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| 1712 Overture Orchestra Theodore Presser Co.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (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. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 1712 Overture Orchestra Theodore Presser Co.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L). UPC: 680160636549. 11 x 17 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. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| L'invisible Orchestra [Study Score / Miniature] Schott
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice Maeterlinck Study Score, French. Composed by Aribert Reimann. Edition Schott. Classical. Softcover. 280 pages. Duration 5400 seconds. Schott Music #ED23491. Published by Schott Music (HL.49046988). ISBN 9781705174333. UPC: 842819115281. 8.25x11.75x0.695 inches. SYNOPSIS Aribert Reimann's 'Trilogie lyrique' is based on three plays by Maurice Maeterlinck: In L'Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. Who is sitting in our midst? he asks. He is the only one who cansee the presence of death. Interieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirsto the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queens servants, who ful?l her demand and snatch the sleeping boy from his sisters'arms. Commentary 'In comparison with his Medea for example with its stormy outbreaks of emotion and violence, Reimann's score is worked in an impressive refinement of sound. It begins with rumbling, hesitating and expressive music in the first section, demanding highly ingenious sound effects from the lower strings including tapping and faltering glissandos in its noisy expression of mortal fear. Inthe second part, the woodwind formation plays at times almost in chamber music fashion and is then suddenly painfully shrill. The third part luxuriates and rages in its rich, full orchestration. The manner in which Reimann displays his mastery in textural shading, the invention of sounds welling up and fading away, the rhythmic and melodic capacity of suffering and the music's inner violence are all utterly compelling.'(Wolfgang Schreiber, Opernwelt, November 2017). $72.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Alfonso und Estrella D 732 Orchestra Barenreiter
Orchestra (bassoon, 4Hn, 2 Trp, 3trombone, timpani, percussion, harp, Str) SK...(+)
Orchestra (bassoon, 4Hn, 2 Trp, 3trombone, timpani, percussion, harp, Str) SKU: BA.BA05540 Romantic opera in three acts. Composed by Franz Schubert. Edited by Walther Durr. This edition: complete edition, urtext edition. Linen. New Schubert Edition (Neue Ausgabe samtlicher Werke) Series II, Volume 6. 3 part volumes. Opern, dt. (German Opera). Complete edition, Score. D 732. Duration 2 hours, 30 minutes. Baerenreiter Verlag #BA05540_00. Published by Baerenreiter Verlag (BA.BA05540). ISBN 9790006497126. 33 x 26 cm inches. Text: Franz von Schober. In late September or early October 1821 Schubert and his close friend, Franz von Schober, vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle, which belonged to the Bishop of St. Pölten (a close relative of Schober’s), after which they moved on to St. Pölten itself. Roughly a year earlier, two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann, who blamed the press for the indifferent reception the two works were given by the audience. Schubert and Schober now decided, it would seem, to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.
Not until 24 June 1854 was the opera finally performed in Weimar, under the baton of Franz Liszt. It only achieved success, however, in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881–2, allegedly with brilliant acclaim.
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
$1113.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ha Shamayim (The Heavens) Orchestra Subito Music
Orchestra SKU: SU.32040140 For Orchestra. Composed by Amy Riebs Mi...(+)
Orchestra SKU: SU.32040140 For Orchestra. Composed by Amy Riebs Mills. Orchestra. Full Score. Subito Music Corporation #32040140. Published by Subito Music Corporation (SU.32040140). 2222; 4331; timp, 2 perc, pno; stgs Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC Like a modern Pictures at an Exhibition…. Ha Shamayim is an original piece for orchestra that was inspired by photographs taken by the Hubble space telescope. Each section is inspired by one photo; the title of each section is the title that NASA gave to the photograph. The words Ha Shamayim are Hebrew for The Heavens. They are written in Genesis 1:1, In the beginning God created the heavens and the earth. The words are also seen in Psalm 19. Section I: Warped Edge-On Galaxy ESO 510-G13 The piece begins in outer space with its glistening stars. Glissandi are used to depict the strange but beautiful warp seen in the photograph. Section II: Galaxy Fires at Neighboring Galaxy Suddenly the piece erupts as one galaxy fires blue gas at its neighbor. They engage in a cosmic battle. Section III: Youthful-looking Galaxy May Be an Adult The adolescent galaxy is personified by a humorous, gawky melody reminiscent of teenage boys who walk on feet that are still too big. Occasionally there is an argument with an authority figure, but the joy of exploring the universe quickly returns. Section IV: Star Birth in Galaxy M83 The dramatic photograph looks like a womb with veins. The music begins on one note, then it begins to explore the initial swelling and stretching. It morphs into an energetic fast theme, still growing. Ultimately it becomes glorious and expansive, like the new star. Section V: String of ‘Cosmic Pearls’ Surrounds an Exploding Star The first theme is a happy circle dance inspired by the circle of white dots in the photograph. The second theme is noble and joyful. It is reminiscent of the melody in the famous chorus in Haydn’s The Creation with the words from Psalm 19, The heavens are telling the glory of God. The music then has flashbacks to the earlier sections, and ends in triumph. The five sections in Ha Shamayim are continuous with no breaks. Difficulty Level: 5 (Advanced/Professional) See composer website for audio sample. Performance materials available on rental only:. $85.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| There Stands A Little Man Orchestra [Score and Parts] Alfred Publishing
Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra Dackow. Conductor's score and set of performance parts for string orchestra (8 - 1st violin, 8 - 2nd violin, 5 - 3rd violin/viola (treble clef), 5 - viola, 5 - cello, 5 - string bass, 1 - piano accompaniment). Series: Orchestra Expressions Series. Published by Alfred Publishing.
