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Concerto For Violoncello And Orchestra B Minor Op. 104 (DVORAK ANTONIN)
20.80
Concerto For Violoncello And Orchestra B Minor Op. 104 (DVORAK ANTONIN)
Orchestre
[Conducteur]
Barenreiter
Par DVORAK ANTONIN. This study score is based on the score and complete performa...
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Par DVORAK ANTONIN. This study score is based on the score and complete performance material of Dvorák's famous B minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny. Like every other major 19th-century cello concerto, Dvorák's concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák's autograph were written by the cellist Hanus Wihan but Bärenreiter's edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together. The editor Jonathan Del Mar has conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, Dvorák's definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts. - Includes Dvorák's final and definitive version of the solo cello part - Incorporates new discoveries regarding the collaboration between Dvorák and Wihan - With Feuermann's and Casals's alternative versions of a passage in the first movement - Detailed Foreword (Eng/Cz/Ger)/ Répertoire / Violoncelle et Orchestre
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Sarah Quartel: Snow Angel: Orchestra: Part
7.50
Sarah Quartel: Snow Angel: Orchestra: Part
Orchestre
Oxford University Press
Orchestral & Instrumental Material for Choral Pieces-Cello part for Sarah Quarte...
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Orchestral & Instrumental Material for Choral Pieces-Cello part for Sarah Quartel's Snow Angel. This solo Cello part accompanies Sarah Quartel's evocative five-movement choral work Snow Angel which explores themes of love rebirth and beauty through the eyes of children and the heavenly army of angels that watch over them. The haunting and poignant Cello line is woven through the work. This Cello part is compatible with the upper and mixed voice versions of Snow Angel.
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Sarah Quartel: A Winter Day: Orchestra: Part
9.75
Sarah Quartel: A Winter Day: Orchestra: Part
Orchestre
Oxford University Press
Orchestral & Instrumental Material for Choral Pieces-Cello part for Sarah Quarte...
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Orchestral & Instrumental Material for Choral Pieces-Cello part for Sarah Quartel's five-movement work celebrating the long Canadian winter setting texts by the composer Sara Teasdale Lucy Maud Montgomery (of 'Anne of Green Gables' fame) and Melville Cane.
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André Waignein: Three Movements: Concert Band: Score & Parts
233.50
André Waignein: Three Movements: Concert Band: Score & Parts
Orchestre d'harmonie
[Conducteur et Parties séparées]
Scherzando
These three movements for piano and band depict three stages of a musical journe...
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These three movements for piano and band depict three stages of a musical journey. We set off on a long journey through the world of musical virtuosity in the style of Liszt : grand lustrous and lyrical. The second stage is a peaceful stroll the start of a dream. The colours are like a tender caress and the piano sketches transparent arabesques. This splendid impressionistic journey ends in two bright pink drops which evapore just in time before the third and last movement explodes.The last movement is driven forward by a raging rhythm as relentless as a war-dance. In a confrontation between the soloist and the orchestra all the inner strength of the composer comes to thesurface so that the musicians in the end are breathless... but all the same no less satisfied.
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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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Johann Sebastian Bach: Prelude and Fugue in D Minor: String Orchestra: Score &
44.99
Johann Sebastian Bach: Prelude and Fugue in D Minor: String Orchestra: Score &
Orchestre à Cordes
Hal Leonard
Taken from one of Bach's keyboard collections this adaptation for strings by Jo...
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Taken from one of Bach's keyboard collections this adaptation for strings by John Leavitt becomes an exquisite movement for performance. Independence of line rhythmic connection between sections and strong melodic structurewill also give students meaningful insight into the genius of J.S. Bach. Dur: 3:30
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John Cacavas: Pastels: String Orchestra: Score & Parts
39.99
John Cacavas: Pastels: String Orchestra: Score & Parts
Orchestre à Cordes
Hal Leonard
From the pen of veteran composer John Cacavas comes this exquisite movement for ...
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From the pen of veteran composer John Cacavas comes this exquisite movement for developing strings. Rich string textures and inner moving lines with interesting parts for all make it an ideal teaching and performance piece.
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Ralph Vaughan Williams: Fat Knight: Orchestra: Study Score
31.50
Ralph Vaughan Williams: Fat Knight: Orchestra: Study Score
Orchestre
Oxford Univertsity Press
Originally the title for Vaughan Williams's opera Sir John in Love Fat Knight w...
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Originally the title for Vaughan Williams's opera Sir John in Love Fat Knight was conceived as a seven-movement orchestral suite that drew upon the opera and had as its central character Shakespeare's Falstaff. Vaughan Williams never completed the work and left only a two-piano score the basis of this realisation.
