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Recordare (from "Requiem") (F) (String Orchestra - 3 Violins, 2 Violas, 2 Cellos, 1 Bass)
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How Firm A Foundation - Blended Worship - Band, Orchestra, and Congregation
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Anton Bruckner: Symphony No.2 C minor: Orchestra: Miniature Score
Orchestra
Eulenburg
2. Fassung (1877)-'... a witty succession of colourful orchestral images' &ndash...
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2. Fassung (1877)-'... a witty succession of colourful orchestral images' – this is how the theatre critic Ludwig Speidel characterised the structure of the individual movements of Bruckner's Symphony No. 2. The only constant element in there: the rests occurring with reliable regularity which earned the work the nickname Symphony of Rests. While the Viennese Philharmonic referring to the work's unplayability refused to perform the world premiere of the symphony in 1872 it achieved its first major success only one year later under the baton of Bruckner.
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Alan Menken: Beauty and the Beast (Overture): Orchestra: Score
Orchestra
Hal Leonard
Deluxe Score-Includes: Belle Gaston The Mob Song How Does a Moment Last Forev...
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Deluxe Score-Includes: Belle Gaston The Mob Song How Does a Moment Last Forever Beauty and the Beast and Evermore. (Performance time - ca. 3:00)
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Wolfgang Amadeus Mozart: The Complete Symphonies in Four Volumes: Orchestra:
Orchestra
Barenreiter
The Barenreiter study scores are a prime example of how Barenreiter takes a musi...
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The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format.The Barenreiter Study Scores format 16.5 x 22.5cm are ideal for musical analysis rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout.In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!
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Jean Sibelius: Symphony No.6 Op.104: Orchestra: Score
Orchestra
[Sheet music]
-
Intermediate/advanced
Wilhelm Hansen
Sibelius completed this work in February 1923 and conducted the premiere at Hels...
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Sibelius completed this work in February 1923 and conducted the premiere at Helsinki on February 19 of that same year. His first reference to the work in 1918 described it as wild and passionate in character. Dark with pastoral contrasts. Probably in 4 movements...intensifying in a dark orchestral swell [until] the main theme is drowned. At the same time he cautioned that his plan could change — and how it did! — depending on the way my musical thinking develops. I am always a slave to my themes and obey their demands.
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Alan Menken: Beauty and the Beast (Overture): Orchestra: Score & Parts
Orchestra
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Hal Leonard
Includes: Belle Gaston The Mob Song How Does a Moment Last Forever Beauty an...
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Includes: Belle Gaston The Mob Song How Does a Moment Last Forever Beauty and the Beast and Evermore. (Performance time - ca. 3:00)
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Joseph M. Martin: People of the Light: Orchestra: Parts
Orchestra
Shawnee Press
Here is a powerful anthem perfect for general use or more specifically for Epiph...
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Here is a powerful anthem perfect for general use or more specifically for Epiphany. Incorporating the classic hymn How Brightly Shines the Morning Star this anthem is a celebration of our journey of faith and a reminder to walk in the light of the Christ.
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Joseph M. Martin: Foundations: Orchestra: Parts
Orchestra
Shawnee Press
Commissioned for the 150th anniversary of the First Baptist Church in Austin Te...
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Commissioned for the 150th anniversary of the First Baptist Church in Austin Texas this festive adaptation of two beloved hymns will encourage your congregation to celebrate their past and inspire them for the future.Foundations joins “How Firm a Foundation” and “Brethren We Have Met to Worship” in a splendid ballet of rhythm and harmony. Orchestrator Brant Adams works his magic and the result is a magnificentcelebratory piece that will be a favorite for singers and listeners alike. Will you hear an “amen” as the final note fades? Most definitely!
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Erik Norby: The Rainbow Snake: Orchestra: Score
Orchestra
Wilhelm Hansen
Orchestration: 3(pic)(2afl).+ pic.3+ca.3+bcl.3+cbn/6.4.4.1/timp.perc/hp/pf/strTH...
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Orchestration: 3(pic)(2afl).+ pic.3+ca.3+bcl.3+cbn/6.4.4.1/timp.perc/hp/pf/strTHE RAINBOW SNAKE is an Indian legend about how the rainbow came into being. It is said that a snake heard the Indians grieving over a very long drought and the unfruitfulness of the land so it wound itself into a ball and wasthrown high into the air.It unwound itself again and grew longer and longer until b
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Johann Sebastian Bach: Cantata No. 1 - BWV 1: Orchestra: Study Score
Orchestra
Barenreiter
Wie Schön Leuchtet Der Morgenstern (How Bright And Fair The Morning Star) BWV 1...