$40.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Macbeth, Op. 23 Orchestra [Score] Schott
Orchestra (Score) SKU: HL.49045561 Richard Strauss Werke Complete Edit...(+)
Orchestra (Score) SKU: HL.49045561 Richard Strauss Werke Complete Edition Score Band 4. Composed by Richard Strauss. Edited by Stefan Schenk and Walter Werbeck. This edition: Hardback/Hard Cover. Sheet music. Edition Schott. Classical. Hardcover. Composed 1888-1891. Op. 23. 236 pages. Duration 18'. Schott Music #RSW304. Published by Schott Music (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. $350.00 - See more - Buy online | | |
| The Song of the Earth Orchestra Breitkopf & Härtel
Orchestra (solos: T,A(Bar) - 4(2picc).3(cor ang).5(Eb-clar.Bb-clar).3 (dble bsn)...(+)
Orchestra (solos: T,A(Bar) - 4(2picc).3(cor ang).5(Eb-clar.Bb-clar).3(dble bsn) - 4.3.3.1 - 2hp.cel.mand.timp.perc(4) - str) SKU: BR.OB-5641-60 Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Set of parts. 1116 pages. Duration 65'. Breitkopf and Haertel #OB 5641-60. Published by Breitkopf and Haertel (BR.OB-5641-60). ISBN 9790004348833. 10.5 x 14 inches. The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this. $2387.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Tod Und Verklärung Op. 24 Orchestra [Score] Schott
Clothbound Orchestra (Score) SKU: HL.49047172 (Death & Transfiguration...(+)
Clothbound Orchestra (Score) SKU: HL.49047172 (Death & Transfiguration) Clothbound Score, Complete Edition in G. Edition Schott. Classical. Hardcover. Duration 1440 seconds. Schott Music #RSW306. Published by Schott Music (HL.49047172). UPC: 196288143406. When the 24-year-old Richard Strauss, assistant conductor in Munich, began the composition of his third tone poem in the summer of 1888, he saw himself close to the aspiration prescribed by his mentor Alexander Ritter: to become the successor of Richard Wagner as a musical dramatist. Strauss had already been working on the text of his first opera Guntram for a year and additionally devoted himself to programmatic orchestral works oriented to the musical language of Liszt and Wagner in order to prepare himself compositionally for his new task. With the aid of Strauss and other musicians including Ludwig Thuille and Friedrich Rösch who had been gathering for “Ritter's round table†in Munich between 1886 and 1889, RitterÂ’s intention was to achieve success on a broad front with the New German School following the death of its two protagonists Wagner and Liszt. We do not know whether Ritter and his supporters jointly planned Strauss's compositional path towards opera, determined the subjectsof his prospective tone poems and considered various strategies of their musical realization, but the influence of this group shouldnot be underestimated. It cannot be ruled out that the number of three tone poems was fixed, as was their sequence of composition, which would progressively achieve its zenith in an increasing orientation to Liszt and Wagner. The circle could possibly have also discussed initial links to literary subjects (Macbeth and Don Juan) and ultimately the abstention from this practice in the third and final tone poem. The subject of the work, or rather in StraussÂ’s formulation its “poetic modelâ€, has occasionally been interpreted from an autobiographical aspect. Strauss however did not experience serious illness until May 1891 and once more in June 1892, long after Tod und Verklärung had been composed. Even without an external reason, the material would have been only too attractive for an admirer of Wagner and Liszt like Strauss, not to mention for his mentor Alexander Ritter. The concept of 'death and transfiguration' had already played a central role in LisztÂ’s symphonic poems Tasso and Prometheus. $380.00 - See more - Buy online | | |
| Siedi. Concerto for solo percussion and orchestra (score) Orchestra SATB, Orchestra Fennica Gehrman
Orchestra SKU: FG.55011-315-2 Composed by Kalevi Aho. Study score. Fennic...(+)
Orchestra SKU: FG.55011-315-2 Composed by Kalevi Aho. Study score. Fennica Gehrman #55011-315-2. Published by Fennica Gehrman (FG.55011-315-2). ISBN 9790550113152. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.
Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. $79.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Valses nobles et sentimentales Orchestra Breitkopf & Härtel
Orchestra (2.2.cor ang.2.2 - 4.2.3.1 - timp.perc(4) - cel.jeu de timbres - 2hp -...(+)
Orchestra (2.2.cor ang.2.2 - 4.2.3.1 - timp.perc(4) - cel.jeu de timbres - 2hp - str) SKU: BR.PB-5539 Urtext. Composed by Maurice Ravel. Edited by Jean-Francois Monnard. Orchestra; Softcover. Partitur-Bibliothek (Score Library). A l'exemple de Schubert - Ravel re-invents the waltz, inspired by Liszt, Chopin, Schumann and Chabrier, transforming the rhapsodic gyrations of the dance and sending it whirling into the 20th century. Have a look into ISBN 9790004213490. 10 x 12.5 inches. Ravel needed only two weeks of intensive concentration to orchestrate his piano suite Valses nobles et sentimentales, which was given its premiere performance in March 1911. Consisting of seven waltzes and one epilogue, the work stamped Ravel as a creative personality whose masterpiece breathed an unbelievably new kind of musicality and incredibly intensive poetry. Let us not forget that this was twelve years before La Valse, with which it shares a number of similarities. The new edition of the complete performance material in Breitkopf's Urtext series was prepared by the Ravel expert Jean-Francois Monnard.
A l'exemple de Schubert - Ravel re-invents the waltz, inspired by Liszt, Chopin, Schumann and Chabrier, transforming the rhapsodic gyrations of the dance and sending it whirling into the 20th century. $79.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Lemminkainen and the Maidens on the Island Op. 22/1 Orchestra Breitkopf & Härtel
Orchestra (2(2picc).2.2.2 - 4.3.3.0 - timp.perc - str) SKU: BR.PB-5582 (+)
Orchestra (2(2picc).2.2.2 - 4.3.3.0 - timp.perc - str) SKU: BR.PB-5582 Lemminkainen ja saaren neidot - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius. Edited by Tuija Wicklund. Orchestra; stapled. Partitur-Bibliothek (Score Library). Symphonic poem; Suite; Late-romantic; Early modern. Full score. 84 pages. Duration 17'. Breitkopf and Haertel #PB 5582. Published by Breitkopf and Haertel (BR.PB-5582). ISBN 9790004213926. 10 x 12.5 inches. Little is known about the actual composition process of Lemminkainen, and the performance and publication history is rather complex, resulting in a first complete printing of all four movements en suite through the complete edition of Jean Sibelius Works only in 2013.In summer 1894 Sibelius went to Central Europe, carrying among others a plan for an opera freely based on the Kalevala in his mind. But during this trip he reassessed his composing: I think I have found my old self again, musically speaking. I think I really am a tone painter and a poet. As a result he abandoned his opera plans, but musical parts may have found their way into the Lemminkainen pieces which he started composing during that time. Lemminkainen became popular from the beginning and has attained a fixed position in the concert repertoire.A critic opined on Lemminkainen and the Maidens on the Island: We do not hesitate to award this tone painting of Lemminkainen's erotic emotional world the first prize among all the young composer's works.. $75.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphony No. 4 in B flat major op. 60 Orchestra Breitkopf & Härtel
