SKU: BR.PB-5661
final version 1910
ISBN 9790004215982. 10.5 x 14 inches.
The Symphony No. 1 (originally in five movements) was first performed in Budapest in 1889, but the premiere as well as two further performances in Hamburg and Weimar turned out to be a fiasco. After 1894 Mahler removed the Blumine-movement. Until the last performance under his direction in New York in 1909, Mahler made revisions again and again. This edition strives to present a, for the performance practice, reliable music text of the final extant version that in 1910 Mahler corrected and deemed accurate for the new print. The Editorial Report gives detailed information on the provenance and evaluation of the sources as well as authentic annotations on performance practice. Individual comments document editorial interventions and deviations from current editions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.Le format permet une lisibilite parfaite; le materiel a ete realise en tenant compte des conseils des bibliothecaires de grands orchestres. Particulierement precieux pour les non-germanistes, on trouve en fin de volume un glossaire traduisant les indications de Mahler de l'allemand vers l'anglais (ou l'italien). (Alain Paris, La Lettre du Musicien).
SKU: BR.PB-5225
ISBN 9790004209554. 10 x 12.5 inches.
The publishers of the Reger Complete Edition present Reger's most frequently performed orchestral work as a new addition to the acclaimed PB/OB Library. The critical examination of the main sources - the autograph, Reger's corrections for the first edition, a working copy belonging to the composer, and the Complete Edition - brought forth a number of changes with respect to the previously known material. This is thus the first reliable, practice-oriented edition with orchestral parts available for sale - which is another first for this extensive and important work.
SKU: BR.PB-5642
First edition based on the copy of the score revised by Mahler Hamburg 1893
ISBN 9790004215395. 10.5 x 14 inches.
The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.First edition based on the copy of the score revised by Mahler Hamburg 1893.
SKU: 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.
SKU: 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
SKU: AP.44856
UPC: 038081518640. English.
As performed in the fabulous Trans-Siberian Orchestra live concert, experience Trepak from The Nutcracker as you never have before. This arrangement by Bob Phillips includes parts appropriate for a community or professional symphony orchestra. The bowings are those that would be expected by professional players. The rock rhythm section contributes to an intense and very hip musical experience. Optional parts for electric guitar or electric violin can be used to add interest to the performance. If unfamiliar with TSO, check them out online. (4:25).
SKU: AP.44856S
UPC: 038081518657. English.
SKU: AP.38405S
UPC: 038081437378. English.
200 years after the event it commemorates, let's celebrate Tchaikovsky with a very playable reduction of his great overture. Perfect for festival or contest---or just for fun, using paper bags for the canon effect!
About Orchestra Expressions
Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.
SKU: HL.48180234
This edition of Ports of Call by Jacques Ibert, features the scores for the whole orchestra. This romantic piece for large orchestra was composed in 1922 and is inspired by the author?s experience in the Mediterranean Sea when he was in the navy. Slightly Impressionist, this piece is one of those who made is international reputation. Jacques Ibert (1890-1962) also composed many symphonic suites, operas and seven orchestras, including Angelique (1926) and Divertissement (1930). He also was in charge of the Accademie de France in the Villa Medicis (Roma) and was later administrator for the Paris Opera.
SKU: AP.44820S
UPC: 038081517469. English.
With string parts as close to the original as possible, this full orchestra arrangement of two movements from Grieg's Holberg Suite is a gem! It may be performed by string or full orchestra, and, for ultimate flexibility, each movement can be performed alone. Featuring the Sarabande and Gavotte, careful attention has been paid to maintain the original intentions of the composer in this piece. Minimal accommodations were made by arranger Victor López to provide a more educationally-sound experience for the players. (8:10).
SKU: AP.40448S
UPC: 038081456287. English.
A lovely transcription, this reduction allows the advanced orchestra or community orchestra to experience Tchaikovsky's masterpiece in about half the duration of the original. A must for any library! This title is available in MakeMusic Cloud.
SKU: AP.31608S
UPC: 038081353883. English.
