• Over 2000 works of contemporary music in all styles and groups.

• Symphonic Music in rent, Chamber Music, Lied, and Choir.

• Browse our catalogues at www.clivis.cat

EDITIONS 2011

Suite RenardPere J. Puértolas3*222-2000-Saxo S,A,T,B.- Cb. Score, pgs.78,ref. E660 (Parts in rent, E660LL)

The Renard Suite is playful piece. Twentyyears after its debut, the composer has re-cently composed an arrangement for windensemble with double base. The work con-sists of five complementary movementsand, with no other pretension beyond that ofpassing a bit of time with live and cheerfulmusic

Fanfara per a una ciutat, Barcelona2001. Pere J. Puértolas4Corni, 4Trombe, 3Trombone, 2Bombardini,2Tube-3Percuss. Score, pgs. 56. ref. E655(Parts in rent, E655LL)

Fanfare for a city, Barcelona 2001 is a piece thatwas written in 1997 for brass and percussion. Wascommissioned for the presentation of Barcelona’scandidacy for European Capital of Culture 2001. Itwas going to be performed outdoors that condi-tioned the choice of instruments and the nature ofthe work, which was structured in five short, con-trasting movements relating to the arts and cultureof Barcelona.

Nocturno SevillanoAgustí Borgunyó3*2*22-4330-timp.harp.pno.-string.Score pgs. 52, ref. E290 (Parts in rent. E290LL)

Sevillian nocturne is a symphonic piece withmusic that has clear roots in Seville. Themelisma typical of Arabic-inspired music isever-present, and the sound of the guitar isanticipated in the arpeggios of the harp andpiano, which take on soloist parts at certainpoints of the work.

Variacions Simfòniques sobre un temad’Henry EcclesMoisès BertranCbasso. solo-2222-4321-timp.2perc.pno.-string.Score+solo part, 32 pgs. ref. E628(Parts in rent. E628LL)

The Symphonic Variations on a theme byHenry Eccles, comprise one Theme, sixVariations, one Cadence and a reprise of thetheme. These small sections follow one an-other without any interruption, with the aim ofcreating a work with a single stroke within astructure is discontinuous in places.

Concert per a piano i conjunt decambraJoan GuinjoanPiano solo-012*2-2100-perc. Score pgs. 68,ref. E656 (parts in rent, E656LL)

The Concerto for piano and chamber en-semble was composed in 1963 and wasawarded the Schola Cantorum of Paris’ Com-position Prize. It is a rather ‘raw’ piece. Thepiano part is most impressive but the thingthat connects this concerto to the rest of thepieces of Guinjoan, is its rhythm.

Concert Nr.2 per a Clarinet i OrquestraJesús Rodríguez PicóClarinet solo-3*3*00-4221-4perc.-string.Score+solo part, pgs. 112, ref. E666(Parts in rent, ref. E666LL)

There is a certain degree of continuity between theConcerto Nr. 1 for clarinet and orchestra (1989) andthe Concerto Nr.2 (1990), and they in fact have manysimilarities, such as the relationship that is estab-lished between the orchestra and the solo clarinet,the use of expressive clarinet passages of great tech-nical complexity, and also thematic references toother composers –Mozart, Mahler and Stravinsky.

Improvisaçao. Moisès BertranHorn & Piano. Score+part, pgs. 20, ref. E624

The work is written in ternary form andbroadly speaking it is composed as an im-provisation. After a short introduction, appearthe main lyrical theme on the horn. In themiddle of the piece there is a section in ajazz style, which has some interesting fig-ures on the piano. The most noteworthy fea-tures is its expressive depth, which is at itsgreatest in the soloist’s cantabile.

Sketch. Moisès Bertran2 Percuss. Score, pgs. 12, ref. E623

It is a piece for a group of small-sized per-cussion instruments, which includes thesomewhat exotic use of a set of crystal glassesand a Musical Saw. Sketch is not a techni-cally difficult piece but is rather a shortdivertimento where the main challenge re-lies on the subtleties of the tone.

C’était MagnifiqueJesús Rodríguez PicóClarinet & Piano, Score+part, pgs. 28, ref. E643

Various themes relating to Francis Poulencare brought together in this composition. Atthe beginning, we can hear a motif sugges-tive of his Clarinet Sonata, next, there is anexpressive, lyrical phrase, and in the thirdpart, the ironic undertones are accentuatedthrough the use of two melodies in a kind ofcollage effect; the first taken from Rossini andthe other a well-known Cole Porter melody“C’est magnifique”.

Retrats d’un dolç instantLluís M. BoschFlute & Guitar. Score, pgs. 16, ref. FG06

Portraits of a sweet moment is an evoca-tive and suggestive piece. It consists of fourshort movements and represents a turningpoint as we change our ideas. The flute andguitar converse with nostalgia yet containedvitality. The piece was written in the autumn of1996.