Orchestra (1.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.PB-14614 Urtext bas...(+)
Orchestra (1.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.PB-14614 Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Bathia Churgin. Orchestra; Softbound. Partitur-Bibliothek (Score Library). The study score (Studien-Edition) is available at G. Henle Verlag. Symphony; Classical. Full score. 96 pages. Duration 28'. Breitkopf and Haertel #PB 14614. Published by Breitkopf and Haertel (BR.PB-14614). ISBN 9790004214893. 10 x 12.5 inches. The genesis of Beethoven's 4th symphony came at an extraordinary time for the composer not only regarding productivity: Thus, in 1806 he composed, among other things, the 4th piano concerto, the three Rasumovsky string quartets op. 59, the 32 piano variations in c minor WoO 80, as well as the violin concerto op. 61. The first performance of the B-flat-major symphony occurred in March 1807 at one of the two noteworthy subscription concerts conducted by Beethoven in the Palais Lobkowitz in Vienna. In the course of time, this intellectually-stimulating work- so described by one of the reviewers of the Allgemeine musikalische Zeitung - found ever-increasing appeal. Throughout the entire 19th century this symphony ranked with the best-loved and most frequently performed works; its popularity spread to England where the London Philharmonic Society played it at least 25 times in the period between 1813 and 1850.Extant are only a few drafts of the 4th symphony. The autograph served as the main source for the present edition edited by Prof. Bathia Churgin, likewise editor of the 3rd symphony in the new Beethoven Complete Edition. Consulted as reference sources were copies of the score and orchestral parts as well as the original edition of the parts. $75.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphony No. 5 in E minor Op. 64 Orchestra Breitkopf & Härtel
Orchestra (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str) SKU: BR.PB-5559...(+)
Orchestra (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str) SKU: BR.PB-5559-07 Urtext. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Christoph Flamm. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Tchaikovsky's Hamburg Symphony in the Urtext Symphony; Romantic. Study Score. 208 pages. Duration 44'. Breitkopf and Haertel #PB 5559-07. Published by Breitkopf and Haertel (BR.PB-5559-07). 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. $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphony No. 5 in E minor Op. 64 Orchestra Breitkopf & Härtel
Orchestra (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str) SKU: BR.PB-5558...(+)
Orchestra (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str) SKU: BR.PB-5558 Urtext. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Christoph Flamm. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Tchaikovsky's Hamburg Symphony in the Urtext Symphony; Romantic. Full score. 212 pages. Duration 44'. Breitkopf and Haertel #PB 5558. Published by Breitkopf and Haertel (BR.PB-5558). ISBN 9790004213681. 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. $150.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| New York, New York Orchestra [Score and Parts] Jazz Lines Publications
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dy...(+)
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dylan Canterbury. Arranged by Don Costa. Jazz, Swing. Score and parts. Published by Jazz Lines Publications (JL.JLP-9510).
$65.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ruders, P Corona Orchestra Full Score Copy Book Orchestra Wilhelm Hansen
Orchestra SKU: HL.14027979 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra SKU: HL.14027979 Composed by Poul Ruders. Music Sales America. Score. 111 pages. Edition Wilhelm Hansen #KP00695. Published by Edition Wilhelm Hansen (HL.14027979). ISBN 9788759888780. English. Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 1995. Programme note: CORONA makes the final part of the SOLAR-TRILOGY, a huge symphonic triptych about the life and behavior of the Sun. The first'panel' GONG depicts the birth, life and final collapse of our nearest star, the second ZENITH describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. CORONA, then, is a symphonic 'portrait' of the phenomenally hot whispy brim encircling and radiating from the Sun, a sizzling halo of electrons and photons visible only during a total eclipse. Formally CORONA follows the process of such totalityin progress:the gradual eclipsing by the Moon - total darkness with thefierce, sparkling outer corona - the gradual 'rebirth' of the light toward the full gl.ory and warmth of the Sun.Besides the obvious astronomical narrative of the SOLAR-TRILOGY there's a metaphysical angle too, underlying each of the three compositions: GONG, in spite of its apparent energy, may be the most pessimistic of them all, epitomizing the death and ultimate annihilation of the prime source of Life itself. ZENITH is a hommage to human aspiration and spiritual endurance and CORONA ends with Hope and Glory after a journey from depression throughtotal despair. Super-structurally, the zenith of ZENITH makes the zenith of the entire trilogy, i.e. when the E- flat of the unisone horns in ZENITH is heard, we are exactly halfway through the collected work. Poul Ruders. $113.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dardanus RCT 35 A, 35 B Orchestra Barenreiter
Orchestra SKU: BA.BA08899 Tragédie in one prologue and 5 acts. ...(+)
Orchestra SKU: BA.BA08899 Tragédie in one prologue and 5 acts. Composed by Jean-Philippe Rameau. Edited by Denis Herlin. This edition: urtext edition. Paperback. Symphonies / Versions from 1739 and 1744. Score, anthology. RCT 35 A, 35 B. Baerenreiter Verlag #BA08899_00. Published by Baerenreiter Verlag (BA.BA08899). ISBN 9790006523351. 33 x 24 cm inches. Preface: Denis Herlin. Text: Charles-Antoine Leclerc de La Bruere. “Dardanus†is Rameau’s third “Tragdie lyrique†composed for Paris after “Hippolyte et Aricie†and “Castor et Polluxâ€. With its multi-facetted music it represents quite a high point of this genre. Its performance history is remarkable in that within only five years two clearly different versions were being performed.
The new critical edition by Denis Herlin for the first time offers the possibility to reconstruct the version of May 1744 in addition to the version of 1739. Also, the Appendices include the complete performance material of the version of April 1744, many parts of which could not be heard since. Last but not least the changes of the successful re-staging of 1760 are presented.
This performing edition contains all the purely instrumental numbers of the opera in their various versions. Apart from the preludes and ritornellos, these are above all the diverse dance numbers.
