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| Symphony No. 6 - At the End of the Day Orchestra - Intermediate/advanced Wilhelm Hansen
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Comp...(+)
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192). ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language). Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard. $125.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem Orchestra [Study Score / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score) SKU: HL.49018099 Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099). ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German. On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009. $93.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gaelic Air And Dance (Parting Glass & Collin's Reel) Orchestra [Score and Parts] - Easy Kendor Music Inc.
String orchestra (88555) - Grade 2 SKU: KN.9115 (Parting Glass & Colli...(+)
String orchestra (88555) - Grade 2 SKU: KN.9115 (Parting Glass & Collin's Reel). Composed by Various. Arranged by Deborah Baker Monday. Solo or Ensemble. Voyager String Orchestra. Score and set of parts. Duration 4 minutes, 40 seconds. Kendor Music Inc #9115. Published by Kendor Music Inc (KN.9115). UPC: 822795091151. This beautiful and exciting arrangement features two traditional Irish tunes. It opens with Parting Glass, a lovely air which is traditionally sung as a farewell to good friends at the end of an evening together or before a long journey. This setting offers melodic material to all voices and uses the richest ranges of each instrument to maximize the expressive possibilities. Next comes Collin's Reel, a fiddle dance that's great fun to play and features a gradual accelerando that makes for a very fast and furious ending. Duration 4:40. $52.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rainbow's End Orchestra - Beginner Highland/Etling
Orchestra - Grade 1.5 SKU: AP.47482 Composed by Susan H. Day. MakeMusic C...(+)
Orchestra - Grade 1.5 SKU: AP.47482 Composed by Susan H. Day. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score and Part(s). 62 pages. Highland/Etling #00-47482. Published by Highland/Etling (AP.47482). UPC: 038081544564. English. Take a musical journey to the end of the rainbow in this upbeat and majestic piece by Susan H. Day, written in the key of G, featuring easy rhythms and satisfying melodies for all sections. Teaching points include dotted quarter notes, legato bowing, two-note slurs, and pizzicato. The viola part doubles the violin 2 part. Students and audience will consider this piece their own pot of gold! This title is available in MakeMusic Cloud. $46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Poul Ruders: Gong (Score) Orchestra Music Sales
Orchestra SKU: HL.14028038 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra SKU: HL.14028038 Composed by Poul Ruders. Music Sales America. Classical. Score. 95 pages. Music Sales #KP00294. Published by Music Sales (HL.14028038). ISBN 9788759854730. 12.0x16.5x0.3 inches. English. The word GONG is saturated with associations: the splendour of the Orient, mysticism, drama, loud metallic clangour, violent impact, etc. The present piece draws upon all those connotations, but it is primarily a symphonic drama about the life and behaviour of the sun, our closest star and prime source of life on Earth. Describing the sun in music is not a new idea, of course; during a visit to Greece, Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the Helios Overture. GONG is a Helios Overture too, of sorts, albeit more abstract. Recent astronomical research shows, that the surface of the sun reverberates like a gong, in four different, simultaneous tempi (not directly depicted in the score, though); the sun looks like a GONG, - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun, from the initial explotional birth through the hyper-activity as energy source as we know it today to the final, predicted flaring up and collapse into a so-called white dwarf. But - being a musical composition, not an astrophysical thesis - GONG is brought to its compositional conclusion by a real concert-ending, a chord taken from the middle of the piece and sustained over several bars, from virtual nothingness to full force. $160.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Overture in E-Flat Major Orchestra [Score] - Intermediate/advanced Hal Leonard
Wind Orchestra (Score) - Grade 4 SKU: HL.4008713 Wind Orchestra, Grade...(+)
Wind Orchestra (Score) - Grade 4 SKU: HL.4008713 Wind Orchestra, Grade 4, 8:45 Score. Composed by Stephan Jaeggi. Arranged by Gauthier Dupertuis. FC Music Publishing. Concert Band. Softcover. Duration 525 seconds. Hal Leonard #FCMP007-SC. Published by Hal Leonard (HL.4008713). UPC: 196288190936. As part of the year 2023, dedicated to Swiss composers, the Swiss Wind Band Association has commissioned Gauthier Dupertuis to write a new orchestration of the Overture in E-flat major by Stephan Jaeggi. Indeed, an update of the instrumentation was necessary for the interpretation of this work with modern orchestras. Therefore, the orchestration that Gauthier Dupertuis proposes and which he wanted to be faithful to the original while meeting current standards, will allow todayÂ’s orchestras to perform this piece of classical-romantic inspiration. Stephan Jaeggi was a Swiss composer and conductor who was born into a large family in Fulenbach (Canton of Solothurn) in 1903. He began playing the clarinet at the age of 13, then studied music at the Basel Conservatory and attended his military training with the Swiss Army Band. Thereafter, he became the conductor of several wind orchestras. In this role, and also that of a composer, Stephan Jaeggi went on to achieve great success. His early death in 1957 put a premature end to Stephan Jaeggi's creative life. All the more reason why his work lives on with unbroken power to this day. $40.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Follow the Star, Follow the King - Orchestral Score and Parts Orchestra [Score and Parts] Lorenz Publishing Company
(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald...(+)
(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald. Orchestra. For Flute, Clarinet, 2 Trumpet, Horn, 2 Trombone, Percussion, Piano, Synthesized Strings. Cantata. Choral: Advent. Orchestral Score and Parts. Published by Lorenz Publishing Company
$249.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Modern Band Method - Teacher Edition Orchestra Little Kids Rock
A Beginner's Guide for Group or Private Instruction. Modern Band. Method, Teac...(+)
A Beginner's Guide for Group
or Private Instruction.
