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Tidsrum / Spaces Of Time: Orchestra: Score
Orchestre
Wilhelm Hansen
Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dati...
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Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dating from 1991. Programme Note Spaces of time is a 20-minute long one-movement orchestral piece “with piano” signifying that the piano not only as in my other orchestra works is part of the ensemble but also in a major passage attracts almost all attention. This passage is only one of the ´spaces of time´- spaces which give the work its title and represent individual musical perspectives. Relations of tempo and scale characterize such a space (besides the mentioned“piano-concerto” or other intrumental features) and in this way associate with say a small room - with close-ups of the musical objects - or perhaps to an infinitely great space - a cosmic one where all is far away and vibrating. One motive marked mainly by ascending stepwise movement unifies the spaces but the very varied scales may let the outines of the motive change between say 1/4-tone steps 1/2-tone steps diatonic and other scale steps up to such ambient steps that each one comprises almost a third of the total orchestral range. Very often 2 scales are woven together in a way that lets the “hidden tone” inside a major step in one of the scaels become a part of the other scale. By dynamic means one scale may be highlighted as a “figure” the other one as a “ground” in one passage - and vice versa. In this way a 12-tone chromatic scale may as well contain a Japanese 5-tone scale as a European 7-tone scale. In the final “space” the tones literally take leave of the listeners - by streaming down - as water sucked down into the ground by gravity - into the bass octaves and - into silence. Spaces of time was comissioned by “Suntory Hall” in 1990-91 (artistic director Toro Takemitsu) in October 1991 with Aki Takahashi (piano)
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Britta Byström: Symphony In Yellow: Orchestra: Score and Parts
Orchestre
Wilhelm Hansen
Symphony In Yellow for Violin Cello and Piano by Britta Byström (2002). Progra...
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Symphony In Yellow for Violin Cello and Piano by Britta Byström (2002). Programme Note Leggiero Dolce Energico Symphony in Yellow for Piano Trio is structured as a “miniature symphony” in three movements. The slow middle movement is surrounded by two faster ones. The title is taken from a poem by Oscar Wilde in which various images that are all characterized by something yellow float by: a yellow bus yellow hay yellow leaves… During the composition of the work I searched for a certain mood or color of sound something “yellow” that shouldremain unchanged while different musical events in the work’s structure took place. I perceived my challenge to be akin to an artist painting different subjects using only one color. Britta Byström Oscar Wilde: Symphony in Yellow An omnibus across the bridge Crawls like a yellow butterfly And here and there a passer-by Shows like a little restless midge. Bib barges full of yellow hay Are moored against the shadowy wharf And like yellow silken scarf The thick fog hangs along the quay. The yellow leaves begin to fade And flutter from the Temple elms And at my feet the pale green Thames Lies like a rod of rippled jade.
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Patrick Hawes: Reflexionem: Orchestra: Study Score
8.99
Patrick Hawes: Reflexionem: Orchestra: Study Score
Orchestre
[Conducteur d'étude / Miniature]
Novello & Co Ltd.
The study score for Reflexionem by Patrick Hawes.
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Michael Lankester: A Pocket-Sized Guide to The Orchestra: Orchestra: Score
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Michael Lankester: A Pocket-Sized Guide to The Orchestra: Orchestra: Score
Orchestre
Lauren Keiser Music Publishing
Part 1 from The Time Machine-For Young Audiences. Introduces the instruments of ...
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Part 1 from The Time Machine-For Young Audiences. Introduces the instruments of the orchestra to the audience one by one.
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Hallelujah By and By: Orchestra: Parts
Orchestre
Shawnee Press
Uses: General Revival All Saints DayScripture: Deuteronomy 34:1; John 14:2; Re...
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Uses: General Revival All Saints DayScripture: Deuteronomy 34:1; John 14:2; Revelation 20:12Incorporating memorable moments from many old favorites - I'll Fly Away When the Roll Is Called UpYonder Unclouded Day and The Sweet By and By - this crowd-pleasing gem is easy to learn fun to sing and quite infectious! Each voice part is featured briefly as the various sections describe their own specialcontributions to harmonious choral singing. Hallelujah By and By will bring back pleasant memories of times gone by and will no doubt create some lasting new impressions for the future.