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
$123.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 4 Op. 63 Orchestra Breitkopf & Härtel
Orchestra (2.2.2.2 - 4.2.3.0 - timp.perc - str) SKU: BR.PB-5694 Urtext...(+)
Orchestra (2.2.2.2 - 4.2.3.0 - timp.perc - str) SKU: BR.PB-5694 Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius. Edited by Tuija Wicklund. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Symphony; Early modern; Late-romantic. Full score. 96 pages. Duration 40'. Breitkopf and Haertel #PB 5694. Published by Breitkopf and Haertel (BR.PB-5694). ISBN 9790004216316. 10 x 12.5 inches. In the fall of 1909 Sibelius wrote in his diary: At Koli! One of the greatest impressions in my life. Plans [for] 'La Montagne'! These plans proved to be for the Fourth Symphony. The composition process was not an easy one and in the end - according to his diary - Sibelius was struggling with God! and only just able to finish the work in time for the premiere in spring 1911: My new symphony is a total protest against present-day compositions. Nothing - absolutely nothing of the circus [in it]. This extraordinary work was at first found difficult to understand although its technical brilliance was recognized. The appreciation of the Fourth has, however, grown in the course of years. $86.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Arena Orchestra Chester
Orchestra SKU: HL.14019121 For Orchestra. Composed by Magnus Lindb...(+)
Orchestra SKU: HL.14019121 For Orchestra. Composed by Magnus Lindberg. Music Sales America. 20th Century. Book [Softcover]. Composed 2003. 84 pages. Chester Music #CH61348. Published by Chester Music (HL.14019121). ISBN 9781844492954. 9.0x12.0x0.303 inches. Commissioned by the first Sibelius Conductor's Competition held in Helsinki in May 1995, as an obligatory piece to be rehearsed by all the competitors, Arena was performed in its totality at the annual Avanti! Chamber Orchestra's festival in Porvoo (Finland). Thematic thinking has never been a main feature in Lindberg's music, but here horizontal lines (one would not yet dare to call them melodies) gain some independence, for example in ornamental figures and in the intense cello solo around the middle of the piece. Arena also reveals some clearly new material - Lindberg has talked about Beethoven-like formal thinking, referring to a passage where the sense of movement seems to accelerate to an extreme so that finally one perceives only a motionless surface. Another new element - which was already used to some extent at the warmly hovering ending of Aura - is the almost romantic sound world and the suspension of the harmonies in the final climax, which can make one think of Mahler and Berg, or Lindberg's grand predecessor and compatriot, Sibelius. This is the Score, published by Chester Music; the duration of the pieces is approximately 16 minutes. $83.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 5 in C minor Op. 67 Orchestra Breitkopf & Härtel
Orchestra (picc.2.2.2.2.dbl bsn - 2.2.3.0 - timp - str) SKU: BR.PB-14615 ...(+)
Orchestra (picc.2.2.2.2.dbl bsn - 2.2.3.0 - timp - str) SKU: BR.PB-14615 Urtext based on the Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Jens Dufner. Orchestra; Softbound. Partitur-Bibliothek (Score Library). The study score (,,Studien-Edition) is available at G. Henle Verlag. Symphony; Classical. Full score. 120 pages. Duration 36'. Breitkopf and Haertel #PB 14615. Published by Breitkopf and Haertel (BR.PB-14615). ISBN 9790004214909. 10 x 12.5 inches. The Famous One in the Leading EditionBeethoven spent a relatively long time on his 5th Symphony. Thus, first sketches can already be found from as early as 1804, four years before the work was premiered in Vienna in December 1808. Not only impressive is its striking opening theme, letting everyone know immediately that this is Beethoven being played, but also its nickname symphony of fate. Nothing in the sources prefigures the much-cited fate, musically knocking here at the door. The autograph of the score and the set of parts prepared from it, including Beethoven's revisions, serve as the main sources of this Urtext edition, together with the missing copy of the score, now extant only incomplete in photographs, and the original edition of the parts authorized by Beethoven. The new performance material is based on the recently published volume of the New Beethoven Complete Edition. $78.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Complete Works (JSW) Orchestra Breitkopf & Härtel
Composed by Jean Sibelius (1865-1957). Edited by Tuija Wicklund. Breitkopf and...(+)
Composed by Jean Sibelius
(1865-1957). Edited by Tuija
Wicklund. Breitkopf and
Haertel #SON 635. Published
by Breitkopf and Haertel
$269.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Ruders Listening Earth Score Book Orchestra Wilhelm Hansen
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. Classical. Score. Composed 2006. 164 pages. Edition Wilhelm Hansen #WH30602. Published by Edition Wilhelm Hansen (HL.14027993). ISBN 9788759811832. English. Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.
3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo 3 Oboes, 3rd also Cor Anglais in F 3 Clarinets in Bb, 3rd also Bass Clarinet in Bb 3 Bassoons, 3rd also Contra Bassoon
4 Horn in F 3 Trumpets in Bb 3 Trombones 1 Tuba
Timpani
4 Percussion, four players Player 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium) Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese Cymbal Player 3 - TamTam (Large), Java Gong(Large, very low), Bell Lyra (Handheld), Sizzle Cymbal Player 4 - Bass Drum, Glockenspiel, Xylophone
1 Harp
1 Piano, also Celesta
Strings - 16/14/12/10/8
All transposing instruments are notated in their relevant transpositions. Any accidental apply only to the note that it immediately precedes, except tied notes. Naturals appear occasionally 'for safety'.
'LISTENING EARTH' is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon. The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical. $131.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Showtime Rag Orchestra - Easy Highland/Etling
Orchestra - Grade 2 SKU: AP.45874S Composed by Doug Spata. Performance Mu...(+)
Orchestra - Grade 2 SKU: AP.45874S Composed by Doug Spata. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Light Concert; Ragtime. Score. 8 pages. Duration 1:40. Highland/Etling #00-45874S. Published by Highland/Etling (AP.45874S). UPC: 038081523781. English. Here's a fun, jazzy, all-pizzicato selection for early beginners to play at one of their first concerts! Showtime Rag is built around a strong, steady beat. This original by Doug Spata uses only the D and A strings, and half, quarter, and eighth notes with very limited independence to keep everyone together. Each section gets a melody, making it the perfect way to show off those beginning skills. (1:40). $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Septet in E-flat Major, Op. 20 Orchestra G. Henle
(Clarinet, Bassoon, Horn, Violin, Viola, Cello, and Double Bass Set of Parts). B...(+)
(Clarinet, Bassoon, Horn, Violin, Viola, Cello, and Double Bass Set of Parts). By Ludwig van Beethoven (1770-1827). Edited by Egon Voss. Henle Music Folios. Softcover
$47.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Showtime Rag Orchestra - Easy Highland/Etling
Orchestra - Grade 2 SKU: AP.45874 Composed by Doug Spata. Performance Mus...(+)
Orchestra - Grade 2 SKU: AP.45874 Composed by Doug Spata. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Light Concert; Ragtime. Score and Part(s). 62 pages. Duration 1:40. Highland/Etling #00-45874. Published by Highland/Etling (AP.45874). UPC: 038081523774. English. Here's a fun, jazzy, all-pizzicato selection for early beginners to play at one of their first concerts! Built around a strong, steady beat, this original by Doug Spata uses only the D and A strings, and half, quarter, and eighth notes with very limited independence to keep everyone together. Each section gets a melody, making it the perfect way to show off those beginning skills. (1:40). $46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Marche fatale Orchestra Breitkopf & Härtel
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapl...(+)
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library). World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017 Have a look into EB 9283. New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432). ISBN 9790004212790. 10 x 12.5 inches. Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.