Capricho Nr. 5 F. Fleta Polo3 Trombe in C and Piano –opcional-,Score+parts, pgs. 24, ref. S018

The composer he does not limit himself tousing the trumpet as a fanfare instrument;rather he makes use of all its resources. Thepiece, though not exceptionally difficult toplay, is demanding at the chamber level. Thepiano part is optional: it reinforces the rhyth-mical element of the piece and can help toset tuning when the piece is played by ad-vanced students.

Concert per a fagot i orquestra decorda. Enric FerrerBassoon solo-String. Score, pgs. 64ref. E612 (Parts in rent, E612LL)

The Concerto for bassoon and stringorchestra was commissioned by bassoon-ist Vasil Nikolov. This is a concerto with a cer-tain austerity and intimacy, which at the sametime allows the bassoon to unleash its capti-vating and magical capacities. Vasil Nikolovwith the Radio Sofia Symphony Orchestraunder composer direction recorded it the CDwill be available soon.

Instants de la natura.Domènec G. de la RubiaString orchestra, Score, pgs.36, ref. E650(Parts in rent, E650LL)

Instants of Nature for string orchestra seeksto create a lyrical and, above all else, ex-pressive vision of nature.. Certain land-scapes can be linked to subjective moodsand feelings. This work is structured into threemovements: El murmuri del vent (TheWhisper of the Wind), El sospir de la nit(The Sigh of the Night), and La ferida del’aigua (The Wound of the Water).

String Quartet Nr.2 . Pere Soto2 V. Vla. Vc. Score+parts,pgs. 128, ref. E601

In this work the composer experiments withthe technique of applying sculpture to music.At the same time he incorporates improvisa-tions with the sole purpose of letting out hisfeelings and constructing emotional struc-tures, and it is then that the notes cease tohave any real importance in themselves. Thepiece was selected alongside works and wasdebuted in Mexico City in 2000 by the City ofMexico Quartet.

Duets d’abrilAlejandro CivilottiClarinet & Guitar. Score, pgs.20, ref. E646

These pieces are dedicated to the memoryof the composer’s nephew, Sergio JavierGodoy who died in April 2005, and were writ-ten two months later. The meaning of thesefour pieces for guitar and clarinet is to es-tablish a dialogue with those questions willnever be answers.

LlacadaEnric FerrerFlute & Guitar, Score, pgs. 20, ref. FG05

Silt is the residue left behind by floodwatersas they drain out of flooded fields. This imageis comparable to the feeling that the authorfelt after overcoming a crisis. The work de-scribes a feeling of hope pride of having over-come.

ProtostonferaPere SotoPercussion solo. Score, pgs. 20, ref. E616

It is a brilliant work that is difficult to performand includes the best of the author’s jazz-based repertoire. The composer say, “Theskill of a percussionist in creating highly com-plex rhythms and multi-rhythms and thesearch for exotic timbres is a boundlesssource of inspiration”.

Conte breu. Jesús Rodríguez PicóEstudi 1. Enric FerrerGuitar solo. Score, pgs. 12, ref. E617

These two pieces for guitar to mark the cen-tenary of Francisco Tàrrega, were commis-sioned by the guitarist David Sanz. Contebreu (Short story) the virtuosic nature byuse of fast notes and the oriental motifs thatTàrrega used in some of his works; andEstudi 1 (Study 1) there are some quiterhythmic, dancing passages, but it also hassome lyrical and introspective, as well asdramatic, moments.

Recordant Miquel LlobetMoisès BertranGuitar solo. Score, pgs. 12, ref. E620

Remembering Miquel Llobet, it is a Songand Dance for solo guitar, the idea of work-ing on a simple melody popular at the Song,and on the main theme of one of Chopin’sMazurkas for piano in the Dance. From theSong, one can emphasize so typical of theCatalan song style, and from the Dance, thecolourful harmonic and melodic variationsand the mention of a Catalan song El Cantdels Ocells (The Birdsong).

Impressions per a pianoMercè TorrentsPiano solo. Score, pgs. 12, ref. E635

Two Impressions for piano are composedin the traditional form of a piano piece. Thefirst piece forces the left hand to work in anobstinate rhythm of semi-quavers and thiselement then passes to the right hand in thesecond work, while they both give off a seri-ous, delicate air, painted with popular melo-dies that are perfectly in keeping with the ori-gins of the work.

PerpetuumMoisès BertranDouble bass solo. Score, pgs. 12, ref. E621

There is a study of the possibilities offeredby the double bass. The title simply reflectsthe most obvious feature of the piece; a con-tinuous flow of semiquavers organisedaround two main thematic ideas. It is remark-able that a persistent idea in harmonic inter-val gives way to the true perpetuum.