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Britta Byström: Invisible Cities: Orchestra: Score
57.50
Britta Byström: Invisible Cities: Orchestra: Score
Orchestre
-
Intermédiaire/avancé
Wilhelm Hansen
Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Prog...
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Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Programme note: Invisible Cities is an orchestral piece inspired by the Italian writer Italo Calvino's novel 'Le città invisible' (1972). The novel consists of many short poetical descriptions of wondrous cities. This is what the explorer Marco Polo reports to Kublai Khan of what he has seen during his travels. Gradually though Kublai Khan begins to suspect that Marco Polo all the time describes one and the same city but in many different ways: Marco Polo's own hometownVenice. This was also my musical idea: to present the same motif in many different ways. The piece has eleven movements just as the novel consists of eleven different kinds of cities. Before every new musical 'city' there is a 'walk' – a little piano line which takes the listener from one city to another. This piano line is a quotation from Witold Lutoslawski'sVenetian Games. There are also other music connected to Venice hidden in my piece: the well-known Barcarolle by Offenbach and some fragments from Carnival in Venice. These references are the 'invisible cities' of my piece the material hidden under the music's surface. Marco Polo explains to Kublai Khan: 'To distinguish the other cities' qualities I must speak of a first city that remains implicit. For me it is Venice.' (c) Britta Byström Britta Byström’s careful ear for musical qualities such as timbre and resonance has resulted in an idiom that could almost be labeled impressionistic. She began composing already as a teenager and later studied composition at Musikhögskolan in Stockholm with Pär Lindgren and Bent Sørensen.
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Britta Byström: Farewell Variations: Orchestra: Score
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Britta Byström: Farewell Variations: Orchestra: Score
Orchestre
[Partition]
Wilhelm Hansen
for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Bys...
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for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Byström (2005). Programme Note Farewell Variations sees the careful approach towards Haydn by Britta Byström. Although you have the title reference to the ”Farewell” Symphony Haydn’s Symphony No. 45 Byström’s approximations are being made in a subtle way similar to her free interpretation of literary works. You will not find any direct thematic connections between Byström and Haydn. Byström’s Haydn inspiration comes in form of the various titles which have been given to a lotof Haydn symphonies in the post-Haydn era. Byström wanted to go in sort of an opposite direction: To compose music based on ”Haydnish” symphonic titles. A kind of symphonic Haydn catalogue appears in the movements. Farewell Variations consist of fourteen variations of Byström’s own thematics. The work begins in sighing and broken phrases – like the shadow of a dance. The titles of the variations lead to the description of daily events starting with morning. A day of Haydn! The last variation farewell ends with the musicians playing on by on. As such there is no story but the titles are the main focus here. Byström says that she musically ”tried to capture some of Haydn’s ease and insights”. Tony Lundman
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André Previn: Honey And Rue (Full Score): Orchestra: Score
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André Previn: Honey And Rue (Full Score): Orchestra: Score
Orchestre
[Conducteur]
Chester
Conductor composer and pianist André Previn continues to redefine the possibi...
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Conductor composer and pianist André Previn continues to redefine the possibilities in his extraordinary career already one of the most distinguished musicians of our time.This work with original text by Toni Morrison wascommissioned for Kathleen Battle by the Carnegie Hall Corporation and first performed in 1992.
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Britta Byström: Many Yet One: Orchestra: Score
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Britta Byström: Many Yet One: Orchestra: Score
Orchestre
Wilhelm Hansen
Many Yet One for Orchestra by Britta Byström (2016). Commissioned by the Detro...
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Many Yet One for Orchestra by Britta Byström (2016). Commissioned by the Detroit Symphony Orchestra in honor of Elaine Lebenbom.
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Joby Talbot: Worlds Stars Systems Infinity (Full Score): Orchestra: Score
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Joby Talbot: Worlds Stars Systems Infinity (Full Score): Orchestra: Score
Orchestre
Chester
Commissioned by the Philharmonia Orchestra and Esa-Pekka Salonen for the Univers...