World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020. $63.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Overture (Suite) No. 3 in D Major, BWV 1068 Orchestra [Study Score / Miniature] Eulenburg
Study Score. By Johann Sebastian Bach. Arranged by Harry Newstone. (Study Score...(+)
Study Score. By Johann Sebastian Bach. Arranged by Harry Newstone. (Study Score). Schott. 60 pages. Published by Eulenburg.
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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| L'Invisible (REIMANN
ARIBERT) Orchestra Schott
Par REIMANN ARIBERT. Aribert Reimann?s ?Trilogie lyrique? is based on three play...(+)
Par REIMANN ARIBERT. Aribert Reimann?s ?Trilogie lyrique? is based on three plays by Maurice Maeterlinck:
In L? Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. ?Who is sitting in our midst?? he asks. He is the only one who can see the presence of death.
Intérieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll.
La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirs to the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queen?s servants, who ful?l her demand and snatch the sleeping boy from his sisters? arms. / Date parution : 2022-07-20/ Répertoire / Orchestre
65.49 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Franz Joseph Haydn:
Symphony No. 100 In G:
Orchestra: Miniature
Score Orchestra Eulenburg
London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his secon...(+)
London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his second trip to England in 1794. This work is one of the still popular from the series of the so-called '12 London Symphonies' (Hob. 1/93 - Hob. 104).The work characterized by musical finesse and various sonic stimuli has the following four movements: I. Adagio - Allegro - II. Allegretto (C major) - III. Menuet: Moderato - IV. Presto. The somewhat unusual epithet 'military symphony' refers essentially to the second and the fourth movement ('Allegretto' and 'Presto') in which the instrumentation is enriched by timpani triangle cymbals and bass drum and thereby the evokes the impression of amilitary band. A 'trumpet signal' especially set in the second movement led to such a characterization. On the value and importance of this G major Symphony the following article from the Allgemeine Musikalische Zeitung of April 1799 reveals: 'It is a little less learned and easier to grasp than some of the other's newest works but new ones Ideas just as rich as they. Perhaps the surprise in music can not be furthered than it is here by the sudden collapse of full Janissary music in the minor of the second movement-since until then one has no suspicion that these Turkish instruments are attached to the symphony. But here too not only the inventive but also the prudent artist shows. Nevertheless the Andante is nevertheless a whole: for in all the pleasing and easy things that the composer in order to infer from the idea of his coup deceitfully brought it into the first part of it it is nevertheless arranged and worked in a march.' The 'Military Symphony' was premiered on March 31 1799 in London.
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| Simon Holt: A Table Of
Noises (Full Score):
Orchestra: Score Orchestra [Sheet music] Chester
Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchest...(+)
Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation which was devised by Colin Currie in conjunction with the composer. Soloists should attempt to match the timbres used but should not feel constrained by the exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the
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| Tidsrum / Spaces Of Time:
Orchestra: Score Orchestra Wilhelm Hansen
Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dati...(+)
Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dating from 1991. Programme Note Spaces of time is a 20-minute long one-movement orchestral piece “with piano” signifying that the piano not only as in my other orchestra works is part of the ensemble but also in a major passage attracts almost all attention. This passage is only one of the ´spaces of time´- spaces which give the work its title and represent individual musical perspectives. Relations of tempo and scale characterize such a space (besides the mentioned“piano-concerto” or other intrumental features) and in this way associate with say a small room - with close-ups of the musical objects - or perhaps to an infinitely great space - a cosmic one where all is far away and vibrating. One motive marked mainly by ascending stepwise movement unifies the spaces but the very varied scales may let the outines of the motive change between say 1/4-tone steps 1/2-tone steps diatonic and other scale steps up to such ambient steps that each one comprises almost a third of the total orchestral range. Very often 2 scales are woven together in a way that lets the “hidden tone” inside a major step in one of the scaels become a part of the other scale. By dynamic means one scale may be highlighted as a “figure” the other one as a “ground” in one passage - and vice versa. In this way a 12-tone chromatic scale may as well contain a Japanese 5-tone scale as a European 7-tone scale. In the final “space” the tones literally take leave of the listeners - by streaming down - as water sucked down into the ground by gravity - into the bass octaves and - into silence. Spaces of time was comissioned by “Suntory Hall” in 1990-91 (artistic director Toro Takemitsu) in October 1991 with Aki Takahashi (piano)
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| Johann Sebastian Bach:
Brandenburg Concerto No.1
In F major BWV 1046:
Orchestra: Orchestra Barenreiter
Violino piccolo pitch notation - notated the way it sounds-Violin solo part soun...(+)
Violino piccolo pitch notation - notated the way it sounds-Violin solo part sounds at pitch (F major).Includes original version of the Sinfonia BWV 1046a.Authoritative Urtext edition of Johann Sebastian Bach's Brandenburg Concerto No.1 in F major BWV 1046.The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach’s appointment in Cöthen.Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form.These Urtext publications [BA5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even along side the version known today.In the earlier version of Concerto No.1 (BWV 1046a) which according to the editor of the edition Heinrich Besseler seems to have been Bach’s favorite among the six there is no violino piccolo part to be found and the violin concerto-like 3rd movement as well as the Polonaise movement are also absent.In nearly every bar the articulation in one instrument or another differs from the later version; for example the 16th-note slurs in bars 1 and 2 of the horns are missing in the later score the oboe slurs and trills in m.12 are also not to be found. The later version has the cello seperated from the continuo which means that the 16ths in m.7 are not to be played by the Violone grosso.
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| Poul Ruders: Final
Nightshade - An Adagio Of
The Night: Orchestra:
Score Orchestra [Sheet music] Wilhelm Hansen
Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fish...(+)
Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be
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| Silvestre Revueltas:
Sensemay? (1938):
Orchestra: Score Orchestra Schirmer
Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for cham...(+)
Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for chamber orchestra; one year later the composer transcribed it for a huge orchestra of twenty-seven wind instruments fourteen percussion instruments and strings. The rhythms are laid out precisely and have considerable visceral impact very much in a manner that recalls Igor Stravinsky's The Rite of Spring. However Revueltas' masterful orchestration and ability to evoke the ancient Maya civilization with decidedly modern music are uniquely his own. It is a unique orchestral spectacle something only Revueltas could have written and in its way it is one of the most brutal works of its time. The workbegins with a low note in the bassoon as the percussion plays the sinuous syncopated rhythm that drives the work. Soon a solo horn enters playing the first of this work's two major themes a muscular ominous motif. Other horns join the first one to play the theme growing louder and more emphatic but rigorously yoked to the underlying rhythm. Eventually the horns blast as loudly as they can with obsessive trills on the bassoon far underneath and the violins enter with the slashing second theme. The horns take up this new theme and bring it to a climax after which the music returns to its opening texture. This recapitulation brings with it a mood of foreboding. The rhythm becomes even more obsessive and finally the music reaches a massive climax during which both themes are played overlapping sometimes in part and sometimes in whole by woodwinds brass and violins in what sounds like a musical riot. The coda feels like the final dropping of a knife.