Matices de EsperanzaConsuelo ColomerPiano solo. Score, pgs. 12, ref. E618

Nuances of hope is really a music for hope:The texture of the work is vertical, with repetit-ive rhythmic formulas and popular turns. Butlet us not be deceived; this is a very difficultpiece, as the performer must seek the rightatmosphere at each moment.

Puesta de sol en la Alhambra.Sonatina modulante.Consuelo ColomerPiano solo. Score, pgs. 28, ref. E641

Sunset at the Alhambra is a short piecethe Arab-Andalusian air of the melody trans-port us to the heart of Granada at a time whencultural coexistence defined the city.Modulating Sonatina is a short piece forpiano whose melody and accompanimentare both based primarily on arpeggios.

Música EncantadaLluís M. BoschPiano solo. Score, pgs. 24, ref. E654

Enchanted Music was also created with theintention of bringing a collection of pieces thatappeal to young players to piano literature.In terms of what it demands technically andartistically, thus constituting the next step inthe musical growth of the player.

Suite de TamanrassetAnna BofillGuitar solo. Score, pgs. 16, ref. AC313

Was composed in 1978 following a visit toAlgeria and the Sahara desert, Taman-rasset. The premiere was in 2006 by theAustralian guitarist Rene Mora. The Suite deTamanrasset is structured into four move-ments in which liberty and the sensation ofimprovisation prevail, while at the same timeexploring the various resources of the gui-tar.

CabòriesCarlota BaldrísDouble bass & Piano. (Orch. tuning & Solotuning) Score+part, pgs. 24, ref. E657

This piece was composed in 2001 It was performedby the Botessini duo. The piece seeks to reflect onthe thoughts and worries that come and go, whenyou travel by train, while linking up with others, withthose of other passengers, even, who get on andoff the train, bringing their own thoughts, ever moreremote, with them, with their gaze lost in infinity.Finally, the train arrives at the station and the travel-lers continue on with their lives.

SaxofoncromaticoAntonio Juárez BayónSaxophon Exercices.1st.part: Change of register; Lower register, andUpper register.2nd. part: 60 Chromatic progression studies.Languages: English & Spanish. pgs. 120. ref. E664

The author of this work based on the chro-matic scale, is to contribute so that saxophon-ists who want to improve and enhance fin-gering techniques for the entire length of theinstrument, achieving maximum speed andexpressiveness.

Navidad luz y misterioFrancesc Vila / text & tr.: Joan FarràsRaphsode, voice solo, Choir SATB & Piano.Complete Score, pgs. 44, ref. E575.Choir part. ref C0526, Spanish language

From a selection of Christmas compositionsof the author, allegorical poems precededby Christmas time, the composer was builtthis cantata with piano accompaniment thatis very popular.

Petita Suite NadalencaConsuelo ColomerPiano solo. Score, pgs. 28, ref. E642

Short Christmas Suite,Consuelo Colo-mer’s music is fresh, understanding, andgenerous in the room it allows for creativityon the part of the player.

LacrimosaAlejandro Civilotti / text by Josep SolerVoice (Soprano) & Clarinet. Score, pgs. 20, ref. E647

This work composed in 2008, is inspired anduses a fragment of the poem LacrimosaJosep Soler. The words and the drama ofSoler, inspire Civilotti, who gives a rhythmicsound and trying to prove a dialectic to leavea lasting environment of what these wordssuggest.

Dos Sonets d’en J. V. FoixSalvador BrotonsVoice (Tenor) & Piano. Score, pgs. 20, ref. E246(2nd. Ed.)

At the Two Sonnets (Si de noiet & No pasl’atzar) what are from Foix’s Sol i de dol(Alone and of Pain) (1947), Brotons delvesinto the often metaphysical meaning of Foix’swords and sets them to music with gentle,though rhythmical, melodic phrases.

Cànons Líquids i CòsmicsConcepció Ramió

12 canons for 3 and 4 equal voices.

Pages 28. Text in catalan language.Illustrations: Elisabeth Farrés ref. E661

In this collection we offer twelve canons forchildren and youth, of increasing difficulty. Itwill be a useful tool in the classroom: pitch,rhythm and text and work together.

Cànons Líquids i Còsmics.Concepció Ramió.

12 canons for 3 and 4 equal voices with instrumen-tal accompaniment.

Pages 32. Text in catalan language.Illustrations: Elisabeth Farrés ref. E648

This book is complementary to book E661,very versatile instrument with severalproposals for school music.

CLIVIS PUBLICACIONSMilà i Fontanals, 14, 3r. 9a. - 08012 BARCELONATel. +34 934 588 989 - Fax: +34 935 113 904clivis@clivis.cat www.clivis.cat

ORDERS and RIGHTS:

Clivis Publicacions also in:

http://clivismusic.blogspot.com/

www.facebook.com/clivispublicacions