Modern Band. Method, Teacher
Resource. Softcover. 256
pages. Published by Little
Kids Rock
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 | | |
| 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 | | |
| Scenes from Goethe's "Faust" WoO 3 Orchestra Breitkopf & Härtel
Orchestra (2.2.2.2 - 4.2.3.0 - timp - str) SKU: BR.PB-5545-07 Overture...(+)
Orchestra (2.2.2.2 - 4.2.3.0 - timp - str) SKU: BR.PB-5545-07 Overture to Scenes from Goethe's Faust WoO 3 - Urtext. Composed by Robert Schumann. Edited by Christian Rudolf Riedel. Orchestra; stapled. Partitur-Bibliothek (Score Library). The Faust Overture in its First Urtext Edition. Overture; Romantic. Study Score. 36 pages. Duration 7'. Breitkopf and Haertel #PB 5545-07. Published by Breitkopf and Haertel (BR.PB-5545-07). ISBN 9790004213551. 6.5 x 9 inches. The question Why add music to such perfect poetry? preoccupied Schumann long and intensively. His first compositional approach to Goethes Faust began in 1844, but it was not until 1851 that he finally completed the Scenes. At Liszts suggestion, Schumann added an overture in 1853, a symphonic instrumental introduction which atmospherically evokes the action of the Scenes but has no direct thematic reference to them. As an independent overture, the work has been played relatively rarely in concert halls to this day; the general prejudice towards Schumanns late works was no doubt partly responsible for this. The first Urtext edition of the overture was based on the autograph score that was revised by Schumann and served as the principal source. It should give new impulses to the future reception of this work which Paul Dukas hailed as a miracle, from beginning to end.
The Faust Overture in its First Urtext Edition. $15.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Kaksi myytillista kuvaa Orchestra SATB, Orchestra Fennica Gehrman
Orchestra SKU: FG.55011-610-8 Two mythical scenes op 1. Composed b...(+)
Orchestra SKU: FG.55011-610-8 Two mythical scenes op 1. Composed by Aulis Sallinen. Study score. Fennica Gehrman #55011-610-8. Published by Fennica Gehrman (FG.55011-610-8). ISBN 9790550116108. Two Mythical Scenes for orchestra was completed in 1956, when Sallinen was Aarre Merikanto's composition student for his second term. The work received its premiere performance only after a good deal of pressure from Prof. Merikanto's side, and was finally premiered in a concert by the Sibelius Academy Symphony Orchestra, conducted by Jussi Jalas. The work received opus number 1, as it was the first publicly performed work by Sallinen. The composer has told that he was inspired by a 1947 book published by the Finnish Literary Society (SKS) Myytillisia kuvia (Mythical Scenes/Images). The second movement of the work, Kalmanvaen joulukirkko (The Christmas Service of the Dead) is based on the stories in which the dead rise from their graves early in the Christmas Day morning to attend their own special ceremony led by a dead priest. The opening movement Kulkue (Procession) depicts the dead in a procession towards the church. In 2020 Sallinen revised the score slightly. In his own words with very small changes helping the sixty years younger and less experienced self. The revisions mostly concerned nuances and dynamics, bowings and some bridges. The original structure, rhythmic and harmonic world is still the same as they were when young Sallinen composed the work in 1956. $31.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| A Child Is Born - Full Orchestral Score and Parts Orchestra [Score and Parts] Monarch Music
(A Christmas Worship Experience of the Christ-Light). By Mary Mcdonald. Arranged...(+)
(A Christmas Worship Experience of the Christ-Light). By Mary Mcdonald. Arranged by Laura Kathryn Rosser. For full orchestra. Cantatas. Christmas. Orchestral score and parts. Published by Monarch Music
$349.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony in D Major, Hob. I:101 (The Clock) Orchestra G. Henle
Orchestra SKU: HL.51489069 Study Score. Composed by Franz Joseph H...(+)
Orchestra SKU: HL.51489069 Study Score. Composed by Franz Joseph Haydn. Edited by Horst Walter. Henle Music Folios. Classical. Softcover. 93 pages. G. Henle #HN9069. Published by G. Henle (HL.51489069). UPC: 840126951905. 6.75x9.5x0.291 inches. Haydn arrived in London at the beginning of February 1794 for his second stay in England. By this time, he had completed three movements of the Symphony in D major Hob. I:101, and the finished work was premiered on 3 March. Even the members of the audience at the premiere took note of the pendulum-like accompanying figure in the second movement, which was in fact explicitly mentioned in a review: “The management of the accompaniments of the andante, though perfectly simple, was masterly.†The even tick-tock oscillations sparked the imagination of listeners so much, apparently, that the nickname “Clock†came into use later in the nineteenth century. And while this name may have nothing to do with Haydn, is it even possible to listen to the famous second movement today without making the association? To everyone wishing to become more acquainted with this symphony, let this inexpensive study edition be commended - with reliable commentaries on its genesis, sources, and edition as well as an unassailable musical text taken from the Haydn Complete Edition. $17.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| A Midsummer Night's Dream Op. 21 MWV P 3 Orchestra Breitkopf & Härtel
Orchestra (2.2.2.2 - 2.2.0.0.oph - timp - str) SKU: BR.PB-5364 Concert...(+)
Orchestra (2.2.2.2 - 2.2.0.0.oph - timp - str) SKU: BR.PB-5364 Concert Overture No. 1 - Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Hans Christian Schmidt. Orchestra; stapled. Partitur-Bibliothek (Score Library). Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time. Overture; Romantic. Full score. 72 pages. Duration 12'. Breitkopf and Haertel #PB 5364. Published by Breitkopf and Haertel (BR.PB-5364). ISBN 9790004211458. 10 x 12.5 inches. Autograph lays bare Mendelssohn's Overture to A Midsummer Night's Dream To this day, Mendelssohns epoch-making Overture to A Midsummer Night's Dream has been performed on the basis of a more than dubious transmission. Neither the first edition of the parts (1832), and certainly not the print of the score based on these parts (1835) go back directly to the autograph of the 17-year-old composer, which is now located in Krakow. No wonder, since Mendelssohn had breezily given away his original at an early date. The result: during his lifetime, versions were published with his authorization, even though they were full of unintended inconsistencies. Yet the autograph of 1826 is unequivocal: it is clear, practically free of irregularities and diverges considerably from the corrupted printed version. Christian Martin Schmidt comes up with occasionally differing musical passages, but above all with logical and compositionally compelling performance instructions, laying bare to musical practice the original form buried beneath layers of falsified material for the first time.
Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time. $65.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Abandoned to the Cross - Orchestral Score and CD with Printable Parts Orchestra Medallion Music
Full orchestra SKU: LO.30-3763MD Composed by Jay Rouse. Choral. Sacred An...(+)
Full orchestra SKU: LO.30-3763MD Composed by Jay Rouse. Choral. Sacred Anthem, General, Good Friday, Holy Week. Orchestral score and CD with printable parts. Medallion Music #30/3763MD. Published by Medallion Music (LO.30-3763MD). UPC: 000308156263. Orchestral Score and CD with Printable Parts for 10/5418MD This emotive ballad by Jay Rouse reflects on the pivotal moment that Jesus was abandoned by God the Father and was left alone to die--sacrificing His life and taking on the sin of the world. The dynamic lyrics then rejoice in the Resurrection with a euphoric and victorious ending. $79.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Daystar Orchestra [Score and Parts] - Intermediate Kendor Music Inc.
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 3 S...(+)
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 3 SKU: KN.9997 Composed by Joshua Reznicow. Solo or Ensemble. Apex String Orchestra. Score and set of parts. Kendor Music Inc #9997. Published by Kendor Music Inc (KN.9997). UPC: 822795099973. We welcome Joshua Reznicow to the Kendor family of writers with this festive original that sounds more difficult to play than it is. Written in G major and its relevant minor key, it gives directors a chance to teach both sharp and flat keys while using open strings to maintain a solid pitch center. Controlling bow speed and style using hooked bow, spiccato, and slurred techniques helps to drive the musical energy throughout. Short solos and a brief violin cadenza lead to a rewarding finish and allow more advanced players to showcase their skills. Duration ca. 3:40. Available in SmartMusic. $56.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music with Robert Schumann Orchestra Breitkopf & Härtel
Orchestra (2.2.2.2. - 4.3.3.0. - timp.perc - hp -str) SKU: BR.PB-4862-07 ...(+)
Orchestra (2.2.2.2. - 4.3.3.0. - timp.perc - hp -str) SKU: BR.PB-4862-07 Study score. Composed by Jurg Baur. Softbound. Partitur-Bibliothek (Score Library). World premiere: Hannover, March 13, 1972 Music post-1945. Study Score. Composed 1972. 82 pages. Duration 15'. Breitkopf and Haertel #PB 4862-07. Published by Breitkopf and Haertel (BR.PB-4862-07). ISBN 9790004206591. 7 x 9.5 inches. Variationen (Ouverture / Thema / Variation / Coda), Lyrisches Intermezzo (Sostenuto), Symphonische Nachklange (Allegro con moto).Immer wieder lassen sich Komponisten von Themen alterer oder auch zeitgenossischer Meister zu Variations-Zyklen anregen (Brahms: Handel- und Haydn-Variationen, Reger: Mozart-Variationen, Holler: Sweelinck-Variationen). Themen von Robert Schumann fanden bisher relativ selten Beachtung - (Regers Schumann-Variationen fur zwei Klaviere sind eine Ausnahme) - vielleicht, weil sie zu sehr in sich vollendet und abgeschlossen sind und deshalb kaum Moglichkeiten zur Veranderung enthalten. Dennoch beschaftigte mich schon langer die Idee, eine ,,Musik mit Schumann, Nachklange oder Erinnerungen an Schumann zu gestalten, mit der Absicht, ein heiteres, liebenswurdiges (und nachdenkliches) Werk zu schreiben, einmal ohne Experimente-, als ,,Divertimento fur den Normalhorer, gelegentlich behutsam verbunden mit modernen Techniken - nicht ohne hintergrundigen Humor. Der 1. Satz wurde inspiriert von den ,,Papillons (opus 2 fur Klavier); er gliedert sich in vier variationsahnliche Abschnitte. Die ,,Ouverture exponiert drei kurze Themen, die sich trotz ihres gegensatzlichen Charakters wie selbstverstandlich erganzen (Einleitungsgirlande und Schlussfanfare der Papillons und das bekannte Anfangsmotiv aus ,,Vogel als Prophet). Die Abschnitte ,,Thema, ,,Variationen und ,,Coda entwickeln und verandern das Hauptthema der ,,Papillons; dieses dominiert uber weite Strecken des Satzes und wird mit den Motiven der Ouverture kombiniert. Vielfaltig gegliedert ist das ,,Lyrische Intermezzo. Zu Beginn gewinnt ein Motiv aus den ,,Nachtstucken (fur Klavier) Bedeutung, taucht mehrere Male auf, von mehrtonigen b-a-c-h Clustern ,,gestort. Im Mittelpunkt stehen das Thema des 2. Satzes der g-moll Klavier-Sonate op. 22 (ein Mondnachtlied ohne Worte; Holzblaser) und ein Adagio-Gedanke aus dem Klavier-Zyklus ,,Kreisleriana (tiefe Streicher); beide Themen werden kontrapunktiert von zwolftonigen Strukturen und Klangbandern (Holzblaser). Die ,,Fruhlings-Symphonie-Fanfare eroffnet das Finale. Danach bilden sich uber rotierenden Klangflachen (Streicher) einzelne Tone und Intervalle, aleatorisch frei, verdichten sich, wie aus der Erinnerung auftauchend, zu Motiven aus Schumanns bekanntester Symphonie. Nach diesem zogernden Beginn entwickelt sich ein fast klassisch anmutender Sonaten-Durchfuhrungsteil mit mehreren melodischen Gedanken (Kopfmotiv der g-moll Klaviersonate, tanzerische und ostinate Themen aus der Fruhlings-Symphonie), die zum Teil in- und ubereinander geschichtet werden, bis auf dem Hohepunkt des Satzes das Schlussthema der Klavierfantasie op. 17, pathetisch-ironisch in den Blechblasern erklingt. Eine kurze Reprise mit dem Hauptgedanken fuhrt zur Anfangsfanfare zuruck; der Satz verklingt im pianissimo. Wollte man dem ganzen opus ein Motto voranstellen, dann die Schumann-Uberschrift (aus den Kinderszenen) : ,,Fast zu ernst - aber eben nur ,,fast. (Jurg Baur)CD:Sinfonieorchester des Bayerischen Rundfunks, cond. Hanns-Martin SchneidtCD Thorofon CTH 2270 Bibliography:Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.Nonnenmann, Rainer: Vergegenwartigungen. Umgang mit historischem Material bei Zimmermann, Baur, Killmayer, Schnebel und Zender, in: Jurg Baur, hrsg. von Ulrich Tadday (= Musik-Konzepte. Neue Folge, Heft 184/185), Munchen: Edition Text+Kritik 2019, S. 26-46. $79.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Day of Wrath Orchestra - Intermediate Highland/Etling