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| Gustav Mahler: Symphony
No 8: Mixed Choir: Vocal
Score Orchestra [Sheet music] Universal Edition
Symphonie der Tausend-Gustav Mahler's Symphony No. 8 is a work of exceptions. Se...(+)
Symphonie der Tausend-Gustav Mahler's Symphony No. 8 is a work of exceptions. Seen from the outside this is true of the forces that are used: with its three choirs eight soloists and an orchestra of far more than one hundred musicians there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony' which - as Mahler put it - 'is sung from beginning to end'. In turn the texts that are sung influence the structure of the whole replacing as it were the usual four movements of a symphony with twostrongly divergent 'parts'. And finally as if to emphasize this divergence the texts used - the hymn Veni creator spiritus in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes and a work of contradiction. It seems however that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his Symphony No. 8 was 'the greatest' work 'that I have composed'. It is an understandable coincidence that he thus raised Symphony No. 8 to the same rank within his oeuvre as Goethe who claimed that the drama was his 'Hauptgeschäft' [main work] did with Faust. Even after composing his late works Mahler retained his belief that Symphony No. 8 was his 'opus summum'. (Christian Wildhagen)
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| Peter Sculthorpe: Sun
Music III for orchestra:
Orchestra: Score Orchestra Faber Music Limited
Bill Zakariasen of the New York Daily News says 'The program included one bona f...(+)
Bill Zakariasen of the New York Daily News says 'The program included one bona fide masterpiece written in 1967 by Peter Sculthorpe. . .Sun Music III (Nos. I II and IV are equally imposing) could have been written only in Australia. The sounds of the Far East - notably the Balinese gamelan - are juxtaposed with wild string harmonics and incredibly subtle use of percussion while long-breathed themes of utmost desolation place us square in the middle of the Outback.'25 January 1987
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| Poul Ruders: Corona - The
Solar Triology No. 3:
Orchestra: Score Orchestra Wilhelm Hansen
Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 19...(+)
Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 1995.Programme note:CORONA makes the final part of the SOLAR-TRILOGY a huge symphonic triptych about the life and behavior of the Sun. The first'panel' GONG depicts the birth life and final collapse of our nearest star the second ZENITH describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. CORONA then is a symphonic 'portrait' of the phenomenally hot whispy brim encircling and radiating from the Sun a sizzling halo of electrons and photons visible only during a total eclipse. Formally CORONAfollows the process of such totality in progress:the gradual eclipsing by the Moon - total darkness with thefierce sparkling outer corona - the gradual 'rebirth' of the light toward the full gl.ory and warmth of the Sun.Besides the obvious astronomical narrative of the SOLAR-TRILOGY there's a metaphysical angle too underlying each of the three compositions: GONG in spite of its apparent energy may be the most pessimistic of them all epitomizing the death and ultimate annihilation of the prime source of Life itself. ZENITH is a hommage to human aspiration and spiritual endurance and CORONA ends with Hope and Glory after a journey from depression throughtotal despair. Super-structurally the zenith of ZENITH makes the zenith of the entire trilogy i.e. when the E- flat of the unisone horns in ZENITH is heard we are exactly halfway through the collected work.Poul Ruders
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| David Angerman Joseph M.
Martin: God Is Gone Up
with a Shout: Orchestra:
Parts Orchestra Shawnee Press
Uses: General Ascension Christ the King EastertideScripture: Psalm 47The poet...(+)
Uses: General Ascension Christ the King EastertideScripture: Psalm 47The poetic imagery of this Psalm makes it usable not only as a general anthem but also for Ascension Eastertide or Christ theKing Sunday. The festive brass and percussion parts added to the organ make this an anthem of great impact. Mixed meter sections dance with more lyric passages as the anthem develops and a very special “wall of sound”section is an outstanding moment of choral virtuosity. We are proud to now offer this proven winner for men's voices! Score and Parts (tpt 1-2 hn tbn tba timp) available as a Printed Edition.
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| Johann Sebastian Bach:
Brandenburg Concerto No.1
In F BWV 1046:
Orchestra: Orchestra [Sheet music] Barenreiter
Includes original version of the Sinfonia BWV 1046a. Authoritative Urtext editi...(+)
Includes original version of the Sinfonia BWV 1046a. Authoritative Urtext edition of Johann Sebastian Bach's Brandenburg Concerto No.1 in F major BWV 1046. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now giveperformers the possibility to play these earlier versions perhaps even alongside the version known today. In the earlier version of Concerto No.1 (BWV 1046a) which according to the editor of the edition Heinrich Besseler seems to have been Bach?s favourite among the six there is no Violino Piccolo part to be found and the Violin concerto-like 3rd movement as well as the Polonaise movement are also absent. In nearly every bar the articulation in one instrument or another differs from the later version; for example the 16th-note slurs in bars 1 and 2 of the Horns are missing in the later score the Oboe slurs and trills in m.12 are also not to be found. The later version has the Cello separated from the Continuo which means that the 16ths in m.7 are not to be played by the Violone grosso.
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| Charles E. Ives: Symphony
No. 3: Orchestra: Score Orchestra Associated
Score-Charles Ives' Third Symphony ‘The Camp Meeting’ is the most ...(+)
Score-Charles Ives' Third Symphony ‘The Camp Meeting’ is the most concisely-scored of his five symphonies. Containing only Strings a few Winds Horns and Trombone this is a clear and uncluttered reminiscence of nineteenth centuryAmerica as viewed through some of its traditional hymn tunes and in doing so evokes the old 'camp meetings' which were such a feature of pioneer life. The first movement ‘Old Folks' Gatherin'’ is a patchwork of hymntunes drifting through an unpredictable constantly changing harmonic orientation. After a climax is reached a quiet passage opens with oboe and flute over hushed distant strings. Ives reintroduces part of the middle section and settles down to a quiet coda ending the movement almost imperceptibly. The second movement ‘Children's Day’ opens with strings in two parts over Haydnesque eighth notes in the horns. ‘There is a Fountain Filled withBlood’ ‘Happy Land’ ‘Naomi’ and ‘There's Music in the Air’ all are heard. As this is a movement depicting children at play Ives is playful himself weaving hymn tunes into one another in a somewhat tongue-in-cheek manner. Thethird movement ‘Communion’ is darker in tone than the others and provides a psychologically satisfactory close to the work as a whole. This is the 1990 edition of the Score The Charles Ives Society Critical Edition edited byKenneth Singleton and reprinted in 2001. It contains substantial notes on Ives and this work.
