COMPOSITIONS & ARRANGEMENTS
The following are a list of compositions and arrangements available for performance by Christin Hablewitz.
All scores and parts are available a digitally and emailed directly to you, some hard copies are available through publishers. Email Christin for purchase and information: firstname.lastname@example.org
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
Premiere: Commission by Los Angeles Pierce College Wind Symphony, June 1 and 2, 2017, Winnectka, California.
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. In 2014, Malala, as she is known worldwide, became the youngest recipient of a Nobel Peace Prize for her humanitarian work.
There are four distinct sections in the musical work, “Malala – Symbol of Courage and Peace.” The introduction includes a lilting Pakistani-inspired melody and the chatter of birds that symbolizes Malala, her journey and her peaceful beginnings in Mingora, Swat Valley, Pakistan. The second section represents the entering of the Taliban into the valley with a new thematic material of a fragmented jihadi chant that slowly takes over the texture and changes to tone from peace to fear and violence. The third section transitions into the starkness of Malala’s assassination attempt and the activation of prayers for Malala’s healing are heard from around the world. The conclusion rises with an uplifting section representing a renewed feeling of hope and global action for lasting change for human rights and education for all. “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 piece context adding the voice of Malala through her stories and quotes that were adapted from her book.
ODESSA BULGAR (2018) for Clarinet Choir
Instrumentation: Clarinet Choir (Eb, Bb 1-3, Alto Cl, Bass CL 1-2, Contra Bass Clarinet)
Premiere: Los Angeles Clarinet Choir, Harvey Mudd College, Claremont California November 2018
Love klezmer clarinet? How about a whole ensemble of klezmer clarinets? Odessa Bulgar is a traditional klezmer tune arranged in a fun way for clarinet clarinet choir. Starts with a mysterious doina-like intro and then breaks into a fun fast dance tune complete with some humor and klezmer articulations trills, glisses and more.
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)
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)
Premiere: Claremont Clarinet Festival, Pomona College June 20, 2013
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
Premiere: Commissioned for Margaret Thornhill's 2015 Claremont Clarinet Festival, June 2015.
ALTERNATIVE VERSION: Clarinet Quartet
...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
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
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.