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Britta Byström: Farewell Variations: Orchestra: Score
91.99
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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John Corigliano: Reverie: String Orchestra: Score
Orchestre à Cordes
Shawnee Press
for String Orchestra-A thoughtful lyric movement for strings Reverie for String...
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for String Orchestra-A thoughtful lyric movement for strings Reverie for String Orchestra continues to be a favorite of orchestra directors particularly as an expressive program piece for festival and contest. This work offers plenty ofopportunities to present dramatic and sensitive musical expression from the entire ensemble.
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Ernest Bloch: Sinfonia Breve: Orchestra: Score
29.99
Ernest Bloch: Sinfonia Breve: Orchestra: Score
Orchestre
Schirmer
Score-Of almost any of the works of Bloch's maturity the 'Sinfonia Breve' has t...
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Score-Of almost any of the works of Bloch's maturity the 'Sinfonia Breve' has the least amount of Jewish ‘flavour’. In 1952 when this piece was written Bloch was exploring some other vocabularies rather than the one that is most often identified with him. His flirtation with (twelve-tone techniques still sounds like Bloch. The title of the work indicates a more formal structure than many of his more poetic creations. It does follow the classical four movement pattern and Bloch links them by utilizing appropriately transformed thematic material. The first movement commences with an important thrusting theme. The second movement is meditative and quite beautiful. Thestring section dominates and Bloch exhibits the same mastery of counterpoint that one finds in his string quartets. The Scherzo begins with an off-beat major 7th figure. The first trio is a slower lyrical contrast. The second trio has the most exotic writing of the whole Sinfonia. The finale recalls much of the important material from the previous movements. This grand summation ends calmly.
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Hans Abrahamsen: Concerto For Piano And Orchestra: Piano: Score
60.99
Hans Abrahamsen: Concerto For Piano And Orchestra: Piano: Score
Piano et Orchestre
Wilhelm Hansen
Hans Abrahamsen's Concerto For Piano And Orchestra was composed in 1999 by comm...
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Hans Abrahamsen's Concerto For Piano And Orchestra was composed in 1999 by commission for the BIT-20 Ensemble. A complex and multi-layered work opening with highly minimal material and very slowly building to an ecstatic frenzy across the four movements. As the piece progresses Abrahamsen has also included some significant nods towards composers Gyorgy Ligeti (a former teacher of the composer) and Gustav Mahler.The work was premiered at the Ultima Festival in Oslo in 2000 with Anne Marie Abildskov as soloist. I Allegro Volante e nervoso II Adagio innocente e semplice III Tempo de grandegioia IV Fluente ma tranquillo Programmenote: ???The piano concerto starts entirely as I usually start with this filigree in the piano and many simultaneous layers ??? Hans Abrahamsen has explained ???The beginning is music that could continue almost minimalistically ad infinitum. But it doesn???t. Instead it has a seizure after just thirty seconds. It literally comes to a halt!???There is no programmatic structure behind the four-movement course of the concerto but a romantically minded listener may be tempted to interpret the development from a quick stalling of the familiar through the introduction (by the lyrical second movement) of something much more ???innocent and simple??? as it says - something feminine one feels like adding - to the third movement???s flashing firework display of a scherzo which draws the curtain aside for a liberating rush of joy as life after the advent of love. However the undersigned assumes full responsibility for this interpretation.The piano soloist is the undisputed main character in the concerto and plays almost constantly in the first three movements. It is only in the fourth movement that she takes a break and listens. ???The piano stirs up an anthill??? is Hans Abrahamsen???s own description ???and it becomes almost operatic! It is as if the music is about to fall right out over the edge of the abyss at the drastic general
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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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Antonín Dvo?ák: Symphony No. 7 D Minor Op. 70: Orchestra: Parts
8.00
Antonín Dvo?ák: Symphony No. 7 D Minor Op. 70: Orchestra: Parts
Orchestre
Barenreiter
Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in...
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Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in August 1883 and received its premiere on 22 April 1885 in London conducted by the composer himself. The following June the second movement was shortened by some 40 bars and the work was published in this form in 1885 by Simrock.The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorák?s cello concerto in B minor (BA 9045) not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in theappendix as well as in the performing material.This new Bärenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. First Urtext edition of this important workContains the original London version of the second movementIncludes a foreword (Cz/Eng/Ger) and a critical commentary (Eng)
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Antonín Dvo?ák: Symphony No. 7 D Minor Op. 70: Orchestra: Parts
8.00
Antonín Dvo?ák: Symphony No. 7 D Minor Op. 70: Orchestra: Parts
Orchestre
Barenreiter
Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in...