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| Johann Sebastian Bach:
Brandenburg Concerto No.1
In F major BWV 1046:
Cello: Orchestra Barenreiter
Includes original version of the Sinfonia BWV 1046a.Authoritative Urtext edition...(+)
Includes original version of the Sinfonia BWV 1046a.Authoritative Urtext edition of Johann Sebastian Bach's Brandenburg Concerto No.1 in F major BWV 1046.The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach’s appointment in Cöthen.Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form.These Urtext publications [BA 5201-BA 5206] taken from the New Bach Editionnow give performers the possibility to play these earlier versions perhaps even along side the version known today.In the earlier version of Concerto No.1 (BWV 1046a) which according to the editor of the edition Heinrich Besseler seems to have been Bach’s favorite among the six there is no violino piccolo part to be found and the violin concerto-like 3rd movement as well as the Polonaise movement are also absent. In nearly every bar the articulation in one instrument or another differs from the later version; for example the 16th-note slurs in bars 1 and 2 of the horns are missing in the later score the oboe slurs and trills in m.12 are also not to be found. The later version has the cello seperated from the continuo which means that the 16ths in m.7 are not to be played by the Violone grosso.
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| Magnus Lindberg: Arena
For Orchestra: Orchestra:
Score Orchestra [Score] Chester
Commissioned by the first Sibelius Conductor's Competition held in Helsinki in M...(+)
Commissioned by the first Sibelius Conductor's Competition held in Helsinki in May 1995 as an obligatory piece to be rehearsed by all the competitors Arena was performed in its totality at the annual Avanti! Chamber Orchestra'sfestival in Porvoo (Finland). Thematic thinking has never been a main feature in Lindberg's music but here horizontal lines (one would not yet dare to call them melodies) gain some independence for example in ornamental figuresand in the intense cello solo around the middle of the piece. Arena also reveals some clearly new material - Lindberg has talked about Beethoven-like formal thinking referring to a passage where the sense of movement seems toaccelerate to an extreme so that finally one perceives only a motionless surface. Another new element - which was already used to some extent at the warmly hovering ending of Aura - is the almost romantic sound world and thesuspension of the harmonies in the final climax which can make one think of Mahler and Berg or Lindberg's grand predecessor and compatriot Sibelius.This is the Score published by Chester Music; the duration of thepieces is approximately 16 minutes.
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| Sinfonias / Individual
Instrumental Pieces
(GLUCK CHRISTOPH
WILLIBALD) Orchestra [Sheet music] Barenreiter
Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willi...(+)
Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA.
Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts.
The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted.
In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ Répertoire / Orchestre
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| Poul Ruders: Listening
Earth - A Symphonic Drama
for Orchestra: Orchestra:
Score Orchestra [Sheet music] Wilhelm Hansen
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchest...(+)
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical
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| Per Nørgård: Symphony
No.1 'Sinfonia Austera'
Op.13: Orchestra: Score Orchestra [Sheet music] Wilhelm Hansen
Per Nørgård's Symphony No.1 ' Sinfonia Austera ' Op.13 (1953-55) revised 1956...(+)
Per Nørgård's Symphony No.1 ' Sinfonia Austera ' Op.13 (1953-55) revised 1956 edition in full score. Programme Note: Although my first symphony plays for 30 minutes 2/3 of my third symphony the time for composing the work was the same: 3 years from 1953 to 1955 (Symphony No. 3: 1973-1975). One of the reasons probably was the challenge of a “symphonic work” for a 21 year old composer. And all the afterthoughts following every – more spontaneous sudden – bright idea in the long progress of forming thework. Important for the slow working process I remember that every section of the symphony came to me at strange moments in a ´complete vision´ like a sounding vision in time. The problem was in detail to analyze and notate my what I had actually had heard. For instance: with the polyphonic woodwind section in the first movement (with the “Tapiola”-birdcry a greeting to Jean Sibelius) I only knew in the beginning that it should be music in the high register and only for woodwinds. But of what they should play…I had no idea at all. The severe character of the symphony (sinfonia austere) is with no doubt very juvenile. But as many things in both life and music has elements of youthfulness I think that my serious young symphony should live and stay the way it was composed in 1953-1955. Per Nørgård
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| Symphony No.52 in C minor
Hob.I:52 (HAYDN JOSEPH) Orchestra [Score] Barenreiter
Par HAYDN JOSEPH. Only eleven of the over one hundred symphonies by Joseph Haydn...(+)
Par HAYDN JOSEPH. Only eleven of the over one hundred symphonies by Joseph Haydn are composed in a minor key. Written in the early 1770s, the Symphony Hob.I:52 in C minor bears some similarities to the slightly earlier Symphony in E minor Hob.I:44 (?Mourning?, BA 10988), not only because they both are composed in a minor key but also because they both feature a pair of horns tuned at different pitches. Haydn seems to have experimented with differently tuned horns inspired by an article in Johann Adam Hiller?s journal ?Musikalische Nachrichten und Anmerkungen? of July 1770, which suggested to tune the horns a minor third apart in order to expand the total horn range. While Haydn followed this recommendation just like that in the E-minor symphony, he chose to have the horns tuned a major sixth apart (high C and E-flat) in the outer movements of the C-minor symphony Hob. I:52, resulting in an unusual horn sound within the orchestral texture. In continuation of the collaboration between Bärenreiter and G. Henle Verlag, this edition is based on the Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag. - Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag - Orchestral parts in a large format (25.5 cm x 32.5 cm) / Date parution : 2022-11-08/ Répertoire / Orchestre
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| Franz Berwald: Concerto:
Violin: Score Orchestra [Sheet music] Barenreiter
FRANZ BERWALD (1796-1868) is regarded today not only as one of Sweden's most imp...(+)
FRANZ BERWALD (1796-1868) is regarded today not only as one of Sweden's most important composers but also due to his symphonies and his chamber music as a leading figure in the history of Northern European music of the 19th century. His compositions include in addition to four symphonies and the chamber music tone poems for orchestra concertos operas ('Estrella di Soria' and 'The Queen of Golconda') cantatas solo songs with piano accompaniment piano music and much more.Berwald's violin concerto in C sharp minor is the work of a young composer. The autograph score bears the date 1820; Berwald was 24 years old at the time.After the firstperformance the violin concerto fell into oblivion and was as far as we know never again performed in Berwald's lifetime. It was not brought to light again until 1903 when on May 19 the first movement was performed at the Annual Celebration of the Academy of Music of Stockholm.Urtext of the Berwald Complete EditionFull score (BA4905) and Violin & Piano reduction (BA4905-90) available for salePerformance material (BA4905-72) available for hire