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Commissioned by the Philharmonia Orchestra and Esa-Pekka Salonen for the Universe of Sound project.First perfromed at the Royal Festival Hall on 8th July 2012 by the Philharmonia Orchestra and PhilharmoniaVoices conducted by Esa-Pekka Salonen.Instrumentation.4 Flutes (3rd doubling Alto Flute Piccolo; 4th doubling Piccolo)3 Oboes (3rd doubling Bass Oboe)Cor Anglais2 Clarinets in BflatClarinet in A BassClarinet in B flat3 BassoonsContrabassoon6 Horns in F4 Trumpets in C2 Tenor TrombonesBass TromboneTenor Tuba in B flat (Euphonium)Bass Tuba2 Timpani (2nddoubling Suspended Cymbals China Cymbal)4 Percussion (Meditation Bowls Bass Drum Crotales Marimba Vibraphone Small & Large Tam-tam Glockenspiel Xylophone Side Drum Mark Tree SizzleCymbal)CelestaOrgan2 HarpsChorus (SSSAAAA)Strings
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Antonio Vivaldi: Il Teuzzone RV 736: Orchestra: Score
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Antonio Vivaldi: Il Teuzzone RV 736: Orchestra: Score
Orchestre
[Conducteur]
Ricordi
Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano ...
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Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese). With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.
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Britta Byström: Yankadi - Concerto Grosso: Orchestra: Score
Orchestre
Wilhelm Hansen
Britta Byström's Yankadi - Concerto Grosso - for 6 solo instruments and Orchest...
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Britta Byström's Yankadi - Concerto Grosso - for 6 solo instruments and Orchestra (2013). Commissioned by Uppsala Chamber Orchestra. Solo group: Solo oboeSolo fagottoSolo tromba piccola in ASolo tromboneSolo violinoSolo violoncello
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Rued Langgaard: Tonebilleder / Tone Pictures: Voice: Score
Orchestre
[Partitions]
-
Intermédiaire/avancé
Rued Langgaard Edition
Rued Langgaard's Tonebilleder / Tone Pictures for Voice and Orchestra (1917) BV...
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Rued Langgaard's Tonebilleder / Tone Pictures for Voice and Orchestra (1917) BVN 133. Texts by Jenny Blicher-Clausen Ivan Turgenjev Thor Lange and Holger Drachmann. Critical edition by Bendt Viinholt Nielsen / The Rued Langgaard Edition.
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Helen Grime: Virga: Orchestra: Score
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Helen Grime: Virga: Orchestra: Score
Orchestre
Chester
Virga is precipitation that falls from a cloud but evaporates before it reaches ...
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Virga is precipitation that falls from a cloud but evaporates before it reaches the ground. It can produce rather dramatic and beautiful scenes especially during a sunset.Helen Grime'sVirga was ommissioned by the London Symphony Orchestra in partnership with UBS as part of the UBS Soundscapes: Pioneers series. First performed by the London Symphony Orchestra in July 2007 at BarbicanHall London conducted by Yan Pascal Tortelier.Parts are available on hire from the publisher.
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Kongen Af Himmelby - Demo: Orchestra: Score
Orchestre
[Partition]
Wilhelm Hansen
Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopia...
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Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopiaville-Demo is commissioned by Finn Schumacker for The Odense Symphony Orchestra. Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied up in a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focus is on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to me to start making orchestral excerpts from my operas that are meant to be played before the premiere (and after please); I call them 'operatrailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and more appetizer-ish. The Utopiaville-Demo is a fast-and-furious cinemascope 3D THX-demo for my chamber opera 'The King ofUtopiaville' which is sort of a mix between a reversed revolutionary opera (reversed because it's about a revolutionthat flops) and a rhythm'n blues theatre concert. The opera takes place on the remote tropical island of Honga-Tonga where a mayor form Europe is taking a much needed holiday as far away as possible from his home town Utopiaville. The mayor desperately needs to get away:He has overstepped his authority blatantly and broken every rule of law he felt like in order to create a modern liberalistic society where sanitation medicare hospitals schools the police and all other public institutions are sold to private investors and then leased back by the public - that way noone will ever have to pay taxes because everything finances itself the mayor says and in order to keep reality at a safe distance he drinks massive amounts of insanely expensive french claret all in the best interest of the inhabitants of Utopiaville of course.Honga Tonga can't get any further away from Waikiki Beach: It looks something like the 1933 version of
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Peter Maxwell Davies: Roma Amor Labyrinthos: Orchestra: Score
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Peter Maxwell Davies: Roma Amor Labyrinthos: Orchestra: Score
Orchestre
[Conducteur d'étude / Miniature]
Chester
Roma Amor Labyrinthos for orchestra was commissioned by the Royal Philharmonic...