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Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in August 1883 and received its premiere on 22 April 1885 in London conducted by the composer himself. The following June the second movement was shortened by some 40 bars and the work was published in this form in 1885 by Simrock.The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorák?s cello concerto in B minor (BA 9045) not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in theappendix as well as in the performing material.This new Bärenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. First Urtext edition of this important workContains the original London version of the second movementIncludes a foreword (Cz/Eng/Ger) and a critical commentary (Eng)
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Antonín Dvo?ák: Symphony No. 7 D Minor Op. 70: Orchestra: Parts
8.00
Antonín Dvo?ák: Symphony No. 7 D Minor Op. 70: Orchestra: Parts
Orchestre
Barenreiter
Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in...
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Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in August 1883 and received its premiere on 22 April 1885 in London conducted by the composer himself. The following June the second movement was shortened by some 40 bars and the work was published in this form in 1885 by Simrock.The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorák?s cello concerto in B minor (BA 9045) not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in theappendix as well as in the performing material.This new Bärenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. First Urtext edition of this important workContains the original London version of the second movementIncludes a foreword (Cz/Eng/Ger) and a critical commentary (Eng)
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Antonín Dvo?ák: Symphony No. 7 D Minor Op. 70: Orchestra: Parts
8.00
Antonín Dvo?ák: Symphony No. 7 D Minor Op. 70: Orchestra: Parts
Orchestre
Barenreiter
Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in...
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Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in August 1883 and received its premiere on 22 April 1885 in London conducted by the composer himself. The following June the second movement was shortened by some 40 bars and the work was published in this form in 1885 by Simrock.The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorák?s cello concerto in B minor (BA 9045) not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in theappendix as well as in the performing material.This new Bärenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. First Urtext edition of this important workContains the original London version of the second movementIncludes a foreword (Cz/Eng/Ger) and a critical commentary (Eng)
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Child Alice (Part II)
128.30
Child Alice (Part II)
Voix Soprano, Orchestre
[Partition]
Boosey and Hawkes
Movement 2: Happy Voices Fuga for Orchestra. Par TREDICI DAVID DEL. Les notes du...
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Movement 2: Happy Voices Fuga for Orchestra. Par TREDICI DAVID DEL. Les notes du compositeur: and ldquo - Child Alice a été conçu comme une continuité unique... les divers extraits peuvent être effectuées séparément. Options incluent : partie II de l'enfant Alicemay être joué sans partie I * événements pittoresques (no 1) et Happy Voices (no 2) peuvent être joué comme une unité * Quainty événements peut être joué séparément * Happy Voices peut être joué séparément * tous les après-midi de Golden peut par joué séparément. and rdquo -/ Répertoire / Soprano et Orchestre
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Jazz Sonatine No. 2: String Ensemble: Instrumental Album
Orchestre à Cordes
Spartan Press
An inventive and accessible pizzicato work for the good beginner bassist looking...
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An inventive and accessible pizzicato work for the good beginner bassist looking for something a little different. The three contrasting movements remain in the orchestral register with space for optional improvisation in the third piece. Ideal for any bassist who enjoyed Jazz Sonatine No.1 (RM097 Pizzicato Pieces Book 1) and enjoys playing in a jazzy and rhythmic style. A simple drum beat could be added for extra effect or simply enjoy the great music written with a minimum of fuss or effort. Effective in performance and certainly 'cool'. A great piece for study or recital and a pizzicato work which offers much for performer and audience alike. Enjoy....ABRSM Grade 4 (1st mvt) / Trinity-Guildhall Grade 5 (2nd mvt)2nd movement has been selected for Level 5 and 3rd movement for Level 6 by MTB Exams (www.mtbexams.com)
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Poul Ruders: Listening Earth - A Symphonic Drama for Orchestra: Orchestra: Score
Orchestre
[Partition]
Wilhelm Hansen
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchest...
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Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical
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James Corigliano: Traumstück ? Reverie: String Orchestra: Score & Parts
44.99
James Corigliano: Traumstück ? Reverie: String Orchestra: Score & Parts
Orchestre à Cordes
Shawnee Press
A thoughtful lyric movement for strings Reverie for String Orchestra continues ...
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A thoughtful lyric movement for strings Reverie for String Orchestra continues to be a favorite of orchestra directors particularly as an expressive program piece for festival and contest. This work offers plenty ofopportunities to present dramatic and sensitive musical expression from the entire ensemble.