Orchestra - Grade 3.5 SKU: AP.45884 Dies Irae from Requiem....(+)
Orchestra - Grade 3.5 SKU: AP.45884 Dies Irae from Requiem. Composed by Giuseppe Verdi. Arranged by Deborah Baker Monday. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Masterwork Arrangement; Romantic; Sacred; Video Game. Score and Part(s). 126 pages. Duration 2:05. Highland/Etling #00-45884. Published by Highland/Etling (AP.45884). UPC: 038081524481. English. Day of Wrath (translated from the Latin Dies Irae), with its dramatic extremes of emotion, is the perfect choice for any concert or festival. Students may recognize it from the video game Mobile Strike! This setting by Verdi in his Requiem Mass was first performed in 1874 and now has been arranged by Deborah Baker Monday. Repeated sixteenth notes are used extensively along with divided parts to create a full, sonorous effect with huge dynamic contrasts from the fortissimo opening to the morendo ending. (2:05). $49.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Touched by the Christ - Orchestral Score and Parts Orchestra Lorenz Publishing Company
Orchestra SKU: LO.30-2423L The followers of Jesus reflect on His final...(+)
Orchestra SKU: LO.30-2423L The followers of Jesus reflect on His final days. Composed by Lloyd Larson. Choral, cantatas. Eastertide, Lent, Sacred. Orchestral score and parts. Lorenz Publishing Company #30/2423L. Published by Lorenz Publishing Company (LO.30-2423L). UPC: 000308120899. This compelling reflection upon Jesus’ final days is viewed through His eyes and the eyes of those surrounding Him: Mary, sister of Martha; an officer to Caiaphas; Judas; Peter; Jesus Himself; Pilate; Mary, the mother of Jesus; Mary Magdalene; and Thomas. A sequence of dramatic, scripture-based monologues tells the story, alternating with Lloyd Larson’s masterfully inspired music as the “voice of the believer†responds. Flexibly conceived, this work may be presented as simply or as elaborately as you wish, depending upon your resources and preferences. Performance options range from use as a source of single anthems for your seasonal service needs to a short worship program with monologues and choruses or a special, fully staged production. It is our hope that this work will prompt your own reflections upon the great wonder and mystery of the Incarnate God Who, for the love of His people, humbled Himself, dying for our salvation and triumphing over death. $349.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140209 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140209 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Set of Orchestra Parts. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140209. Published by Carus Verlag (CA.3140209). ISBN 9790007301576. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $45.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140219 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140219 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Set of Orchestra Parts. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140219. Published by Carus Verlag (CA.3140219). ISBN 9790007300258. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $136.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140203 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140203 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Vocal score. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140203. Published by Carus Verlag (CA.3140203). ISBN 9790007295080. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $27.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140212 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140212 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140212. Published by Carus Verlag (CA.3140212). ISBN 9790007301590. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140211 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140211 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140211. Published by Carus Verlag (CA.3140211). ISBN 9790007301583. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140249 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140249 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140249. Published by Carus Verlag (CA.3140249). ISBN 9790007301620. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $17.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140213 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140213 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Single Part, viola. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140213. Published by Carus Verlag (CA.3140213). ISBN 9790007301606. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140205 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140205 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Choral Score. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140205. Published by Carus Verlag (CA.3140205). ISBN 9790007295097. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $7.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Glory to God in the highest Orchestra - Intermediate/advanced Carus Verlag
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140200 Cantata ...(+)
Solo voices, SATB chorus, orchestra - Grade 4 SKU: CA.3140200 Cantata for the 1st day of Christmas. Composed by Johann Sebastian Bach. Edited by Pieter Dirksen. Carus digital: Extra digital products. Full Score. Composed 1728/1729. BWV 197a / 197.1. Duration 25 minutes. Carus Verlag #3140200. Published by Carus Verlag (CA.3140200). ISBN 9790007295066. German/English. Text: Henrici (Picander), Christian Friedrich. Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor?
