Spring Tide Arabesque for two Bass Clarinets is now published by ALEA Publishing and Recording. The catalogue number is: ALEA1166. The piece has a duration of c. 5 minutes.

Equipoise, for bass clarinet and piano, was written as a test piece, intended to present a challenge to the virtuosity and expressive capability of the finer players of the bass clarinet - and to tax the instrument. The work was acknowledged with an Honourable Mention in the Composition Competition of the 1st World Bass Clarinet Convention held in Rotterdam in October 2005. The work is now published by Alea Publishing and Recording, USA.

Seven Pieces for Bass Clarinet and Piano (2017) is a set of seven varied pieces, with a combined duration of just under 33 minutes. The Seven Pieces are published as a volume by ALEA Publishing and Recording.

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Two Pieces (for Bass Clarinet Duo) The two pieces for bass clarinet duo began life in a small sketchbook where the ideas were developed by hand before committing them to being typeset. The resultant pieces are written in an advanced, modern idiom, making use of contemporary techniques, with fingerings provided for the more atypical parts. Inspired by meteorological phenomena, each takes a contrasting approach to exploring the force of nature in the wind, ranging from the gentlest breeze to the raging tornado. The first piece, entitled A Cross-Breeze Surges, represents the determination of the wind to overcome man's attempts at directing air flow. The bass clarinetists take on an almost antiphonal role suggested by two open windows at opposite ends of a room. The through-breeze is interrupted by a sudden gust, capable of slamming doors. The second piece, Tumult of Amber and Rain, is a more rapid, agitated piece of a shorter duration. The title was formed from a combination of two provisional titles, Tumult of Straw Nests and Whirlwind of Amber and Rain. This turbulent piece explores the violence of a powerful whirlwind, and it is possible for the listener to hear an almost growling sound. Note: Extended-range instruments required for both parts. https://bassclarinet.ecwid.com/March-Two-Pieces-p146149173

Orig. (op. 266) in d für Blockflötenorchester. Noten: https://www.edition-walhall.de/de/holzblaeser-/47-blockfloeten/miehling-klaus-1963-fantasia-a-5-flow-my-tears-john-dowland-op-266a.html?language=de

Noten: https://www.edition-walhall.de/de/holzblaeser-/blockfloetenorchester/miehling-klaus-1963-fantasia-a-5-flow-my-tears-john-dowland-op-266.html

KILIG Horn Quartet By: Luis Jimenez For: Hannah Baldoz Kilig: the sudden feeling of an inexplicable joy one gets when something romantic or idealistic occurs. Perfect for your Horn Ensemble/Studio Recital Original Composition for Horn Quartet https://www.sheetmusicplus.com/title/kilig-horn-quartet-luis-jimenez-digital-sheet-music/21787356 more info on the composer and piece found at www.luisjimenezmusic.com/ Facebook: https://www.facebook.com/LJimenezMusic Cover Image by: Hannah Baldoz, used with permission. (Like Poetry? You'll hate mine, https://www.luisjimenezmusic.com/poetry) Los Angeles, California © 2020 Luis Jimenez

Noten: https://www.edition-walhall.de/de/holzblaeser-/47-blockfloeten/miehling-klaus-1963-sonate-c-op-269.html

The Rapsodia para violín (o flauta) y piano (Rhapsody for violin or flute and piano) was composed from October 8, 1982, to January 23, 1984. Written in a post-romantic style, it can be played either on the violin or the flute, and possibly on the cello with some changes in tessitura. It begins with a brief heroic introduction on the piano which leads to a first lyrical theme in C minor presented by the violin (or flute). The ever modulating harmony, based on several seventh chords, unfolds on the piano as wavy arpeggios. Then follows a more dramatic development which, after a climax, gets back to the introduction, this time with the violin in canon stretto. A variation of the initial theme is presented now with an even more modulating development that leads to a second theme of american character interrupted by a broad martial theme. After a brief interlude, a new variation of the first theme in a gentle F major is presented which dissolves into a mysterious version of the introduction played by the violin and stripped of all its original opulence. The work ends with the reexposition of the first theme in canon between both instruments.

Kinesis II for flute and piano has been dedicated to María Victoria Gómez, who premiered it with the author on the piano. It was finished on Agust 10, 1987, and is written in an atonal language with permanent metrical changes. It begins with a dizzying section in which the flute and the piano are engaged in a lively dialogue with wiggly melodies which include, according to the expressive needs, arpeggios alternating just and augmented fourths or minor thirds and seconds. Now and then a minor chord with major seventh or its inversion punctuates the musical discourse. After a flute solo, a much slower second section arises in which the piano assumes an accompanying function, although in two passages it acquires prominence through contrapuntal procedures. In the third section an introspective flute comes back with a self-dialogue between the high and low registers. The work concludes with a symmetrical dissonant accord in which the lowest C of the flute occupies the exact center.

The Fantasy for flute and piano was finished on March 31, 2007, and is dedicated to María Victoria Gómez and Alicia Correas, who premiered it the same year. The language is predominantly tonal, but certain passages use arpeggios with several just and augmented fourths, a characteristic technique in other works by the author. The work begins with a brief introduction followed by a piano ostinato which acompanies a very slow tetrachord in the low register of the flute, which will be used later as a motivic resource by diminution to different degrees. An episode with iridescent harmonies leads to a piano interlude featuring the arpeggios mentioned earlier and then a third theme is presented in which a chord counterpoint is pucntuated by several augmented arpeggios on both instruments. A new series of arpeggios of fourths, interrupted by a brief bucolic interlude, takes us back to the third theme and finally to the initial ostinato, which this time fades into one last arpeggio interlude. Then a lyric passage leads to a brief recapitulation. Although for a moment it seems that the work will be ending with a luminous G major harmony, the discourse is dramatically interrupted by a dark atonal coda.

This work was composed from 29 June 1985 and 04 August 1985. It begins with a long clarinet solo which gradually presents the main theme. Then enters the piano with a variant with parallel chords. Then enters the violin with a figured variant. From then on tension is continuously increasing until a fugato begins, featuring increasingly close strettos leading, through a tumultuous transition, to a new clarinet solo which leads to a very expressive slow intermezzo with three symmetrical phrases. A short interlude reminscent of the fugato seems to break the calm climate but it is suddenly diluted in a duet between the clarinet and the violin. This leads to the clarinet solo of the beginning, exposed this time by the violin accompanied by piano or clarinet on occasions, and alone in the last phrase. Finally the clarinet in the lowest part, the violin in the highest part and the piano in the center, closes the piece with deep austerity..

The Clarinet sonata was composed from August 25 to September 5, 2005 and comprises two movements. The first one is a fantasy built on a melodic motif with a descending minor second and an ascending major second that is presented as a sort of ostinato in many different rhythmic variants. It is disturbed by frequent digressive episodes that arise from the elaboration of a diminished fifth interval. The second movement has a sonata-form structure whose first theme is meant, both during the exposition and the development, to create a polyphonic illusion. To this aim there is a systematic use of zigzag melodies as well as a resort to timbrical contrasts between the different registers of the instrument. The development presents two sections, each one preceded by an episode in which the virtual polyphony becomes contrapuntal as the ostinato motif of the first movement is revisited and opposed to two ideas, one of them taken from the second theme. The reexposition is brief and comprises a variation of each main theme. The coda exhibits a fading but not relaxed character until the last measure, where a final energy blast growls in the bass.