8