FROM THE RESPONSORY DOMINE AD ADJUVANDUM ME FESTINA. Par VIVALDI ANTONIO / SIEVING ROBERT (Arr.). Robert Sieving\'s arrangement of Allegro for Double String Orchestra by Antonio Vivaldi, RV593, originally a motet featuring the vocal setting of Psalm 69 for soprano, 2 oboes, 2 SATB choirs, and double string orchestra, provides the opportunity for two orchestras to perform in opposition and have a musical conversation through fugal writing. Sieving has maintained Vivaldi\'s writing and sound, as the two orchestras battle it out to be the reigning orchestra. Each orchestra and section have interesting parts, with string crossings, minimal shifting, stylistic Baroque bow use, and call and response sections or echo sections. Invite a neighboring orchestra to perform this wonderful double string piece or divide your orchestra in two groups. Such a wonderful addition to our Vivaldi repertoire by Robert Sieving at Level 3. / Date parution : 2022-07-30/ Répertoire / Orchestre

Clara Wieck’s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

The original version of this work scored for chamber orchestra was written in 1950 in response to a commission from Warsaw Radio. In the following year the composer revised and slightly extended the work and rescored it forsymphony orchestra. The first performance was given by the Warsaw Radio Symphony Orchestra conducted by Grzegorz Fitelberg in Warsaw in April 1951. The work uses folk melodies from the village of Machow in the region ofRzeszow east of Cracow. Duration c.11 mins. Full score and orchestral parts available on hire from the publisher.

First edition of the original version for Orchestra. Urtext based on the Complete Works of Gabriel Fauré.Large format orchestral parts (25.5 x 32.5 cm)Bärenreiter?s new scholarly-critical edition of Gabriel Fauré?s evergreen the Pavane Op.50 has been edited by Robin Tait as part of the Complete Works of Gabriel Fauré. The popularity of the work is mostly attributed to its many arrangements but the original version for Orchestra is being published here for the first time. Shortly after completing the Orchestral work Fauré began work on a version for Choir which was actually premiered before the Orchestralversion.This Bärenreiter edition offers conductors and Orchestras a reliable Urtext edition of the Pavane?s original Orchestral version which will surely enhance symphonic concert programmes everywhere.

  Symphony No. 3 (1972-1975) by Per Nørgård. Per Nørgård's third symphony commissioned by The Danish Radio Symphony Orchestra (conductor Herbert Blomstedt) was premiered in Copenhagen in 1976 and received wide attention. The work gives comprehensive expression to a new realm of musical experience which the composer began to explore toward the end of the 1960s. While the first period in Nørgårds production in the 1050s represents his personal interpretation of the Nordic music tradition – evidenced for example in his “Piano Sonata No. 2” (1957) and“Constellations” for chamber orchestra (1958) – and the second period in the 1960s saw him working with serial techniques musical collage and a new sound-palette - especially in the orchestral works “Iris” (196-67) and “Luna” (1967) – with “Voyage into the Golden Screen” (1968) Nørgård arrived at a new compositional technique based on the use of a special form of a so-called “infinity series” a principle of musical motion to be applied to all kinds of scales (chromatic diatonic et cetera). It is characteristic that that Nørgård in the 1970s chose to cultivate diatonic infinity series already evident in the mythological opera “Gilgamesh” (1971-72). Thus the Symphony No. 3 begun directly after the opera combines the infinity series major and minor scales the partial series of natural harmonics and “sub-harmonics” (Nørgårds terminology) with rhythmic patterns based on the Golden Section (the Golden Mean) in a nexus of synchronous yet disparate elements which serve the composers vision of musical coherence.. The works which followed the symphony – the operas “Siddharta” (1975-79) and “The Divine Circus” (1981-82) and Symphony No. 4 (1981) – usher a new

Violin Violoncello and Orchestra-Handel's Concerto Grosso In G major Op.6/1 HWV 319 is scored for 2 solo Violins solo Cello 2 Oboes Bassoon Strings and Basso continuo. The Concerti Grossi Op.6 HWV 319-330 are 12 concerti for solo instruments (usually Violins and Cello) accompanied by a four-part string orchestra and Cembalo continuo. Originally published in 1739 they were written to be played during performances of Handel's oratorios and odes and are amongst the finest examples in the genre of Baroque Concerto Grosso.

Suite for Orchestra-In 1918 Gabriel Fauré then 73 years old received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell?arte. The four-movement orchestral suite Op.112 consisting of Ouverture Menuet Gavotte and Pastorale combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré?s last composition for orchestra the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer now older and more experienced reworked and improved his earliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2.First Urtext edition Based on Gabriel Fauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Responsorio Per S., 2 Cori A 4 Voci Miste, 2 Ob. E Archi Divisi In 2 Cori - Parti Orchestra. Par VIVALDI ANTONIO. Responsorio Per S., 2 Cori A 4 Voci Miste, 2 Ob. E Archi Divisi In 2 Cori - Parti Orchestra / Date parution : 1905-06-23/ Répertoire / Orchestre

Fuego Fatuo has an interesting history. Manuel De Falla (1876-1946) often regarded as the greatest Spanish composer of the 20th century wanted to write an opera based around themes from Chopin whomhe greatly admired. The stage work was never finished; however several attempts have been made to arrange the work for orchestra most successfully by the Catalan conductor Antoni Ros-Marb .Despite its history this orchestral suite is far from being a mere mish-mash of Chopin melodies; it is more of a meditation on Chopin’s work in general with the focus on the harmonic and textural elements which De Falla drew from his work.It forms a fascinating insight into the mind of a great musician.

First performed in November 1954 by the Warsaw Philharmonic Orchestra conducted by Witold Rowicki. Duration c.29mins. Orchestral material available for hire from Chester Music.

Written for and first performed by the San Francisco Symphony Orchestra conducted by the composer in December 1986.

First performed in January 1980 by the National Symphony Orchestra Washington conducted by Mstislav Rostropovich. Duration c.18 mins. Full score and orchestral parts available on hire from the publisher.

Edvard Grieg: Landkjenning (Score). Hellstenius describes his new work, written for the 100th anniversary of the Oslo Philharmonic, a ?compositional interpretation? of Edvard Grieg?s ?Landkjenning? for choir and orchestra with a text by Bjørnstjerne Bjørnson.

In 1918 Gabriel Fauré, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell?arte. The four-movement orchestral suite Op.112, consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré?s last composition for orchestra, the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved his earlier music. This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works, Volume IV/2. First Urtext edition Based on Gabriel Fauré The Complete Works Score and orchestral parts in a large format (25.5 x 32.5 cm) available for sale