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Roma Amor Labyrinthos for orchestra was commissioned by the Royal Philharmonic Orchestra and first performed on 2nd May 2000 at the Barbican Hall London. The Independent May 2000: Roma Amor Labyrinthus captures thecomposers recollections of Rome as a student in the late '50s under Goffredo Petrassi to whom the work is dedicated... [this is] one of Sir Peter’s most spectacular scores evoking the might of the ancient city from a verypersonal viewpoint. Duration 43 minutes. Conductor's score and orchestral parts are available on hire.
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Picnic At Hanging Rock: Orchestra: Score
Orchestre
Wilhelm Hansen
Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byströ...
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Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byström (2010). Programme Note ”What we see and what we seem are but a dream a dream within a dream” – These words opens Peter Wier’s film on Joan Lindsay’s novel Picnic at Hanging Rock from 1967. The story takes place on Valentines Day 1900. A group of school girls go on a picnic at Hanging Rock in Australia and get caught up in a volcanic eruption. Three of the girls disappear without a trace – as if they where swallowed up by the mountain. Inspiredby Peter Weir’s poetic and many layered film I have composed a tone poem – with the emphasis on poem – or poetry – as opposed to programme music. Disappearance is an important motif. The piece is a series of disappearances and transformations – one after another. At the end you can hear how the sound of the orchestra disappears in a swarm of clanging triangles – a way of picturing the girls disappearing into the mountain. I have tried to catch several other of the characteristics of the film: The school girls in their white dresses the dangerous yet alluring mountain where the watches mysteriously stop at 12 the spell that makes the girls climb higher and higher and – at the end – the unanswered hesitant question: what really did happen? Britta Byström
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Luís Tinoco: Ascent: Orchestra: Score
25.00
Luís Tinoco: Ascent: Orchestra: Score
Orchestre
[Partition]
University Of York Music Press
For Symphony Orchestra.Published 2007.3(1st=picc).3 (3rd=ca).3(2nd=Eb 3rd=bcl)....
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For Symphony Orchestra.Published 2007.3(1st=picc).3 (3rd=ca).3(2nd=Eb 3rd=bcl).3(3rd=cbn) / 4.2.3.1 /hp.pno.3perc / strCommissioned by the El Paso Symphony Orchestra.First performance: EPSO conducted bySarah Ioannides Plaza Theatre 20th April 2007.Score.
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Gaetano Donizetti: La fille du régiment: Orchestra: Score
398.10
Gaetano Donizetti: La fille du régiment: Orchestra: Score
Orchestre
[Conducteur]
Ricordi
Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fil...
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Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fille du régiment, always one of Donizetti?s most popular stage works, was first performed at the Théâtre de l?Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success ? at the Opéra-Comique alone, more than one thousand performances were given between 1840 and 1917 ?, and was widely staged in the major European and American opera houses. Owing to the lack of available autograph music sources ? only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France ?, the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première. The critical edition of La fille du régiment reinstates Tonio?s romance «Pour me rapprocher de Marie» from Act Two, included in the original libretto and actually sung at the première, but expunged from the Schonenberger edition of the score. Donizetti himself cut the romance soon after the première, possibly because of the tenor?s poor performance - as a result, the omission became customary. The appendices to this critical edition present, additionally, two unpublished variants, handed down in form of complete and autograph score: these pieces, crossed out or modified through the compositional process, add fresh new possibilities to current performance practices. The first one is a duet for Marie and Tonio that Donizetti had originally devised for Act Two, but later deleted from the score. The second one is a preliminary draft of the Act Two Finale, later expunged and replaced, in both music and literary text, by the final version.