The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph. $47.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Per Nørgård: Symphony
No. 6 'At The End Of
Day': Orchestra: Score Orchestra Wilhelm Hansen
Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Pro...(+)
Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day” (New Testament 2 Peter 3:8) My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000. The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ... This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute). The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation. Without a break follows the third and last passage in a
129.99 GBP - Sold by Musicroom UK | |
| Franz Joseph Haydn:
Symphony No.8 In G Major
Hob.I: Orchestra: Score Orchestra [Sheet music] Barenreiter
With 2 violino concertato-Haydn's Symphony No.8 is the final piece in his tripty...(+)
With 2 violino concertato-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
27.00 GBP - Sold by Musicroom UK | |
| Franz Joseph Haydn:
Symphony No.8 In G Major
Hob.I: Orchestra: Parts Orchestra Barenreiter
Haydn's Symphony No.8 is the final piece in his triptych on the times of the day...(+)
Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
20.50 GBP - Sold by Musicroom UK | |
| Franz Joseph Haydn:
Symphony No.8 In G Major
Hob.I: Orchestra: Part Orchestra Barenreiter
Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his tripty...(+)
Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
6.50 GBP - Sold by Musicroom UK | |
| Franz Joseph Haydn:
Symphony No.8 In G Major
Hob.I: Orchestra: Part Orchestra Barenreiter
Haydn's Symphony No.8 is the final piece in his triptych on the times of the day...(+)
Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
5.50 GBP - Sold by Musicroom UK | |
| Franz Joseph Haydn:
Symphony No.8 In G Major
Hob.I: Orchestra: Part Orchestra Barenreiter
Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his tripty...(+)
Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
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| Wolfgang Amadeus Mozart:
Serenade In B-Flat Major
K.361 - Gran Partita: Orchestra Barenreiter
Serenade für 13 Instrumente-An announcement in the Wiener-Zeitung read: ?Concer...(+)
Serenade für 13 Instrumente-An announcement in the Wiener-Zeitung read: ?Concert. Today [23 March 1784] Herr [Anton] Stadler Sr. presently in the service of His Majesty the Emperor will hold a concert for his own benefit at the Royal Imperial National Court Theatre in which among other select pieces he will present a grand work for wind-band of a quite special character composed by Herr Mozart.? That this was almost certainly four movements from the present Serenade in B-flat major K.361 is suggested by an account of the occasion published some months later which states ?Today I heard a composition by Herr Mozart in 4 movements for wind ensemble . . . comprising 13 instruments: 4 horns 2oboes 2 bassoons 2 clarinetts 2 basset horns and a contrabass viol. . . .?Much music of the serenade-divertimento-cassation-Nachtmusik type was written in a light style and intended for social occasions rather than formal concerts. In such a context K.361 is striking for its seriousness of artistic content its length (seven movements lasting nearly an hour) and its extended instrumentation (most wind-band music of the period calls for five to eight or nine players not thirteen). If the work was not conceived in the first instance as a concert work its potential as such must have been recognized early on by Mozart or Stadler.- Urtext of the New Mozart Edition- Parts (BA5331-22) and study score format 22.5 x 16.5cm (TP312) available for sale
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| Picnic At Hanging Rock:
Orchestra: Score Orchestra Wilhelm Hansen
Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byströ...(+)
Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byström (2010). Programme Note ”What we see and what we seem are but a dream a dream within a dream” – These words opens Peter Wier’s film on Joan Lindsay’s novel Picnic at Hanging Rock from 1967. The story takes place on Valentines Day 1900. A group of school girls go on a picnic at Hanging Rock in Australia and get caught up in a volcanic eruption. Three of the girls disappear without a trace – as if they where swallowed up by the mountain. Inspiredby Peter Weir’s poetic and many layered film I have composed a tone poem – with the emphasis on poem – or poetry – as opposed to programme music. Disappearance is an important motif. The piece is a series of disappearances and transformations – one after another. At the end you can hear how the sound of the orchestra disappears in a swarm of clanging triangles – a way of picturing the girls disappearing into the mountain. I have tried to catch several other of the characteristics of the film: The school girls in their white dresses the dangerous yet alluring mountain where the watches mysteriously stop at 12 the spell that makes the girls climb higher and higher and – at the end – the unanswered hesitant question: what really did happen? Britta Byström
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| Joseph M. Martin: Come to
the Cross (from Colors of
Grace): Orchestra: Parts Orchestra Shawnee Press
From the highly successful Lenten cantata Colors of Grace comes an invitation ...(+)
From the highly successful Lenten cantata Colors of Grace comes an invitation to reflect at the foot of the cross to kneel in its shadow to mourn the dying Christ and to find rest in the promise of salvation. Cometo the Cross is rich in powerful imagery swelling to an emotional “Kyrie eleison” after each remembrance of Calvary. And in the middle of all the drama and chaos surrounding his death words of unending love “Father forgive them...” is heard with haunting clarity and purity. Come to the Cross will be incredibly powerful during Lent or Holy Week and an especially poignant moment for Good Friday.
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| Leonard Bernstein: Fancy
Free: Orchestra: Study
Score Orchestra Boosey and Hawkes
Ballet-Bernstein’s first composition in the genre Fancy Free composed in...(+)
Ballet-Bernstein’s first composition in the genre Fancy Free composed in 1944 became extremely popular. The story of the ballet is fairly simple and was later reused by Bernstein in On The Town his popular first Broadway musical. The story devised by Jerome Robbins takes place in New York City where three sailors on shore leave meet three girls in a bar who they dance with and end up fighting over. They soon realize they were foolish to let the women become between their friendships.The music is based on a considerable number of popular styles of the day. At the beginning you hear Big Stuff a popular hit Bernstein later recordedas a single and made famous by Billie Holiday. Bernstein’s music is comprised of a fusion of different genres from Latin-American to Popular and Classical to Jazz all of which are footprints in his inimitable style.Available here as part of the Hawkes Pocket Score edition (No.1135) is the Study Score for Bernstein’s popular ballet Fancy Free.
