COMPOSITIONS & ARRANGEMENTS
The following are a list of compositions and arrangements available for performance. Currently working on setting up a store to purchase score but until then all scores and parts are available a digitally and emailed directly to you, email Christin for info christinhablewitz@gmail.com . Perusal scores and recordings are also available.
Other Services Offered
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Custom Score Adaptations, Commissions & Projects
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Digital Score Engraving, Parts & Lead Sheets for Performance
Our specialty service is educational instrumental and choir score adaptations for schools and colleges to meet their unique instrumentation and level needs. We are also happy to do transpositions, digital score and part engraving, arrangements and more! All scores and parts are delivered as PDFs and include video score export and/or audio tracks. Affordable and fast turnaround of most projects. Contact Christin to discuss.
MALALA - SYMBOL OF COURAGE AND PEACE (2017/2019) for Narrator and Wind Ensemble
Instrumentation: Narrator and Wind Ensemble (Flute 1-2, Oboe 1-2, Bassoon 1-2, Bb Clarinet 1-3, Bass Clarinet, Alto Sax 1-2, Tenor Sax, Bari Sax, Trumpet 1-3, French Horn1-4, Trombone 1-3, Baritone, Tuba, Marimba, Percussion 1-3). Text in English and Italian
Duration: 12:00
Premiere: Commission by Los Angeles Pierce College Wind Symphony, June 1 and 2, 2017, Winnectka, California.
Italian Premiere: Italian Women Wind Orchestre, Brescia, December 2022
It is a programmatic musical work based on the book “I Am Malala, The Girl Who Stood Up for Education and Was Shot by the Taliban,” by Malala Yousafzai with Christina Lamb. It follows the story of activist, Malala Yousafzai, born in Mingora, Pakistan in July 1997. Yousafzai spoke against the Taliban’s ban against girls going to school as her town fell under Taliban rule. In 2012, a death threat issued by the Taliban against her and her family resulted in a gunman shooting 15-year-old Malala in the head while she was traveling home from school. Malala’s survival brought greater global awareness and action to the issues of girls in Pakistan and many other countries. Malala’s fight for justice continues today and has inspired millions of others to advocate and fight for the rights of girls across the globe. “Malala – Symbol of Courage and Peace” incorporates fragments of traditional Pashtun modes, melodies, and rhythms from Pakistan and Afghanistan, jihadi chants, prayers from the Quran and other religions, human voice, instrument key clicks and air sounds infused with western classical forms and harmonies. The narration gives the work context adding the voice of Malala through her stories and quotes that were adapted from her book. The narration is available in english and Italian.
OUR LILY (2023) for Wind Ensemble
Instrumentation: Wind Ensemble (Flute 1-2, Oboe, Bassoon, Bb Clarinet 1-3, Bass Clarinet, Alto Sax 1-2, Tenor Sax, Bari Sax, Trumpet 1-2, French Horn, Trombone 1-2, Baritone, Tuba, Marimba, Vibraphone, Percussion.
Duration: 3:35
Premiere: Commission by Italian Women Wind Orchestre, Brescia, Italy April 2024
Link to Video Score MIDI
This work is commissioned by the Italian Women Wind Orchestre in memory of their beloved saxophonist and friend, Gigliola who lost her fight with breast cancer. The ensemble wants to remember this amazing woman and too many women lost by cancer, we are all a part of the journey. A single pitch is heard throughout this piece and it represents Gigliola’s single voice and life journey, other pitches join in with her with love and support creating the harmonies that change throughout the piece representing the blessings and challenges in life's journey.
Slainite! (2024) for Clarinet Choir
Instrumentation: Clarinet Choir (Eb, Bb 1-4, Alto Cl, Bass CL 1-2, Contra Bass Clarinet)
Duration: 8:30
Premiere: Commission by Orange County Clarinet Consort, California May 2024
Link to ALRY PUBLICATIONS TO PURCHASE SCORE AND PARTS
Slainte! for clarinet choir was composed to commemorate a time and place of a special musical moment in Dublin, Ireland. Slainte, pronounced “slawn - cha” means “cheers” or “health” in Irish, was commissioned by the Orange County Clarinet Consort to celebrate their performance at the International Clarinet Association ClarinetFest® 2024 in Ireland. Inspired by the sounds of the Uilleann pipes, tin whistle, bodhran and Irish reel dance genre, I created a modern clarinet piece that utilizes both tradition and innovation. I incorporate traditional form, mixolydian scales and ornamentations of cuts and rolls to create a more traditional sean nós or “old style” sound with modern orchestration, harmonies and groove. The piece starts with a “heavy” theme on the lowest notes of the clarinet tossed around to each part and then transitions into a beautiful slow aire with some modern counterpoint techniques and concludes with a fun, light and lively medley dance reels to the end. The last reel has a few other motifs thrown in like klezmer and cumbia along with incorporating elements from the themes, all of which should keep you smiling and your toes tapping.
