SKU: LO.30-3668MD
UPC: 000308152951.
Orchestral Score and Parts for 10/5296MD Bursting with energy from beginning to end, this arrangement of the familiar Easter hymn is the striking opening number from The Lamb (55/1192MD), a musical by Jay Rouse and Rose Aspinall. Jay added some modern flair and groove to this setting while keeping the melody intact. Ending with a grand and glorious conclusion, this anthem will make a long-lasting impact on worshipers.
SKU: HL.48024880
ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.
This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: HL.48187533
UPC: 888680843779. 6x8.25 inches.
“This edition of Les Biches by Francis Poulenc features the score for the whole Orchestra. Initially written as Ballet, it was revised as a suite for Orchestra in the 1940s. This piece has a light style, considered 'beautiful and melancholic' by Jean Cocteau. Lasting 15 minutes 30 seconds, it is divided into five parts: 1. Rondeau 2. Adagietto 3. Rag-Mazurka 4. Andantino 5. Finale Francis Poulenc is French composer and pianist. He also produced Piano and Chamber pieces, Operas, ballets as well as some Orchestral works.&rdquo.
SKU: BT.ALHE31215
French.
This edition of Les Biches by Francis Poulenc features the score for the whole Orchestra. Initially written as Ballet, it was revised as a suite for Orchestra in the 1940s. This piece has a light style, considered _x001A_beautiful andmelancholic_x001A_ by Jean Cocteau. Lasting 15 minutes 30 seconds, it is divided into five parts: 1. Rondeau 2. Adagietto 3. Rag-Mazurka 4. Andantino 5. Finale Francis Poulenc is French composer and pianist. He also producedPiano and Chamber pieces, Operas, ballets as well as some Orchestral works.
SKU: HL.48024642
ISBN 9781784542658. UPC: 888680949068. 7.25x10.25x0.241 inches.
New edition of this enigmatic, single-movement work for full orchestra lasting 13 minutes and dating from the early-1930s. In his preface, Gerard McBurney comments that, Despite the music's modernist surface, the Chant symphonique's 'three closely integrated movements' correspond rather neatly to a traditional sonata-form exposition, development and recapitulation. There is even an overall tonality of sorts - D major. But 'parts', 'moods', keys and cadences are all subjected in this unusual work to tremendous pressure and distortion, so that we quickly begin to suspect that something other, different and more mysterious, is really going on here..
SKU: FG.706334-27-1
ISBN 979-0-706334-27-1.
A commission from the Finnish Radio Symphony Orchestra completed in 2003 and premiered in December 2004. This is music constructed in broad arches culminating in shamanistic rhythms in the closing movement. Lasting 40 minutes, it is Vuori's biggest work and rests on two simple kernels. In his striving to develop his material he confesses to be a Sibelian symphonist.
SKU: HL.48024791
ISBN 9781784545536. UPC: 888680967789. 9.0x12.0x0.243 inches.
This work was composed in 2013 to a commission by the Los Angeles Philharmonic Association. It was first performed that year at WaltDisney Concert Hall, Los Angeles, by Anssi Karttunen (cello) and the Los Angeles Philharmonic, conducted by Esa-Pekka Salonen. The piece is formed in a single span lasting 20 minutes.
SKU: BA.BA08833
ISBN 9790006566594. 31 x 24.3 cm inches. Preface: Luhning, Helga.
Of the four overtures that Beethoven composed for his only opera, the “Leonore Overture†No. 3 is the most popular. The first reviewer found fault with it for its “incessant dissonances and overblown fluttering of the violins†(Wiener Theater-Zeitung, 1806), but it soon became famous as “one of the most imposing, difficult, yet richest and strangest of compositions†(Allgemeine Musikalische Zeitung, 1810). This version of the “Leonore Overture†quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.The editor has devoted herself to the complex genesis of the various “Leonore Overture†versions, in particular the question whether the trumpet call in measures 272–277 and 294–299 should be played by one or two instruments. The edition is based on the Complete Edition of the “Works of Ludwig van Beethoven†issued by the G. Henle publishing company.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.48024806
ISBN 9781784543792. UPC: 888680978648. 8.25x11.75 inches.