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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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| Poul Ruders: Gong:
Orchestra: Score Orchestra Wilhelm Hansen
The word GONG is saturated with associations: the splendour of the Orient mysti...(+)
The word GONG is saturated with associations: the splendour of the Orient mysticism drama loud metallic clangour violent impact etc. The present piece draws upon all those connotations but it is primarily a symphonic drama about the life and behaviour of the sun our closest star and prime source of life on Earth. Describing the sun in music is not a new idea of course; during a visit to Greece Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the 'Helios Overture'. GONG is a 'Helios Overture' too of sorts albeit more abstract. Recent astronomical research shows that the surface of the sun reverberates like a gong infour different simultaneous tempi (not directly depicted in the score though); the sun looks like a GONG - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun from the initial explotional birth through the hyper-activity as energy source as we know it today to the final predicted flaring up and collapse into a so-called 'white dwarf'. But - being a musical composition not an astrophysical thesis - GONG is brought to its compositional conclusion by a 'real concert-ending' a chord taken from the middle of the piece and sustained over several bars from virtual nothingness to full force.
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| Jacques Offenbach: Les
Contes D'Hoffmann In Full
Score: Orchestra: Score Orchestra Dover Publications
This is the last of nearly 100 operettas created by French composer Jacques Offe...(+)
This is the last of nearly 100 operettas created by French composer Jacques Offenbach a native of Germany whose works were most prominent in the latter half of the nineteenth century. His three-act drama Les Contes d'Hoffmann (The Tales of Hoffmann) which includes a prologue and epilogue recounts dramatic stories of passion murder and revenge. Left incomplete at the composer's death the operetta debuted in 1881 and remains popular to this day for its many memorable melodies.A masterpiece of French Romanticism Les Contes d'Hoffmann embodies Offenbach's wish to transcend the limitations of his popularoperettas and achieve success among the lofty heights of grand Opera. This imaginative score presents an artful blend of fantasy emotion and the supernatural as well as elements of satire and the grotesque. Hoffmann the narrator and protagonist relates three stories to his drinking companions. The tales concern Olympia who is revealed as a mechanical doll; Antonia a gifted vocalist in danger of singing herself to death; and Giulietta a Venetian courtesan who uses a magic mirror to purloin others' reflections. Reproduced from an authoritative score this edition offers musicians and music lovers a modestly priced edition of Offenbach's enduring work.
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| Symphony #4 Op. 120 Orchestra Schott
The New Robert Schumann Edition (RSA) is intended as a historico-critical editio...(+)
The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works.It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals.The critical edition will form the basis of accurate performance material for Robert Schumann's work. / Orchestre
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| Symphony G Minor -
Appendix A3 / Symphony
Fragments Woo 29 Orchestra Schott
The New Robert Schumann Edition (RSA) is intended as a historico-critical editio...(+)
The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works.It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals.The critical edition will form the basis of accurate performance material for Robert Schumann's work. / Orchestre
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| Franz Joseph Haydn:
Symphony No.6 In D Hob.I:
Orchestra: Score Orchestra [Sheet music]
Le Matin-The layout of the ?Symphonies named after the times of day? score more ...(+)
Le Matin-The layout of the ?Symphonies named after the times of day? score more closely approximates Haydn's own practices than in any previous edition.Haydn's distinction between violoncello bassoon and violone has been retained throughout. Despite many printed editions recordings and a widespread opinion to the contrary Haydn did not intend a harpsichord to take part in the performance of these works.- Symphony No. 6 in D major ?Le Matin?
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| Thunder And Lightning
Polka Op.324: Orchestra:
Score and Parts Orchestra Bosworth
This Orchestral score and instrumental parts have been arranged by Frank Naylor ...(+)
This Orchestral score and instrumental parts have been arranged by Frank Naylor for school and amateur Orchestras. This set includes a conductor’s score and instrumental parts as well as Piano accompaniment elementary Violin Alto and Tenor Saxophone and 3rd Violin. With the composition of the Thunder and Lightning Polka Johann Strauss completed the elevation of the polka from an Eastern European peasant romp to a dance form embraced by Vienna’s most fashionable circles. The ‘Waltz King’ was also a prolific composer other dance music: gallops and polkas marches and quadrilles. His sparkling dazzling Thunder and Lightning quick polka has become such a favourite in therepertoire that it is played every year along with The Blue Danube in the Vienna Philharmonic’s New Year’s Day Concert. The programmatic scoring evokes elemental weather events through the extensive use of timpani and the clashing of cymbals szforzandi and dramatic accents. The piece ends with as much excitement and energy as it begins not flagging for a second.
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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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| Benjamin Britten:
Plymouth Town: Orchestra:
Study Score Orchestra Faber Music Limited
Britten's ballet for small Orchestra was first performed by the students of the ...(+)
Britten's ballet for small Orchestra was first performed by the students of the Royal College Of Music Sinfonietta at the Royal College in January 2004. The piece itself was written in 1931 during the summer holidays after the end of Britten’s first year at the Royal College of Music at the age of seventeen. Having been advised to send the original score to the Camargo Society then the foremost promoter of ballet in the UK but Britten was without success and never revised the work.
