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

Along with the London and Paris symphonies Haydn?s Sturm Und Drang symphonies are amongst his most popular works today. The Sturm Und Drang works contain not only masterpieces such as the already published Farewell Symphony and the Maria Theresia symphony but also gems such as the recently published La Passione symphony (2013) and now Symphony No. 46 In B.The publication of this symphony represents a continuation of the collaboration between Bärenreiter and the Henle publishing company in the areas of large vocal compositions operas and symphonic works.This Urtext edition full score for the Orchestra is based on the Henle CompleteEdition Of The Works Of Joseph Haydn.

Description Widely regarded as the culmination of French romanticism on the organ, Widor's symphonies include some of the most frequently performed and recorded works in the modern organ repertoire. Most of these symphonies - so called to emphasise the orchestral wealth of timbres offered by the new French organs - were written specifically to exploit the capacities of the modern Cavaille-Coll organ, especially the rich-toned five-keyboard instrument at St-Sulpice in Paris. Presented here in two inexpensive (this being the first), well-made volumes they offer a splendid resource for organists and all music lovers. Songlist Adagio Allegro Allegro Cantabile Allegro Vivace Andante (Sonata G.1) [Torelli, Giuseppe] Andante Cantabile Andantino Quasi Allegretto Finale Fugue Intermezzo Op.1 No.2 [Borodin, Aljeksandr Porfirjevic] Marche Pontificale Marcia Meditation Minuetto Pastorale [Pace] Prelude Scherzo [Goldschmidt, Berthold] Symphony No. 1 In C Minor, Op. 13, No. 1: Symphony No. 2 In D Major Op. 13, No. 2: Symphony No. 3 In E Minor, Op. 13, No. 3: Symphony No. 4 In F Minor, Op. 13, No. 4: Symphony No. 5 In F Minor, Op. 42, No. 1: Toccata

The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s symphonic ?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity ?The Miracle? was bestowed erroneously for the miracle ? that no one was injured when a chandelier fell during a concert ? took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s symphonic ?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity ?The Miracle? was bestowed erroneously for the miracle ? that no one was injured when a chandelier fell during a concert ? took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

10 arrangements pour flûte de symphonies classiques. Ce songbook vous donnera l'occasion de jouer de mouvement complet accompagné d'un orchestre symphonique. Les enregistrements audio sont de très bonne qualité et vous aideront à progresser rapidement et agréablement. / Flûte Traversière / Partition + Cd

According to his dating of the autograph Haydn composed the Symphony no. 89 in F major in 1787 just one year after the six so-called Paris symphonies. It was written together with its sister work the G-major Symphony no. 88 for the violinist Johann Tost who sold it to the Parisian publisher Sieber. In both works Haydn continues the compositional achievements of the Paris symphonies: mastery of orchestration richness of musical ideas and details and an idiosyncratic multicoloured use of the wind section (which still makes do without Clarinets). In contrast to the buoyant G-major symphony the F-major symphony possesses a ratherpastoral sweet character which in parts can nevertheless soar to dramatic heights. This study edition reproduces the musical text of the Haydn Complete Edition which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans both present and future.

Memorable tribute from one musical genius to another, reproduced from authoritative editions, reveals Liszt's remarkable capacity for translating orchestral effects into pianistic terms. An astonishing, brilliant, and sensitive tribute to the master by the 19th-century's greatest piano virtuoso. Content : Preface: Liszt's handwritten note Preface: English translation Introduction Glossary Symphony No. 1 in C Major, Op. 21 I. Adagio molto-Allegro con brio II. Andante cantabile con moto III. Menuetto: Allegro molto e vivace IV. Adagio-Allegro molto vivace Symphony No. 2 in D Major, Op. 36 I. Adagio molto-Allegro con brio II. Larghetto III. Scherzo: Allegro IV. Allegro molto Symphony No. 3 in E-flat Major (Eroica), Op. 55 I. Allego con brio II. Marche funèbre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto Symphony No. 4 in B-flat Major, Op. 60 I. Adagio-Allegro vivace II. Adagio III. Allegro vivace IV. Allegro, ma non troppo Symphony No. 5 in C Minor, Op. 67 I. Allegro con brio II. Andante con moto III. Scherzo: Allegro IV. Allegro

London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his second trip to England in 1794. This work is one of the still popular from the series of the so-called '12 London Symphonies' (Hob. 1/93 - Hob. 104).The work characterized by musical finesse and various sonic stimuli has the following four movements: I. Adagio - Allegro - II. Allegretto (C major) - III. Menuet: Moderato - IV. Presto. The somewhat unusual epithet 'military symphony' refers essentially to the second and the fourth movement ('Allegretto' and 'Presto') in which the instrumentation is enriched by timpani triangle cymbals and bass drum and thereby the evokes the impression of amilitary band. A 'trumpet signal' especially set in the second movement led to such a characterization. On the value and importance of this G major Symphony the following article from the Allgemeine Musikalische Zeitung of April 1799 reveals: 'It is a little less learned and easier to grasp than some of the other's newest works but new ones Ideas just as rich as they. Perhaps the surprise in music can not be furthered than it is here by the sudden collapse of full Janissary music in the minor of the second movement-since until then one has no suspicion that these Turkish instruments are attached to the symphony. But here too not only the inventive but also the prudent artist shows. Nevertheless the Andante is nevertheless a whole: for in all the pleasing and easy things that the composer in order to infer from the idea of his coup deceitfully brought it into the first part of it it is nevertheless arranged and worked in a march.' The 'Military Symphony' was premiered on March 31 1799 in London.

Une collection de 57 ?uvres de W.A.Mozart. Une selection de symphonies, concertos, opéras et ?uvres pour piano. Partitions pour piano solo du niveau facile au niveau intermédiaire. / Classique / Partition /

It was in his monumental 12 'London' symphonies composed between 1791 and 1795 that Haydn shaped the early form of the symphony and set the standard for later composers. This volume contains the last six symphonies in the series including the lively Military Symphony no.100 the delightful Clock Symphony no.101 and the world-famous London Symphony no.104.

Description The greatest French organist of his day, Widor (1844–1937) composed 10 organ symphonies—actually solo compositions usually consisting of 6 or 7 short movements, that treat the organ as a kind of self-contained orchestra. Series II includes Symphonies 6-8, Symphonie Gothique and Symphonie Romane, frequently performed today. Also includes a glossary of French terms. Songlist Symphonie Gothique Op.70 Symphonie Romane Op.73 Symphony No.6 In G Minor Op.42 No.2 Symphony No.7 In A Minor Op.42 No.3 Symphony No.8 In B Major Op.42 No.4

Significantly remembered for his Organ works, Charles-Marie Widor 's (1844-1937) renowned Symphony 'Romane' is essential to the repertoire of all passionate organists. Widor became Director of Organ Studies at the Paris Conservatoire in 1890 and soon followed this by taking charge of the composition class. Nicknamed the 'Romane', the Symphony #10 reflects Widor 's mastery of the Organ, exploring all possibilities on the instrument, as well as deriving thematic material from plainchant. Made up of four movements, Symphony Romane is founded upon the Christmas Hymn, A Child is Born. The composer's invaluable experience, as well as his virtuosic ability of the Organ make this favourite and famous Symphony #10 by Charles-Marie Widor vital for advanced organists. / Orgue