On a tour of America in 1833 and 1834, the Franco/Flemish violin virtuoso Henri Vieuxtemps heard Yankee Doodle. On returning to Europe, he produced the violin and piano barnburner that was the inspiration for this string orchestra arrangement. Everyone in the orchestra gets a crack at the melody and some alternate notes are provided for those with acrophobia. This is a must-have for those who enjoy programming patriotic music where the fireworks are in the string parts. (3:20).
SKU: AP.33678S
UPC: 038081376806. English.
A musical treasure for young players. This enchanting work for chorus and orchestra is transcribed for full or string orchestra.
SKU: AP.38419S
UPC: 038081439617. English.
Very true to the original yet arranged for string orchestra, this is sure to become a classic. Celebrate the bicentennial of the victory of the Russian army over Napoleon's army with the most recognized themes of the 1812 Overture: the opening hymn, God Preserve Thy People, the Marseillaise, and God Save the Czar.
SKU: AP.41225S
UPC: 038081478876. English.
A slow and somber Grave introduction leads to a light-hearted Allegro, presenting an ideal piece to teach sonata form to your students. The clearly marked bowings and artist-level fingerings will save precious rehearsal minutes and contribute to a professional sound. This arrangement re-scores the first movement of Sinfonia No. 9 from six voices, requiring two separate viola parts, to the traditional five-voice string orchestra. Consistent with selected professional performances of the work, the first of two recapitulations has been seamlessly omitted to create a more balanced form, eliminate redundancies akin to counterpoint exercises, and showcase the young composer's emerging creativity by emphasizing his striking use of the key of A-major before reaffirming the home key. The elimination of a repeat reduces the duration to 8:30. (11:30) This title is available in MakeMusic Cloud.
SKU: AP.44813S
UPC: 038081521220. English. Gabriel FaurA(c).
Fauré's breathtakingly beautiful Cantique de Jean Racine is now available in a sumptuous arrangement for string orchestra, simply titled Cantique. The unifying triplet figure and profound harmonic development set the foundation for soaring melodic lines that are shared throughout in various parts. This is music from the heart that will rest calmly and peacefully on audience ears. A perfect choice for contest in showcasing the musical and expressive traits of your ensemble.
SKU: AP.49020S
ISBN 9781470645434. UPC: 038081561165. English.
March of the Little Lead Soldiers, arranged by Douglas Wagner, is a delightful musical bonbon, from Gabriel Pierné's Album for My Little Friends. The piece presents a refreshing out-of-the-box programming opportunity for any string orchestra concert. This arrangement, which highlights the playful recurring main theme and persistent pizzicato passages, creates an entertaining audience experience, as well as an educational vehicle full of teachable moments. (3:30).
SKU: AP.40471S
UPC: 038081454276. English.
Directors, students, and audiences alike will enjoy this cherished and well-recognized piano melody arranged in G Major for string orchestra. Perfect for working on tone, string crossings, and dotted eighth/sixteenth rhythm.
SKU: AP.36-A597301
UPC: 660355054716. English.
Alexander Borodin's (1834-1887) STRING QUARTET No. 2 was composed during the summer of 1881, possibly at the country home of his composer friend, Nikolay Lodizhensky, and was dedicated to Borodin's wife, Katharina. The third movement is the popular "Nocturne". The integrity of the phrasing and articulation of the urtext edition has been respected in this string orchestra version, arranged by Lucas Drew.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.46719S
UPC: 038081533544. English.
This wonderful string orchestra arrangement of Choral and Allegro maestoso from Felix Mendelssohn's great masterwork, Symphony No. 5, is arranged by Jim Palmer. The string parts are similar to the original score and will create a beautiful symphonic sound. A great festival choice that would be a dynamic closer for any concert!
SKU: AP.43773S
UPC: 038081496504. English.
Here is a magnificent work from the operetta also known as Die schone Galathee. This arrangement is incredibly playable and offers a new rendition of the original waltz melody. Playable by full orchestra or strings with piano. (2:30).