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Wie Schön Leuchtet Der Morgenstern (How Bright And Fair The Morning Star) BWV 1. Cantata for the Feast of Annunciation Day.The cantata ? Wie Schön Leuchtet Der Morgenstern? BWV 1 was written for 25 March 1725 when the Feast of the Annunciation of the Blessed Mary coincided with Palm Sunday. It forms the conclusion of Bach?s cantata cycle of 1724/25.The anonymous librettist retained the outer verses 1 and 7 of Philipp Nicolai?s text (1599) which is assigned to the feast of Epiphany according to old tradition but was also sung at the Annunciation of the Blessed Mary. Verses 2 to 6 form the basis for the Tenor and Bassrecitatives and the Soprano and Tenor arias.Bach?s composition has a particularly festive brilliance with his use of 2 Horns 2 Oboes Da Caccia and the two concertante solo Violins. The Violins? lively figurations clearly reflect an image of the shining morning star.- Urtext of the New Bach Edition.- Original German text with English singing translation.- Idiomatic and easy-to-play Piano reduction.- Performance material (BA10001) vocal score (BA10001-90) & study score (TP1001) available for sale.
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Joseph M. Martin: Jesus Is My Song of Grace: Orchestra: Parts
Orchestra
Shawnee Press
A beautiful song of faith and love “Jesus Is My Song of Grace” tell...
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A beautiful song of faith and love “Jesus Is My Song of Grace” tells how God sang to us through His son and of our deep love and commitment to life with Him. “This shall be my alleluia...this shall be mybenediction...Jesus is my song of grace.” Lush harmonies and a gorgeous poetic text make this love song a must for many occasions.
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Johann Sebastian Bach: The Complete Cantatas Chorales and Motets: Orchestra:
Orchestra
[Study Score / Miniature]
Barenreiter
19 Bände im Versand-Schuber- The Barenreiter study scores are a prime exam...
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19 Bände im Versand-Schuber- The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Study Scores format 16.5 x 22.5cm are ideal for musical analysis rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices! Barenreiter presents the Complete Cantatas Chorales and Motets in a handy readable and affordable paperbackformat. The special ediion of 19 volumes (including an index) exclusively offers the authoritative musical text of these masterworks. Each volume is printed on high quality paper and has a durable sewn binding A must for everyone who is passionate about Bach's music. These scores are the last word in Bach scholarship and an extraordinary publishing achievement
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Johann Sebastian Bach: Double Concerto For Two Violins In D Minor: Orchestra:
Orchestra
Barenreiter
for two Violins Strings and Basso continuo-In 2001 Bärenreiter issued a newly ...
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for two Violins Strings and Basso continuo-In 2001 Bärenreiter issued a newly engraved keyboard reduction and solo parts to this concerto based on the acclaimed New Bach Edition.The present expanded new publication goes a step further in that it offers not only the two solo Violin parts as presented in the New Bach Edition but also two additional parts with fingerings and bowings by the baroque specialist Andrew Manze.Manze also offers players enlightened comments (English/German) on historical performance practices dealing with how the instrument was held fingerings bowing shifting the use of open strings and much much more.Full score & parts (BA5188) 2 Violins and Pianoreduction (BA5188-90) and study score (TP284) available for sale.
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Joseph M. Martin: Even the Heavens are Weeping: Orchestra: Parts
Orchestra
Shawnee Press
A dramatic anthem from the best-selling cantata Song of the Shadows vividly po...
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A dramatic anthem from the best-selling cantata Song of the Shadows vividly portrays the death of Christ on the cross and how all creation mourned. Even the Heavens Are Weeping now available as an SAB anthem will make any HolyWeek service one which is long remembered.
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Johann Sebastian Bach: Cantata BWV 211 Schweigt Stille: Orchestra: Study Score
Orchestra
Barenreiter
Cantata No.211: Schweigt stille plaudert nicht (Be quiet chatter not) BWV 211....
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Cantata No.211: Schweigt stille plaudert nicht (Be quiet chatter not) BWV 211.The Coffee Cantata (BA 10211) and the Peasant Cantata (BA 10212) both on librettos by Picander are among the best-known and most frequently performed of Bach’s secular cantatas.Written in or around 1733 the Coffee Cantata deals humorously with the importance of the newly fashionable beverage. This is demonstrated in the soprano aria “Ah how sweet the coffee tastes lovelier than a thousand kisses milder than Muscatel”.Both cantatas reveal Bach’s mastery in their unusual subject-matter formal design andmusical workmanship. Now they appear in separate editions based on the “New Bach Edition” with straightforward and easy-to-play piano reductions by Andreas Köhs.- Urtext of the “New Bach Edition”.- Straightforward and easy-to-play piano reduction.- Vocal score (BA10211-90) performance material (BA10211) and study score (TP1211) available for sale
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Witold Lutoslawski: Little Suite (For Symphony Orchestra): Orchestra: Study
Orchestra
[Sheet music]
Chester
The original version of this work scored for chamber orchestra was written in ...