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| Georg Friedrich Händel:
Dixit Dominus HWV 232:
SATB: Score Orchestra Barenreiter
Handel wrote the famous Dixit Dominus with the text of Psalm 109 during his time...(+)
Handel wrote the famous Dixit Dominus with the text of Psalm 109 during his time in Italy in c. 1707. Although he was only 22 years old the work already demonstrates his wide spectrum of compositional abilities which are later fully realized in his operas and oratorios. Central to this work are the six choral movements which with their polyphonic structure are closely related to German choral music of the 17th century.The first Urtext edition BA 4002 based on the Halle Handel Edition was published in 1960. At that time no critical commentary was published so that in cases of doubt the basis on which editorialdecisions were made was not officially recorded. A new complete edition volume (BA 10704/01) due to be published in 2013 will include a detailed foreword providing information on the genesis and the first performance of this work as well as information on the psalm on which this work is based and on performance practice. In addition several facsimiles pages will be included giving a view into the source material. The critical commentary will provide a detailed insight into all the available sources and how they have been passed down.This newly revised Urtext performing edition offers a thorough revision of this frequently-performed work and meets all the requisites of a scholarly-critical edition. Former readings in the old edition regarding a small number of pitches but mostly basso continuo figures and the underlying text have now been able to be amended on the basis of the new findings. In the new edition the work appears in nine movements no longer eight which reflects the composer's intentions.The new performance material is not compatible with the old one.Presented in a revised Urtext editionClear straightforward Piano reduction in the vocal scoreUrtext of the Halle Handel EditionFull score performance material (BA10704) & Vocal score (BA10704-90) available for sale
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| Britta Byström: Symphony
In Yellow: Orchestra:
Score and Parts Orchestra Wilhelm Hansen
Symphony In Yellow for Violin Cello and Piano by Britta Byström (2002). Progra...(+)
Symphony In Yellow for Violin Cello and Piano by Britta Byström (2002). Programme Note Leggiero Dolce Energico Symphony in Yellow for Piano Trio is structured as a “miniature symphony” in three movements. The slow middle movement is surrounded by two faster ones. The title is taken from a poem by Oscar Wilde in which various images that are all characterized by something yellow float by: a yellow bus yellow hay yellow leaves… During the composition of the work I searched for a certain mood or color of sound something “yellow” that shouldremain unchanged while different musical events in the work’s structure took place. I perceived my challenge to be akin to an artist painting different subjects using only one color. Britta Byström Oscar Wilde: Symphony in Yellow An omnibus across the bridge Crawls like a yellow butterfly And here and there a passer-by Shows like a little restless midge. Bib barges full of yellow hay Are moored against the shadowy wharf And like yellow silken scarf The thick fog hangs along the quay. The yellow leaves begin to fade And flutter from the Temple elms And at my feet the pale green Thames Lies like a rod of rippled jade.
38.50 GBP - Sold by Musicroom UK | |
| Søren Nils Eichberg:
Morpheus: Orchestra:
Score Orchestra [Sheet music] Wilhelm Hansen
Søren Nils Eichberg's Morpheus - Concerto for Orchestra (2013). Commissioned by...(+)
Søren Nils Eichberg's Morpheus - Concerto for Orchestra (2013). Commissioned by The Danish National Symphony Orchestra / DR. Parts are available on hire: hire@ewh.dk Programme note Morpheus in the Greek mythology is the most powerful of the Oneroi the gods of dreams. He is the one who sends us our dreams and he may appear to us within the dreams in disguise. Analogous to the logic of dreams in Morpheus everything is interwoven as chains of associations appear to logically lead us from one line of thought to another. Everything seems strangelyfamiliar. But the logic is treacherous and we already feel it may only be valid within the dream. Nothing that appears similar is actually ever really the same. Half awakening we struggle to hold on to a vanishing world we felt we were on the verge of understanding but which we already know will eventually escape us when we fully awake. Everything remains a mystery until the end. The seven movements/dreamscapes are: Vortex Trees and Walls Escher (Toccata) Crystal Into the Cloud Non-Euclid Arctica
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| Johann Sebastian Bach:
Brandenburg Concerto No.4
In G Major BWV 1049:
Orchestra: Orchestra Barenreiter
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No....(+)
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.4 In G Major BWV 1049. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.
5.00 GBP - Sold by Musicroom UK | |
| Johann Sebastian Bach:
Brandenburg Concerto No.3
In G Major BWV 1048:
Orchestra: Orchestra Barenreiter
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No....(+)
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.3 In G Major BWV 1048. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.
5.50 GBP - Sold by Musicroom UK | |
| Johann Sebastian Bach:
Brandenburg Concerto No.3
In G Major BWV 1048:
Orchestra: Orchestra Barenreiter
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No....(+)
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.3 In G Major BWV 1048. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.
5.50 GBP - Sold by Musicroom UK | |
| Johann Sebastian Bach:
Brandenburg Concerto No.4
In G Major BWV 1049:
Orchestra: Orchestra Barenreiter
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No....(+)
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.4 In G Major BWV 1049. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.
5.00 GBP - Sold by Musicroom UK | |
| Johann Sebastian Bach:
Brandenburg Concerto No.4
In G Major BWV 1049:
Orchestra: Orchestra Barenreiter
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No....(+)
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.4 In G Major BWV 1049. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.
5.00 GBP - Sold by Musicroom UK | |
| Johann Sebastian Bach:
Brandenburg Concerto No.4
In G Major BWV 1049:
Orchestra: Orchestra Barenreiter
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No....(+)
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.4 In G Major BWV 1049. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.
5.00 GBP - Sold by Musicroom UK | |
| Johann Sebastian Bach:
Brandenburg Concerto No.3
In G Major BWV 1048:
Orchestra: Orchestra Barenreiter
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No....(+)
Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.3 In G Major BWV 1048. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.
5.50 GBP - Sold by Musicroom UK | |
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