Scored for baritone solo, small 'narrator' chorus, large chorus and orchestra, MacMillan's first Passion setting was composed in 2007. Lasting 87 minutes the work is divided into two parts, with 10 movements overall. As Paul Spicer has commented, “The originality of the St John Passion lies in MacMillan's ability to mix old with new, rather in the manner of Bach in his day. There are passages of sumptuous polyphony and there is a fresh look at the text where passages of Latin are interspersed with the Gospel story in English. In movement seven ('Jesus and his Mother'), MacMillan introduces not only part of the Stabat Mater but also his own words ('Lully, lulla, my dear darling'). The final movement, which is purely orchestral, is a kind of via doloroso march with a Scots lament over quite brass chords. The string writing here, with its elegiac cello lines, is deeply reminiscent of the early 20th-century English school. This should be the War Requiem of the 21st century.&rdquo.
SKU: HL.48024527
ISBN 9781784544591. 8.0x11.75 inches.
17-minute work for full orchestra commissioned by the Finnish Broadcasting Company. First performed by the Finnish Radio Symphony Orchestra at the BBC Proms in August 1997. The composer comments: The word Feria is Spanish for an outdoor festival or fair, the exuberance of which is alluded to in this work. In the fast opening section the explosive, rhythmic ideas, especially the trumpet fanfares which are a recurring motif in the piece, herald a lively public spectacle. The mainly slower-paced central section reaches a focal point which may well be recognised as a chord progression from Monteverdi's “Lasciatemi morire†(Lament of Arianna).
SKU: HL.14019145
ISBN 9788759860625. 12.0x16.5x0.436 inches. English.
This work was written with a mix between computer technology and the more traditional orchestra, the piece was composed in such a way that it would support its own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics, the piece had to be written in terms of foreground and background harmony, every foreground chord would always have it's background, a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level, so with a repetitive rhythmic pattern, the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for orchestra commissioned by the Finnish Broadcasting Company.
SKU: AP.31604
UPC: 038081349534. English. Traditional English Carol.
You'll have no trouble getting into the Christmas spirit with this delightful adaptation of a traditional English Carol. Coated with a layer of sugar frosting, this piece will warm you up with its joyous harmonies and charming melodies, making you feel like you are sitting in front of a crackly fire sipping hot cocoa on a crisp wintry night. Sure to become an audience favorite!
SKU: AP.12-0571572138
ISBN 9780571572137. English.
Composed for Steven Isserlis in 2004, Carl Vine's Concerto for Cello is an exhilarating 20-minute work that traverses a vast emotional palette. The concerto begins arrestingly, with soloist pitted against orchestra, though as it develops the two factions move towards union. A slow chorale led by the cellist frames the central section, whilst relentless motor rhythms drive the work to its close.
SKU: AP.40463S
UPC: 038081451329. English.
This high energy, rhythmically driven piece is fun to play for any grade level and any size group. It features easy rhythms and techniques such as detaché bowing, tremolo, accents, pizzicato, and a few slurs. Written in the key of A minor, the use of low 2nd fingers for upper strings is reinforced. The viola part doubles the violin 2 part. With students requesting to play it every day, this is a guaranteed crowd-pleaser for both audiences and players! This title is available in MakeMusic Cloud.
SKU: HL.14043674
ISBN 9781783054725. 12.25x16.75x0.9 inches.
Phaedra by German composer Hans Werner Henze is a 'concert opera' in two acts whose first performance was given at the Berlin State Opera in 2007. Phaedra was Henze 's penultimate opera, and this item presents the full score, with the entire work lasting around 75 minutes. Featuring a unique libretto by Christian Lehnert and sound effects by Francesco Antonioni, this opera presents the wonderful story of Phaedra, filled with drama and fantastic music. This Full Score presents the work in German and English language, and features detailed instructions for the supplied CD, on which some sound effects are included that are to be used in conjunction with the instruments. Phaedrawas co-commissioned and co-produced by Staatsoper Unter den Linden Berlin, Berliner Festspiele, Theatre de la Monnaie Brussels, Alte Oper Frankfurt and Wiener Festwochen. Hans Werner Henze was a hugely prolific composer who drew influences from a wide number of sources. Phaedra is regarded as among his greatest works and would certainly make for a stunning performance.