L.A. Traffic (2024) for Clarinet Ensemble
Instrumentation: Clarinet Ensemble (Eb (optional), Bb 1-4, Bass CL)
Duration: 3:45 Premiere: Commission by Los Angeles Youth Clarinet Choir, Los Angeles, California August 2024
Link to Video MIDI Video Score or MIDI Audio only
When you think of Los Angeles one thing comes to mind is TRAFFIC. Los Angeles has some of the worst traffic in the world. This car reliant metropolis is full of people, cars, neighborhoods, hills and freeways make driving in LA pretty much miserable. The cute clarinet choir piece is programmatic work that sonifies the experience of driving on the L.A. freeway complete with a happy driving groove, exaggerated slow down, frustrated outbursts, pleas for better traffic and unexpected starts and stops! This intermediate level piece was written for the Los Angeles Clarinet Youth Ensemble, parts included Eb Clarinet (can be played on Bb clarinet), 4 Bb Clarinet parts and bass clarinet. The prominent bass clarinet groove really tries to keep the traffic moving forward. I hope this will be fun for both the players and audience, an experience we can all relate to!
Pivot Point (2024) for Low Clarinet Ensemble
Instrumentation: Clarinet Choir (Alto Clarinet in Eb 1-2, Bass Clarinet in Bb 1-5, Contra Alto Clarinet iin Eb, Contra Bass Clarinet in Bb)
Duration: 4:30
Pivot Point for low clarinets explores building up and down pyramid chords and shifting of meter groups of twos and threes in 3/4, 6/8, and 5/8 time. For me the music emulates the feeling of gathering information and pivoting, the turning point where ideas, opinions and decisions oscillate side to side and up and down between different states. Pivoting is an important process that can help understand and evolve the world we live in. I love the rhythmic power and depth of sound the low bass clarinets create in this music; really drive the momentum forward.
DEEP EARTH TONES (2022) for Clarinet Choir
Instrumentation: Clarinet Choir (Eb, Bb 1-5, Alto Cl, Bass CL 1-2, Contra Bass Clarinet)
Duration: 7:00
Premiere: Commission by Los Angeles Clarinet Choir, Pasadena, California May 2022
Link to LIVE PERFORMANCE by Los Angeles Clarinet Choir
Link to Natura Art Festival 2021 Solo Performance by Christin Hablewitz "Reflection on Deep Earth Tones"
Deep Earth Tones was initially started as a composition to be premiered by the Los Angeles Clarinet Choir at International Clarinet Association’s ClarinetFest® 2020 in Reno, Nevada. Inspired by the first caretakers of the earth in the region, it was meant to honor the Paiute, the Shoshone and the Washoe peoples. Once the pandemic took a hold and the festival was canceled, the composition too took a turn. Finished during the pandemic, the piece evolved to focus more deeply in honoring the earth itself, yet retaining some initial concepts. The melodies reach up from its dark and murky core through the interlocking layers to its incredibly complex and beautiful surface we all share. The piece features a sweeping, poignant bass clarinet solo that emerges from the ensemble calling out a moment of deep aloneness among many.
ODESSA BULGAR (2018) for Clarinet Choir
Instrumentation: Clarinet Choir (Eb, Bb 1-3, Alto Cl, Bass CL 1-2, Contra Bass Clarinet)
Duration: 5:00
Premiere: Los Angeles Clarinet Choir, Harvey Mudd College, Claremont California November 2018
Link to LIVE PERFORMANCE by Los Angeles Clarinet Choir
Odessa Bulgar is a traditional klezmer tune arranged for clarinet choir that is from the city of Odessa in southwest Ukraine. A bulgar is a dance and distinctive rhythm that is common in East European Jewish music and believed to originate in Bessarabia (now Moldova), where Northest Romania meets Ukraine. The arrangement starts with a mysterious doina-like intro and then breaks into a fast bulgar dance tune complete with some humor and klezmer embellishments, trills and more. Each clarinet part in the ensemble has solo interjections as well as opportunities for improvisation and optional to stand up for the solo for added fun. Like so much Jewish music there is this balance of sadness and joy, music that is heart wrenching despair balanced with sheer joy and levity. Really a blast to play!
IN THAT DISTANT PLACE (2016) for Two Solo Clarinets and Clarinet Choir
Instrumentation: 2 Solo Bb Clarinet, Clarinet Choir (Eb, Bb 1-3, Alto Cl, Bass CL 1-2, Contra Bass Clarinet)
Duration: 6:40
Premiere: Los Angeles Clarinet Choir, Harvey Mudd College, Claremont California November 16, 2016
In That Distant Place is a traditional Chinese Folk Song and arranged by Christin Hablewitz for a Los Angeles Clarinet Choir Concerto Night Concert. More information on this piece coming soon.