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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.
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Alan Hovhaness: Prelude & Quadruple Fugue Op. 128: Orchestra: Score
Orchestra
[Sheet music]
Associated
Score-Alan Hovhaness' Prelude and Quadruple Fugue for Orchestra. Full score.This...
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Score-Alan Hovhaness' Prelude and Quadruple Fugue for Orchestra. Full score.This work is dedicated to Dr. Howard Hanson and the Eastman-Rochester Symphony Orchestra for the 25th anniversary of theFestival of American Music 1955.
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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...
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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
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Edward Elgar: Serenade For Strings Op.20: String Ensemble: Score
Orchestra
[Score]
Barenreiter
With Christopher Hogwood’s new edition of Elgar’s much loved Seren...
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With Christopher Hogwood’s new edition of Elgar’s much loved Serenade a scholarly-critical edition of the work is now available for the first time. As with other Elgar works modern editions of the Serenade have always suffered from an enormous number of inconsistancies between the score and parts and unclear divisi and unison passages. The editor has clarified these discrepancies drawing on Elgar’s version of the work for Piano four hands (the original version) and the recently discovered autograph manuscript of the first movement. The edition also contains a facsimile showing the original ending of thethird movement as well as an informative foreword (Ger/Eng) and a critical commentary (Eng).The first scholarly-critical Urtext edition of this popular work for string orchestra.Foreword (Ger/Eng) and critical commentary (Eng).With facsimile pages.Full score and performance material (BA9041) available for sale.
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Witold Lutoslawski: Interlude For Orchestra: Orchestra: Score
Orchestra
[Sheet music]
Chester
Conceived as a connecting link for orchestra alone between Lutoslawski's Partita...
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Conceived as a connecting link for orchestra alone between Lutoslawski's Partita and Chain 2 both for orchestra and solo violin. It can however be played independently. First performed as part of a sequence ofmovements in Munich in January 1990 by Anne-Sophie Mutter with the Berlin Philharmonic Orchestra conducted by the composer. Commissioned by and dedicated to Paul Sacher.
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Per Nørgård: Symphony No. 5: Orchestra: Score
Orchestra
Wilhelm Hansen
Full Score-Full orchestra score for Per Nørgård's Symphony No. 5 (1987-90 rev...
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Full Score-Full orchestra score for Per Nørgård's Symphony No. 5 (1987-90 rev.1991). Manuscript copy. Programme note: My 5th Symphony was commissioned by the Danish Radio Symphony Orchestra and premiered on December 6th 1990 by and dedicated to the Danish Radio Symphony Orchestra and conductor Esa-Pekka Salonen. After the premiere in 1990 I decided to revise the beginning (and only the beginning) of the work. The first pages of the score were discarded and about 20 seconds of new music was written in the summer of 1991. The new and final versionwas premiered on 1st of May 1992. The symphony progresses without pauses between movements often in several layers of tempo with mutual ´golden section´proportions. The listener´s experience of form in the work will therefore depend on the directions of his own attention. But so far as overall divisions are concerned four sections (perhaps five) - running into each other - can be traced: an expansive cascading introduction a kind of scherzo an chaconne-like adagio and a kind of finale again with the phenomenon of ´cascades´ as a main idea. However as the course is from time to time thrown into chaos by convulsive twitching and crises other experiences of form are opened out within a spectrum from wild to cautious from dramatic to contemplative in a universe of tempi which can suggest the title of a book of poems by the Danish Michael Strunge (1958-1986): ´Velocity of life.´ A listener described the symphony as “a walk with a fire-breathing dragon” and a reviewer described it with words like “a pacifist in times of war”. Anyway words and programme note are – as Carl Nielsen said about titles – only “road signs” for personal experiences in the area of music itself. Per Nørgård
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Ralph Vaughan Williams: Bucolic Suite: Orchestra: Study Score
Orchestra
Oxford Univertsity Press
This is the first publication of Ralph Vaughan Williams's early work for orchest...
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This is the first publication of Ralph Vaughan Williams's early work for orchestra Bucolic Suite which was completed in November 1900 and first performed by the Bournemouth Municipal Orchestra in March 1902. This attractive work is cast in four movements - Allegro Andante Intermezzo Finale - and already shows evidence of the composer's emerging musical style and sure grasp of orchestral techniques. This new edition has been carefully prepared from the original manuscript by Julian Rushton and comes with full textual commentary. This publication will be welcomed by all aficionados of Vaughan Williams's music.
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Simon Holt: A Table Of Noises (Full Score): Orchestra: Score
Orchestra
[Sheet music]
Chester
Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchest...
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Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation which was devised by Colin Currie in conjunction with the composer. Soloists should attempt to match the timbres used but should not feel constrained by the exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the
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Silvestre Revueltas: Sensemay? (1938): Orchestra: Score
Orchestra
Schirmer
Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for cham...