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Schumann R. - Great Works For Piano And Orchestra
24.50
Schumann R. - Great Works For Piano And Orchestra
Orchestre
[Partition]
Dover Publications
Clara Wieck?s sincerest wish was that her future husband, Robert Schumann, turn ...
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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.
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Per Nørgård: Symphony No. 2 In One Movement: Orchestra: Score
57.50
Per Nørgård: Symphony No. 2 In One Movement: Orchestra: Score
Orchestre
[Partition]
-
Intermédiaire/avancé
Wilhelm Hansen
Per Nørgård's Symphony No. 2 In One Movement - work for Orchestra dating from ...
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Per Nørgård's Symphony No. 2 In One Movement - work for Orchestra dating from 1970. Programme Note: After the first performance of my chamber orchestra work VOYAGE INTO THE GOLDEN SCREEN (1969) I was very preoccupied with ‘voyaging on’ in the infinity series I had brought to fruition in the second movement of the work: instead of about 1000 notes of the series I wanted to use about 4000 in order to create the potential for further exploration of the many layers and interval combinations of the infinity series. Instead of the pristine progression of the notes and its orchestration in‘Voyage’ I now wanted to intervene: to create melodies lead up to climaxes darken enlighten etc. but all with respect for the continuous flow and the preservation of the special timeless objectivity characteristic of the infinity series. One can perhaps experience the many recurrences of motifs in tempo layers from fast to very slow as a successor to the fractal computer graphics of the eighties. At any rate this ‘Symphony no. 2 in one movement’ (which was the result) became the precursor of the other works of the seventies including my 50-minute long chorally integrated Third Symphony (from 1973-75) which is also based on the infinity series but in addition has incorporated the upper and lower harmonic series and rhythms with ‘Golden’ duration proportions. The Second Symphony lasts about 25 minutes and was given its first performance on13th April 1970 by the Aarhus City Orchestra conducted by Per Dreier. Per Nørgård August 1992
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John Tavener: Theophany: Orchestra: Score
29.99
John Tavener: Theophany: Orchestra: Score
Orchestre
[Partition]
Chester
An innovative devotional work for full orchestra accompanied by tape cassette (w...
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An innovative devotional work for full orchestra accompanied by tape cassette (which runs for the duration of the piece). The music is based on the plagal of the fourth Byzantine tone. Large (A3) score. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.
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Carceri D'Invenzione II
Orchestre
Peters
Part 4 of the Carceri d'Invenzione Cycle Commissioned by Roberto Fabbriciani / G...
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Part 4 of the Carceri d'Invenzione Cycle Commissioned by Roberto Fabbriciani / Grand Ensemble Contemporain Et Orchestre
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Carceri D'Invenzione I
Orchestre
Peters
Part 2 of the Carceri d'Invenzione Cycle Commissioned by the Arts Council of Gre...
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Part 2 of the Carceri d'Invenzione Cycle Commissioned by the Arts Council of Great Britain / Grand Ensemble Contemporain Et Orchestre
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Gustav Mahler: Mahler One Inspiration by the Ton! [Strings]: Flexible Band:
14.95
Gustav Mahler: Mahler One Inspiration by the Ton! [Strings]: Flexible Band:
Orchestre
[Partition]
-
Intermédiaire
Spartan Press
The Austrian late-Romantic composer Gustav Mahler (1860-1911) is nowadays recogn...
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The Austrian late-Romantic composer Gustav Mahler (1860-1911) is nowadays recognised as one of the greatest composers of his time. A successful conductor during his lifetime it was only after Mahler's death that his own compositions began to enjoy widespread popularity. Composed between 1887-1888 Mahler's celebrated First Symphony received high critical acclaim as a groundbreaking work which took the imagination and narrative of a symphonic poem and gave this the cohesion of earlier structures from the genre. Mark Goddard's innovative Mahler One Inspiration By The Ton! takes the First Symphony and condensesand abbreviates the movements into four delightful miniatures for flexible String Ensemble. Suitable for String groups at an intermediate level this enjoyable arrangement is highly playable and enormous fun. Mahler One Inspiration By The Ton! is also available for Flexible Wind Ensemble and Flexible Brass Ensemble . These three instrumental packs can all be used together.
