Ad Astra

SKU: CF.CM9618

ISBN 9781491156728. UPC: 680160915262. 6.875 x 10.5 inches. Key: A major. Latin, English. State motto of Kansas.

With a pulsating and highly rhythmic piano accompaniment, composer Narverud's Ad Astra radiates energy. Filled with hope and empowerment, the text reads, To the stars through difficulties, look upward, move forward, leave all cares behind. Ad Astra is an impressive, yet accessible piece for developing or advanced choirs alike. Also available for Three-Part Mixed Voices (CM9544) or SSA Voices (CM9579).

SKU: CF.CM9746

ISBN 9781491162347. UPC: 680160921096. Key: G major. State motto of Kansas.

The pronunciation of the Latin text is marked in bold. Stressed syllables are in uppercase. All R's are flipped.LATIN TEXT                                                                TRANSLATIONAd Astra per aspera                                                 To the stars through difficulties.ahd AH-strah pehr AH-speh-rahSursum.                                                                         Look upward.SOOR-soomMovere deinceps.                                                       Move forward.MOH-veh-reh deh-EEN-chehpsSine cura, post omnes.                                             Leave all cares behind.see-neh KOO-rah, pohst OHM-nehs. .

SKU: AP.49063

ISBN 9781470645847. UPC: 038081564241. English.

Take your orchestra on a fantastic journey into the far reaches of outer space with this thrilling overture that is sure to capture the imaginations of all of your young performers. Memorable melodies abound here, and the variety of key signatures, time signatures, and musical styles make this a great teaching piece perfect for contest or festival. The interesting orchestration gives this piece a mature, cinematic sound and allows every section of the string orchestra their chance in the spotlight. Ad Astra is a fantastic work by Richard Meyer! (5:50) This title is available in MakeMusic Cloud.

SKU: TM.14293SC

No. 39 Duet: Caesar and Cleopatra. Incl. recit: Qui Curio vincitor. Recit sung by Nireno (castrato), Cesare (castrato), Sesto (soprano), Cornelia (contralto), Cleopatra (soprano). Ob I&II double on Violin I&II.

SKU: HL.14025623

Pitture Astratte for Orchestra was composed by the Italian-Norwegian composer Antonio Bibalo in 1950.

Pitture Astratte for Orchestra was composed by the Italian-Norwegian composer Antonio Bibalo in 1950.

SKU: CA.410102

ISBN 9790007221706. Key: C major. Language: Italian/German.

Score available separately - see item CA.410100.

SKU: TM.14538SET

Act I No. 3 (complete Scene 2). Sc. pgs 20-34. Sung by Amita.

SKU: BR.PB-5559-07

Tchaikovsky's Hamburg Symphony in the Urtext

ISBN 9790004213698. 6.5 x 9 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tchaikovsky's Hamburg Symphony in the Urtext.

SKU: BR.OB-5558-27

Tchaikovsky's Hamburg Symphony in the Urtext

ISBN 9790004344699. 10 x 12.5 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tchaikovsky's Hamburg Symphony in the Urtext.