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Bertold Hummel: Scherzo op. 13e: Orchestra: Score
13.50
Bertold Hummel: Scherzo op. 13e: Orchestra: Score
Orchestre
Schott
Although Bertold Hummel composed this Scherzo for bassoon and chamber orchestra ...
(+)
Although Bertold Hummel composed this Scherzo for bassoon and chamber orchestra more than fifty years ago the piece still captivates every listener with its youthful carefree liveliness. Virtuoso and witty it does justice to its title in every respect. It was created in 1957 upon commission of the Kleines Unterhaltungsorchester Südwestfunk Baden-Baden. The solo part of the four-minute concert piece with the tempo indication 'allegro molto' was tailor-made by Hummel for the orchestra's principal bassoonist Helmut Böker.In addition to the hire material a piano score with solo part is now available on sale.
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Ernesto Lecuona: Malaguena: Concert Band: Score & Parts
189.99
Ernesto Lecuona: Malaguena: Concert Band: Score & Parts
Orchestre
Southern Music Ltd
Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest seriou...
(+)
Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.
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Parry: Jerusalem: Orchestra: Score and Parts
26.00
Parry: Jerusalem: Orchestra: Score and Parts
Orchestre
[Partition]
Goodmusic Publishing
This edition is faithful to Parry's original orchestration with the exception th...
(+)
This edition is faithful to Parry's original orchestration with the exception that the Clarinets were in A and the Trumpet parts were originally written in F. Here Bb copies have been provided for both. The work may be played by orchestra alone or with the addition of a solo voice or a choir. We do not publish vocal or choral copies of this work but this orchestral edition is fully compatible with the original vocal and unison choral editions published by Roberton Publications and readily available.Duration: 2½ minutes Orchestration 2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons4 Horns in F 2 Trumpets in Bb 3 Trombones TimpaniStrings (Violin 1 Violin 2 Viola Cello Bass)Voice or chorus (optional)
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James Barnes: Quest: Orchestra: Score & Parts
76.99
James Barnes: Quest: Orchestra: Score & Parts
Orchestre
[Conducteur et Parties séparées]
Southern Music Ltd
This dramatic work for young players is intended to portray a noble mystical pu...
(+)
This dramatic work for young players is intended to portray a noble mystical pursuit of some great conquest or accomplishment. Full of driving percussion resolving tone clusters dramatic brass writing and spectacular tutti musical statements it also features easy passages for solo oboe bassoon and piccolo. This piece is a great choice for excellent middle school or smaller high school bands. It is generously cross cued to be performed with limited instrumentation.
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Peter Maxwell Davies: Strathclyde Concerto No. 9: String Orchestra: Score and
24.99
Peter Maxwell Davies: Strathclyde Concerto No. 9: String Orchestra: Score and
Orchestre
[Partition]
Chester
The solo group consists of a sextet of the woodwind instruments which are normal...
(+)
The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers now brought to the fore are piccolo alto flute cor anglais clarinet inEb bass clarinet in Bb and contrabassoon. They make a motley group diverse in colour as in register and one of the tasks of the piece sets itself is to have them blend and cohere both together as an ensemble and in partnershipwith the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo recitativesfor the alto flute a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slowinterventions including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement or sequence of short slow movements followed by a dancing finale with its own slowepisodes. Altogether this is music of songs and dances heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe having six chanters and a drone of variegated string texture.
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Silvestre Revueltas: Sensemay? (1938): Orchestra: Score
19.99
Silvestre Revueltas: Sensemay? (1938): Orchestra: Score
Orchestre
Schirmer
Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for cham...
(+)
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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Francis Poulenc: Mouvements Perpétuels: Orchestra: Score
10.99
Francis Poulenc: Mouvements Perpétuels: Orchestra: Score
Orchestre
[Conducteur]
Chester
The Mouvements Perpetuels is a short three-movement suite originally composed fo...