BHAIRAV FOR CLARINET AND TABLA (2013)
Instrumentation: Bb Clarinet, North Indian Tabla, Tanpura (drone, can use iTanpura phone app)
Duration: 12:00
Premiere: Claremont Clarinet Festival, Pomona College June 20, 2013
Link to Live Performance Recording
Bhairav for Clarinet for Clarinet is a piece written in North Indian (Hindustani) tradition while Christin was studying North Indian music with Ustad Aashish Khan, a fifth generation Hindustani musician and the grandson of Baba Allauddin Gharana at California Institute for the Arts. This piece respects the amazing music of North India while gives the western clarinetist the opportunity to explore and experience this beautiful music through this western notated composition that utilizes Hindustani concepts of Raag (melodic system), Tal (metrical cycles), Gamak (ornamentation), and Tihai (cadences). The piece is structured in classical Hindustani style of Alap/Jor/Jhala (slow, unaccompanied, non-metrical, introduction) and Gat/Taans (Main Melody and variations) This piece should be played with iTanpura drone set to the root (sa) and fifth (pa) and accompanied by Tabla in Jhaaptal (10 beat cycle). Ideally it should be played with a tabla player, but If a tabla player is not available the piece can be played with iTabla Pro App set to Jhaaptal and drone.
...Y LA NEGRA BAILABA! (2015) for Clarinet Choir, by Ernesto Lecuona, arranged by Christin Hablewitz
Instrumentation: Clarinet Choir (Eb, Bb 1-3, Alto Clarinet, Bass Clarinet, Contra Bass Clarinet) and Congas and/or Cuban Percussion
Duration: 5:00
Premiere: Commissioned for Margaret Thornhill's 2015 Claremont Clarinet Festival, June 2015.
ALTERNATIVE VERSION: Clarinet Quartet
Link to Performance at 2015 Claremont Clarinet Festival
...Y Le Negra Bailaba! is a chaming Cuban danzon written by famous Cuban composer Esnesto Lecuona in 1930 that elicits the feel of warm Cuban nights after a day in the sun. This arrangement was inspired and partially transcribed from Paquito D’Rivera’s version of the tune with clarinet, bass and percussion. Towards the end of this fun arrangement the music quotes little themes from a couple famous Cuban tunes including,Peanut Vendor and Mambo. Afro-Cuban Danzon is a truly unique Cuban artform that emerged in Cuba in the late1880’s and traces its origins to Spanish contradanza a product of 16th century English country dance that is deeply rooted in African rhythms, a result of 300 years of slavery in the country. Upon the arrival of the contradaza in Cuba during the 18th century, it quickly rose to prominence as the island"s national dance. At the close of the 19th century, the Cuban contradanza became freer and more spontaneous, giving way to its evolution into the danzon. Originally danzon was played by brass bands, by the 1920s performances were dominated by charangas, ensembles featuring violin, cello, piano,guiro, clarinet, flute, bass, and double drums. It is a true Cuban style that emerged 1870's ’but continues to be an important root of Cuban music up to today.
TERNURA (2012) for Clarinet Quartet, by K-Ximbinho, arranged by Christin Hablewitz
Instrumentation: Bb Clarinet 1-3, Bass Clarinet
Duration: 5:00
Premiere: Christin Hablewitz Graduate Recital, April 2012, California Institute for the Arts, Valencia California
Purchase hard copy at Alry Publications
Ternura (Tenderly) is a slow, choro serenata or ballad. This beautiful song is one of Christin's favorite songs ever written. It has become a classic in the choro repertoire and was written by K-Ximbinho in 1951. This arrangement features the bass clarinet, very expressive and lyrical solo lines that and utilizes it’s full range in pitch and dynamics. The piece dives deep into the emotions of the phrase and lines. Christin loves playing this piece and hope others can experience its power, beauty and fun.
MEU BEGUIN (2013) for Clarinet Quartet by Domingo Pecci, arranged by Christin Hablewitz
Instrumentation: Bb Clarinet 1-3, Bass Clarinet and optional Brazilian Pandeiro
Duration: 4:00
Purchase hard copy at Alry Publications
Meu Begiun (My Beguine) is a fast, colorful, crowd-pleasing choro written in 1941 by Brazilian composer and clarinetist, Domingo Pecci and arranged by Christin Hablewitz. Choro music style emerged in Brazil out of the fusion of lyrical modinha song with maxixie and lundu dances associated with the blacks and poor white immigrants, choro is a complex synthesis of European melodies and harmonies with Afro-Brazilian rhythms, textures and sensibilities. Choro was very popular in the 1920’s -1940’s and was found in the cafes, the recording industry and cinema and re-emerged in the late 1990’s as a popular music form for professionals and amateurs in both Brazil and around the world. This piece can be played with percussion Brazilian panderio to help drive its rhythmic momentum.