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Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for chamber orchestra; one year later the composer transcribed it for a huge orchestra of twenty-seven wind instruments fourteen percussion instruments and strings. The rhythms are laid out precisely and have considerable visceral impact very much in a manner that recalls Igor Stravinsky's The Rite of Spring. However Revueltas' masterful orchestration and ability to evoke the ancient Maya civilization with decidedly modern music are uniquely his own. It is a unique orchestral spectacle something only Revueltas could have written and in its way it is one of the most brutal works of its time. The workbegins with a low note in the bassoon as the percussion plays the sinuous syncopated rhythm that drives the work. Soon a solo horn enters playing the first of this work's two major themes a muscular ominous motif. Other horns join the first one to play the theme growing louder and more emphatic but rigorously yoked to the underlying rhythm. Eventually the horns blast as loudly as they can with obsessive trills on the bassoon far underneath and the violins enter with the slashing second theme. The horns take up this new theme and bring it to a climax after which the music returns to its opening texture. This recapitulation brings with it a mood of foreboding. The rhythm becomes even more obsessive and finally the music reaches a massive climax during which both themes are played overlapping sometimes in part and sometimes in whole by woodwinds brass and violins in what sounds like a musical riot. The coda feels like the final dropping of a knife.
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David Mairs: Genesys Fanfare: Orchestra: Score & Parts
Orchestra
[Score and Parts]
Southern Music Ltd
Genesys Fanfare was written for and performed by the members of the Brass and Pe...
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Genesys Fanfare was written for and performed by the members of the Brass and Percussion sections of the Flint Symphony Orchestra. Later the work was rescored for full orchestra and ultimately for concert band in this present arrangement. This band version was first performed in 2016 by the combined Wind Ensembles of Texas Lutheran University conducted by Beth Bronk. The musical ideas for this fanfare are straightforward - the theme is a rhythmic representation of the name of the institution that commissioned the piece - Genesys Hospital. The asymmetrical repetition of the spoken rhythm however yields a refreshingly compelling pulse which drives the music all the waythrough.
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Genesys Fanfare: Orchestra: Score
Orchestra
Southern Music Ltd
Genesys Fanfare was written for and performed by the members of the Brass and Pe...
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Genesys Fanfare was written for and performed by the members of the Brass and Percussion sections of the Flint Symphony Orchestra. Later the work was rescored for full orchestra and ultimately for concert band in this present arrangement. This band version was first performed in 2016 by the combined Wind Ensembles of Texas Lutheran University conducted by Beth Bronk. The musical ideas for this fanfare are straightforward - the theme is a rhythmic representation of the name of the institution that commissioned the piece - Genesys Hospital. The asymmetrical repetition of the spoken rhythm however yields a refreshingly compelling pulse which drives the music all the waythrough.
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Poul Ruders: Light Overture: Orchestra: Score
Orchestra
[Sheet music]
-
Intermediate/advanced
Wilhelm Hansen
Light Overture - A Symphonic Entertainment was composed by Poul Ruders in 2006. ...
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Light Overture - A Symphonic Entertainment was composed by Poul Ruders in 2006. Commissioned by the Alabama Symphony Orchestra and Music Director and Principal Conductor Justin Brown for Alabama Power Company’s 100 Year Anniversary Concert. Light Overture subtitled A Symphonic Entertainment is a short piece for symphony orchestra lasting approximately eight minutes. Light Overture is focusing on two interpretations of the word light: ”light” as in the absence of darkness and “light” as in easily comprehensible; in other words a piece with few or no metaphysicalconnotations. It is just a piece setting a festive mood as is often the case with this sort of short “concert opener”. However the journey through Light Overture is not entirely happy-go-lucky. Once in a while slightly darker colours are introduced for the sake of variety and contrast. And formally the composition is quite strict: an outright Prelude and Fugue the former sliding seamlessly into the latter. The Fugue juggles not only its own tune but also picks up stuff from the Prelude. Poul Ruders May 2006
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Judith Weir: Music Untangled: Orchestra: Score
Orchestra
[Sheet music]
Chester
The music for this piece was inspired by a short extract from a traditional melo...
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The music for this piece was inspired by a short extract from a traditional melody sung by women cloth-workers in Barra in the Western Isles of Scotland. The Scottish folk music tradition is one that Weir has frequently drawn onin the past both in shorter works such as the songs of Scotch Minstrelsy and in her second opera The Vanishing Bridegroom and it is one she has completely assimilated into her technique. The modal feel of this piece however is as much a result of Weir's intuitive and idiomatic harmonic sense as of the original inspiration. Overture for Orchestra commissioned by the Boston Symphony Orchestra in honour of the 50th anniversary of the Tanglewood MusicCentre in 1991; it received its first performance there on 3 August that year.
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