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| A Wreath of Carols:
Orchestra: Parts Orchestra Shawnee Press
What a find! This outstanding medley of many well-loved holiday carols will fill...(+)
What a find! This outstanding medley of many well-loved holiday carols will fill the need for the familiar in your holiday concert leaving time for the other Shawnee Press gems you'd like to program. Cleverly assembled andarranged by Greg Gilpin and orchestrated by Stan Pethel “A Wreath of Carols” basically sings itself weaving the colors and sparkle of the season throughout. The majestic ending will have the audience on their feetapplauding and in the holiday spirit. Fantastic!
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| Realms Of Endless Day
(F/O) Orchestra Alfred Publishing
'Realms of Endless Day' is a fantasy setting of the hymn tune melody, 'Picardy.'...(+)
'Realms of Endless Day' is a fantasy setting of the hymn tune melody, 'Picardy.' This melody, thought to have been named for the region in France where it is believed the melody originated, is also the melody for the hymns 'Let All Mortal Flesh Keep Silence' and 'Christians, Let Us Love One Another,' as well as the 'Hymn of Saint James.' This enduring and tuneful melody is given three contrasting statements that gradually build to an exciting conclusion. This piece is scored for full orchestra by arranger Michael Kamuf, but will work quite effectively with strings alone. (3:30) / Orchestre
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| Hector Berlioz: Symphonie
Fantastique Op. 14:
Facsimile Orchestra [Facsimile] - Advanced Barenreiter
Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France-Facsi...(+)
Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France-Facsimile of the autograph score held in the Bibliothèque nationale de FranceDocumenta musicologica II/532920 pp. of facsimile and 12 pp. of Commentary (Eng/Ger/French)Half-leather binding Love and insanity tenderness and vulgarity bordering on the grotesque: Hector Berlioz never avoided extremes neither in his life nor in his oeuvre. His entire Symphonie fantastique is pervaded by a musical ?idée fixe? representing a woman he adored. The symphony brought about his breakthrough and has remained popular ever since. The impact of his masterly approach to composition especially in the treatment of theorchestration could still be felt in the 20th century. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score which was also used for performances by pasting strips of paper over the bars or parts in question. This facsimile edition in high-quality four-colour reproduction presents the manuscript as it is today ? with strips of paper that can be folded out making both versions visible. Hugh Macdonald General Editor of the New Berlioz Edition explains the work?s genesis and presents particular passages from each movement.
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| Britta Byström: Farewell
Variations: Orchestra:
Score Orchestra [Sheet music] Wilhelm Hansen
for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Bys...(+)
for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Byström (2005). Programme Note Farewell Variations sees the careful approach towards Haydn by Britta Byström. Although you have the title reference to the ”Farewell” Symphony Haydn’s Symphony No. 45 Byström’s approximations are being made in a subtle way similar to her free interpretation of literary works. You will not find any direct thematic connections between Byström and Haydn. Byström’s Haydn inspiration comes in form of the various titles which have been given to a lotof Haydn symphonies in the post-Haydn era. Byström wanted to go in sort of an opposite direction: To compose music based on ”Haydnish” symphonic titles. A kind of symphonic Haydn catalogue appears in the movements. Farewell Variations consist of fourteen variations of Byström’s own thematics. The work begins in sighing and broken phrases – like the shadow of a dance. The titles of the variations lead to the description of daily events starting with morning. A day of Haydn! The last variation farewell ends with the musicians playing on by on. As such there is no story but the titles are the main focus here. Byström says that she musically ”tried to capture some of Haydn’s ease and insights”. Tony Lundman
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| Beth Redman Matt Redman:
In Christ Alone (with The
Solid Rock): Orchestra:
Parts Orchestra Integrity Music
This arrangement comes from the Alive Forever collection arranged by Travis Cott...(+)
This arrangement comes from the Alive Forever collection arranged by Travis Cottrell. He has arranged the new modern hymn by Keith Getty and Stuart Toenend with a more traditional statement of The Solid Rock to makea great declaration that in Christ alone we have the assurance and strength that we need for each day. Choirs and congregations both will enjoy this music. CD Accompaniment Trax available. Orchestration is flexible and includesscore and parts for Rhythm Acoustic Guitar Trumpet 1 & 2 Alto Sax Trumpet 3 Trombone 1 & 2 Tenor Sax 1 & 2 Trombone 3/Tuba Bari Sax Percussion Horn 1 & 2 Flute (Oboe) 1 2 & 3 Clarinet and Strings (Synth). Duration:ca. 5:25
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| The Passion of His Love:
Orchestra: Parts Orchestra Integrity Music
An Easter Praise and Worship Experience-This Easter praise and worship musical f...(+)
An Easter Praise and Worship Experience-This Easter praise and worship musical features over 20 titles blending great hymns of the season with some of the most powerful worship songs of our day like O the Passion Worthy Is the Lamb and Crown Him with ManyCrowns. Music narration lighting and production notes are included to assist in producing a worship experience that is perfect for intimate concerts or full productions. Orchestration includes score and parts for Flute 1 2 Oboe Clarinet 1 2 Bass Clarinet Bassoon Trumpet 1 2 3 Horn 1 2 (Alto Sax) Trombone 1 2 (Tenor Sax/Baritone TC) Trombone 3/Tuba Harp Violin 1 2 Viola (Clarinet 3) Cello String Bass Keyboard String Reduction Drums Percussion 1 2 and Rhythm. SATB Listening Cassette Listening CD CD Accompaniment Trax (Split) CD Rehearsal Trax Preview Pack (CD) Bulletin Pack (100) Poster Pack (10) and CD 10-Pack also available.