SKU: BR.PB-5208
ISBN 9790004210390. 10 x 12.5 inches.
This edition is based on authentic sources con sisting of the autograph and contemporary performance material. It goes without saying that the issue of the proper numbering of the Schubert symphonies - as controversial as ever today - is given a decisive and definitive treatment in the Preface.Peter Hauschilds Urtext edition of the Great C major Symphony i the first source critical edition of the posthumously published work which can be used in performance as well.
SKU: FG.55011-652-8
ISBN 9790550116528.
Himmel Punk was born out of social commentary. It addresses narrow-mindedness manifesting itself in the rejection of particular values on religous grounds. Piety turns to hypocrisy as those who think otherwise are branded as an inferior caste, thereby even justifying the denial of human rights to them.
SKU: FG.042-08325-3
ISBN 979-0-042-08325-3.
Merikanto completed the third and final version of Pan in 1924, having destroyed the earlier versions in fits of self-criticism. Its music is full of life, sprouting new impulses and possibilities, but there are also opposite forces at work, arresting the flow and nurturing meditative concen!tration.
SKU: HL.48187646
UPC: 888680845186. 5.5x7.5x0.568 inches.
Interestingly, Schumann?s Third Symphony was in fact his last symphony, as the fourth symphony was actually composed after the first. The Symphony No.3 in E flat Op.97 was written 1850 during the composer?s tenure as conductor at Dusseldorf on the famous river Rhine. Schumann claimed that the history and spirit surrounding the noble river inspired him when writing the symphony, hence it being called the ?Rhenish? symphony. The symphony was less successful at its premiere in February 1851 (conducted by Schumann himself) than his previous two symphonic premiers had been.This symphony is in five movements, with the ?extra? fourth movement, originally subtitled ?In the style of an accompaniment to a solemn ceremony?, was inspired by a visit to Cologne Cathedral.Available here is a study score of Schumann?s Symphony No.3 in E flat ?Rhenish? Op.97 , which is ideal for study and perusal usage..
SKU: HL.49045561
ISBN 9783901974045.
Strauss's first tone poem distinguishes itself from all other subsequent orchestral compositions in its existence in three different versions. Even among the operas and other compositions in his hand there is no other work with a comparable history of origin and publication. What is more, the final version of Macbeth is the only valid form of the work and the only variant with further sources (cf. Critical Report) in addition to the autograph score. In contrast, the second version has only been preserved in an autograph score and autograph piano reduction (the orchestral parts which must have existed have obviously not survived). This was never printed and was replaced by the published third version. The two surviving versions should therefore not be considered to be of equal status. Unlike the case of Ariadne auf Naxos in which the earlier version was for a time the sole valid alternative and was yet never completely displaced by the soon dominating later version of the opera, only the final third version of Macbeth is considered as valid. Right from the outset, it was a matter of course for the editors of the present volume to include the second version as a first publication (in addition to the above-mentioned surviving pages of the first version), albeit in different forms. The surviving pages of the first version are reproduced in facsimile and the second version, as a subordinate form of the work, appears alongside Strauss's piano reduction in a modified source edition, i.e. without intervention on the part of the editors. The ultimate third version is published as a full edition (please refer to the Critical Report for further details). In order to facilitate a comparative study of the second and third versions, the relevant page numbers of the score are placed opposite one another (the autograph piano reduction of the second version is included at the end of the music section of the volume). The editors hope that this synoptic representation will prompt interest in further studies on Strauss's art of orchestration: a field of research which has still remained insufficiently examined. A study of Macbeth namely illuminates as clearly as could be wished how much significance Strauss allotted to sound alongside form. The subjects were not merely intended to generate an individual figure, but also specific tonal colours, and the instrumentation was simultaneously designed to provide an optimal communication of thematic-motivic texture to the audience. The 'new path' threw up consequences which caused Strauss a considerable amount of difficulty. He was however a fast learner and had already swum free with Don Juan and all the more with Tod und Verklarung.
SKU: TM.00659SC
Solo/pf.
SKU: TM.00659SET