(+)
The Mouvements Perpetuels is a short three-movement suite originally composed for solo Piano by the French composer Francis Poulenc premiered in Paris in December 1918 when Poulenc was only19. The suite was an immediate success with public and performers and it remains one of the composer's most popular works.Each of the three pieces in the suite ends inconclusively leaving the music unresolved to lingerin our ears and minds. The suite takes about five minutes in performance. The light-hearted miniature is adapted here for an ensemble of 9 instruments Flute Oboe Clarinet Bassoon Horn Violin Viola Cello C Bass whichgives it more dimension and makes it even more interesting.Francis Poulenc was a French composer and pianist. In his early works Poulenc became known for his high spirits and irreverence. During the 1930sa much more serious side to his nature emerged particularly in the religious music he composed from 1936 onwards which he alternated with his more light-hearted works.
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Joseph M. Martin: Appalachian Winter: Orchestra: Parts
Orchestre
Shawnee Press
From the composer of Festival of Carols and The Winter Rose comes a cantata that...
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From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score and Parts for Flute 1 and 2 alto recorder Oboe/English Horn Clarinet 1 and 2 Bassoon Horn 1 and 2 Trumpet 1-3 Trombone 1 and 2 Bass Trombone/Tuba Timpani Percussion Acoustic Guitar Banjo Harp Piano Synth Solo fiddle Violin 1 and 2 Viola Cello Double Bass) Printed Full Orchestration Appalachian Consort Orchestration (Score and parts for Flute Violin Cello Mandolin Guitar Percussion and Piano) StudioTrax CD (accompanimentonly) SplitTrax CD Listening CD 10-Pack Listening CDs Preview Pack (Book/CD combo) RehearsalTrax CDs (part predominant reproducible) Digital Resource Kit (PowerPoint Choir Devotionals Poster Program Flyers Children'sProgram PDFs). Duration: approx. 40 min.
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Sinfonia Concertante In Es Für Violine, Viola Und Orchester (MOZART WOLFGANG AMADEUS)
16.20
Sinfonia Concertante In Es Für Violine, Viola Und Orchester (MOZART WOLFGANG AMADEUS)
Orchestre
[Partition]
Barenreiter
for Violin, Viola and Orchestra. Par MOZART WOLFGANG AMADEUS. There is no refere...
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for Violin, Viola and Orchestra. Par MOZART WOLFGANG AMADEUS. There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ; Symphonie concertante his special attention. On April 5, 1778, he wrote to his father: ; Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon. Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned ; sinfonie concertante in his program. Mozart had no reason to compose any more for this genre in Paris. After Mozart's return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time. - Urtext of the New Mozart Edition - Full score & parts (BA4900), study score format 22. 5 x 16. 5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale/ Répertoire / Orchestre
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Ludwig van Beethoven: Symphony No. 9 in D minor Op. 125 Facsimile Score:
Orchestre
[Fac-similé]
Barenreiter
Symphony No. 9 in D minor Op. 125 Facsimile Score. With his ninth symphony, Beet...
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Symphony No. 9 in D minor Op. 125 Facsimile Score. With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller?s ?Ode to Joy? becomes a global aspiration, a declaration: ?Alle Menschen werden Brüder ! / All mankind becomes brothers.? In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven?s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer?s working process.,br>Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story. In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO?s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. The first edition (2010) was awarded with the German Music Edition Prize ?Best Edition? 2011.
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Symphony Nr. 91 E-Flat Major Hob. I:91
57.94
Symphony Nr. 91 E-Flat Major Hob. I:91
Orchestre
Barenreiter
This four-movement work with a slow introduction is Haydn's last symphony for 's...
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This four-movement work with a slow introduction is Haydn's last symphony for 'small' orchestra, i.e. without trumpets and timpani.However it has long passages for solo violoncello and is also scored for two bassoons.The editor of this edition recommends a performance with low horns (additionally included in the wind set) to prevent the musical character of the 'Andante? from being compromised by the predominantly high registers.Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large choral works, operas and symphonies, this edition is appearing, based on the Henle Complete Edition of the 'Works of Joseph Haydn?.The complete performance material for several of Haydn's 'Sturm und Drang? symphonies and all the London and Paris symphonies has already been published.- Based on the Henle Complete Edition of the 'Works of Joseph Haydn?- Orchestral parts in a large format (25.5 × 32.5 cm) / Conducteur
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