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| Morton Gould: Home for
Christmas: Orchestra:
Score and Parts Orchestra [Sheet music] Schirmer
Set of Parts-Morton Gould's Home For Christmas from 'Holiday Music' for Orchestr...(+)
Set of Parts-Morton Gould's Home For Christmas from 'Holiday Music' for Orchestra. Score and parts.Born in Richmond Hill New York on 10 December 1913 Morton Gould was recognised early on as achild prodigy with the ability to improvise and compose. At the age of six he had his first composition published. He studied at the Institute of Musical Art (now the Juilliard School) but his most important teachers were AbbyWhiteside (Piano) and Vincent Jones (composition).Gould enjoyed an illustrious career. In addition to gaining a Pulitzer Prize for 'Stringmusic' he was Musical America's 1994 Composer-of-the-Year and recieved aKennedy Center Honor in recognition of lifetime contributions to American culture.A long-time member of the American Society of Composers Authors and Publishers Gould was elected president of ASCAP in 1986 apost he held until 1994. In 1986 he was elected to the American Academy and Institute of Arts and Letters. He also served on the board of the American Symphony Orchestra League and on the National Endowment for the Arts musicpanel.
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| Ludwig van Beethoven:
Triple Concerto Op.56
and: Orchestra: Score Orchestra Dover Publications
Fantasia In C Minor Op.80 (Choral Fantasy)-This volume contains two of Beethoven...(+)
Fantasia In C Minor Op.80 (Choral Fantasy)-This volume contains two of Beethoven's most unusual highly innovative and original works: the Concerto in C Major Op. 56 for piano violin cello and orchestra; and the Fantasia in C Minor Op. 80 for piano chorus and orchestra.To this day the 'Triple Concerto' remains part of a rare breed in the literature--a fascinating symphonic framework of interaction between the classical orchestra and a trio of intimately interdependent soloists. The work remains a favorite vehicle of the great Beethoven specialists with numerous recordings by legendary performers.The 'Choral Fantasy' is a rarity in the Beethoven canon of ensemble music uniting thevirtuoso display of a semi-improvisational solo piano with the vocal and instrumental richness of chorus and orchestra. Said to have been composed under great time pressure the Fantasy concludes with an extensive choral setting of a text by an unknown poet: 'Schmeichelnd hold und lieblich klingen' ('Flatteringly lovely and fair are the sounds of our life?s harmonies...Accept gladly the gifts of beautiful art...').Reprinted from the authoritative Breitkopf & Härtel editions this volume offers musicians and music lovers an inexpensive high-quality full score of two exceptional works.
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| Heather Sorenson: Little
Lion Little Lamb: Mixed
Choir and Ensemble: Parts Orchestra Daybreak Music
A Cantata for Christmas-Composed in both traditional and blended choral stylings...(+)
A Cantata for Christmas-Composed in both traditional and blended choral stylings this cantata weaves the historic symbolism of both the Lion of Judah and the Lamb of God into the Christmas story. Through original songs and traditional carols singers and listeners are reminded that this story is not just an event in history but a living story that still impacts the world today. Narration solos congregational participation and optional children's voices along with gorgeous orchestrations by Keith Christopher all work together to make this service a time of both celebration and worship. Songs include: Overture/Sing Christmas! And So We Wait It Came upon a Midnight Clear Who's the Little Baby? Sleep Little Lion Sleep Little Lamb Where Is Peace Tonight? In This Moment Angels from the Realms of Glory Carol of the King. Score and Parts (fl 1-2/pic ob cl 1-2 bn tpt 1-3 hn 1-2 tbn 1-2 tbn 3/tba perc 1-2 timp hp pno rhy vn 1-2 va vc db) available as a Printed Edition and as a digital download.
324.99 GBP - Sold by Musicroom UK | |
| Ouverture Coriolan
(BEETHOVEN LUDWIG VAN) Orchestra [Score] Barenreiter
Op. 62. Par BEETHOVEN LUDWIG VAN. Beethoven?s ?Coriolan? overture was composed i...(+)
Op. 62. Par BEETHOVEN LUDWIG VAN. Beethoven?s ?Coriolan? overture was composed in 1807. Whether the work was originally intended as a concert overture or for the stage has not been clarified to this day. The work was first performed at the Palais Lobkowitz and it was the Lobkowitz family who played a decisive role in the transmission of the sources.
For this new edition, Beethoven specialist Jonathan Del Mar incorporates various manuscript sources, including a handwritten set of parts that has never been considered before. As a result, numerous discrepancies could be clarified. / Date parution : 2022-04-05/ Répertoire / Orchestre
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| Benet Casablancas: Tres
Interludios Para
Orquesta: Chamber
Ensemble: Score Español Orchestra [Sheet music] - Advanced Unión Musical Ediciones
Three Interludes For Orchestra by Benet Casablancas was commissioned by Fundaci...(+)
Three Interludes For Orchestra by Benet Casablancas was commissioned by Fundación Autor and the Spanish Association of Symphonic Orchestras (AEOS) for its World Premiere in the 2012-2013 season.The score consists of three movements – Pastorale (Tranquillo) Scherzo (Con moto) and Memento e Corale (Lentissimo Ampio e tenuto) – and has an approximate duration of 14 minutes. The spaciousness and transparency of its textures the clearness of its harmony and a general calm and quiet tone of the first and final parts set a contrast with the vigour and rhythmical vividness of its central scherzo.During the course of the piece the shape of chamber writing coexists with the greatness of orchestral peaks. The last section embraces a lower and expressive tone which ends with a great chorale that will lead to a more contemplative coda which fades into silence. Sadness for the devastating tsunami that struck Japan on those same days was present in the mind of the author at the time of writing this movement.“It shows the accused dramatic quality (especially in the third piece) which dominate the orchestral writing of the composer from Sabadell enriched by a pitch atmosphere of neo-impressionistic quality and a healthy rhythmical energy. The concert version contributed with intensity and performance depth which we hope to deepen in future performances and which motivated the greeting of Casablancas.” - Germán Gan Audio Clásica
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