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A Room of One's Own (OUTI TARKIAINEN) (OUTI TARKIAINEN)
79.15
A Room of One's Own (OUTI TARKIAINEN) (OUTI TARKIAINEN)
Orchestre
[Conducteur]
Wilhelm Hansen
Par OUTI TARKIAINEN. A Room of One's Own is based on Virginia Woolf's classic es...
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Par OUTI TARKIAINEN. A Room of One's Own is based on Virginia Woolf's classic essay of the same name of 1928. The libretto is by the German opera director, dramaturg and librettist Francis Hüsers and the opera seeks to answer the question of why, from one century to another, women merely flit as shadows across the stage in the arts and history. The opera is set in 1920s England and has three main characters. Each called Mary, they are all intelligent, educated women whose seemingly light conversation leads them into ever deeper waters and who ultimately spread before the viewer's eyes the whole gamut of human life, in all its grittiness, passions and realities. / Date parution : 2023-03-11/ Répertoire / Orchestre
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Gabriel Fauré: Pelléas Et Mélisande Op. 80 / Pavane Op. 50: Orchestra: Score
Orchestre
Dover Publications
Two superb strikingly original works by one of the most gifted composers of the...
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Two superb strikingly original works by one of the most gifted composers of the French School: Pelléas et Mélisande Op. 80 a suite for orchestra written after Fauré's incidental music for the drama by Maurice Maeterlinck; and the enormously popular Pavane Op. 50 one of the most performed short orchestral works in the repertoire.Reprint of the J. Hamelle & Cie. Paris n.d. editions.
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BEETHOVEN L.V. - LEONORE OUVERTURE N°3 - SCORE
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BEETHOVEN L.V. - LEONORE OUVERTURE N°3 - SCORE
Orchestre
Barenreiter
Beethoven, Ludwig vanLeonore Overture for Orchestra no. 3- The most popular of t...
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Beethoven, Ludwig vanLeonore Overture for Orchestra no. 3- The most popular of the ?Leonore? overtures- Based on the G. Henle Complete Edition of the ?Works of Ludwig van Beethoven?- Orchestral parts in an enlarged format (25.5 cm x 32.5 cm)Of the four overtures that Beethoven composed for his only opera, the ?Leonore Overture? No. 3 is the most popular. The first reviewer found fault with it for its ?incessant dissonances and overblown fluttering of the violins? (Wiener Theater-Zeitung, 1806), but it soon became famous as ?one of the most imposing, difficult, yet richest and strangest of compositions? (Allgemeine Musikalische Zeitung, 1810). This version of the ?Leonore Overture? quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.The editor has devoted herself to the complex genesis of the various ?Leonore Overture? versions, in particular the question whether the trumpet call in measures 272?277 and 294?299 should be played by one or two instruments. The edition is based on the Complete Edition of the ?Works of Ludwig van Beethoven? issued by the G. Henle publishing company. / Grand format / Barenreiter
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The Keening
38.91
The Keening
Orchestre
Boosey and Hawkes
Scored for large orchestra The Keening was only the second of MacMillan's orches...
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Scored for large orchestra The Keening was only the second of MacMillan's orchestral works, written between 1985-87 when he was a student of John Casken at the University of Durham. The composer explains that 'keening' is a form of vocal lament associated with mourning, found in folk traditions of Ireland, northern Scotland and other cultures. Much of this work is based on the Gaelic lament tune 'Great is the Cause of My Sorrow', often known as 'Murt Ghlinne Comhann' (The Lament for Glencoe).This 25-minute score was withheld by the composer until 2010, and it received its first performance in 2014, with the BBC Scottish Symphony Orchestra under the composer's direction. A significant addition to the orchestral repertoire by one the leading composers of today. / Orchestre
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