44.99 GBP - vendu par Musicroom GB
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Ralph Vaughan Williams: A Road All Paved With Stars: Orchestra: Study Score
17.75
Ralph Vaughan Williams: A Road All Paved With Stars: Orchestra: Study Score
Orchestre
Oxford Univertsity Press
Paperback-Jointly commissioned by The Vaughan Williams Charitable Trust and Oxfo...
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Paperback-Jointly commissioned by The Vaughan Williams Charitable Trust and Oxford University Press 'A Road All Paved With Stars' is a single-movement work incorporating the finest music of Vaughan Williams's opera The Poisoned Kiss.
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Roy Harris: Symphony No. 3 (in 1 movement): Orchestra: Score
44.99
Roy Harris: Symphony No. 3 (in 1 movement): Orchestra: Score
Orchestre
Schirmer
Score-Roy Harris' Symphony No.3 is a Symphony in one movement. Scored for Orches...
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Score-Roy Harris' Symphony No.3 is a Symphony in one movement. Scored for Orchestra.
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Concerto For Trumpet And Orchestra (SAKAI ITARU)
48.80
Concerto For Trumpet And Orchestra (SAKAI ITARU)
Trompette, Bugle, Piccolo Trompette, Piano
De Haske Publications
Piano Reduction By The Composer (Op. 100Bis). Par SAKAI ITARU. CONCERTO FOR TRUM...
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Piano Reduction By The Composer (Op. 100Bis). Par SAKAI ITARU. CONCERTO FOR TRUMPET AND ORCHESTRA is a concerto in three movements in the Romantic style composed by Itaru Sakai. After a first movement full of contrast, two movements with an individual and distinct character follow: firstly, a rather melancholymovement for flugelhorn, and in conclusion a cheerful dance movement for piccolo trumpet. / Niveau : Très Difficile / Répertoire / Trompette, Bugle, Piccolo Trompette, Piano
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Bernard Herrmann: Portrait Of Hitch: Orchestra: Study Score
29.99
Bernard Herrmann: Portrait Of Hitch: Orchestra: Study Score
Orchestre
[Conducteur d'étude / Miniature]
Novello & Co Ltd.
Herrmann wanted to write a musical portrait of his friend and colleague Alfred H...
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Herrmann wanted to write a musical portrait of his friend and colleague Alfred Hitchcok so choose motifs from the movie The Trouble With Harry one of Hitchcockâ??s more personal and humorous films. This single-movement work for Orchestra employs some of the more familiar elements of Herrmannâ??s compositional style: short musical phrases repeated and then repeated again in other positions sharp use of dynamics among them. From the first note the creepiness begins.Bernard Herrmann was among the very greatest of all composers of music for cinema and there are many who avow that he was the greatest of all. A very short list of the films for which this award-winning composercreated soundtracks includes Citizen Kane The Man Who Knew Too Much Vertigo Jason and Argonauts Fahrenheit 451 Obsession and Taxi Driver. He had a long and fertile association with Alfred Hitchcock during the most productive period of Hitchcockâ??s career and with Orson Welles from the time of the Mercury Theatre on the Air. In addition to his conducting and composing work for the entertainment world Herrmann wrote concert pieces including a symphony opera and cantata.
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Grande Sonate For Pianoforte A-Flat Major Op. 26 'Funeral March'
14.50
Grande Sonate For Pianoforte A-Flat Major Op. 26 'Funeral March'
Piano seul
-
Avancé
Barenreiter
Beethoven's four-movement Sonata in A-flat major op. 26 belongs to his most popu...
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Beethoven's four-movement Sonata in A-flat major op. 26 belongs to his most popular works. It is dedicated to Prince Lichnowsky, one of his most generous patrons and the dedicatee of, for example, the Grande Sonate pathétique op. 13 and Symphony No. 2 op. 35. The work's initial drafts date from 1800-01 - it was first published in March 1802. This demanding sonata is highly varied in its form: it begins with a set of variations and contains the famous Marcia funebre sulla morte d'un Eroe as its third movement, earning it the nickname 'Sonata with the Funeral March?. The identity of the title's eroe (hero) remains unknown to the present day. The march was performed at Beethoven's funeral on 29 March 1827 in an arrangement for orchestra.For this Bärenreiter edition Jonathan Del Mar, possibly as one of the first editors of a modern edition, consulted the composer's autograph in the original. This enabled him to decipher details of Beethoven's handwriting in particular with regard to the exact notation of doubtful slurs. The result is a most reliable and thoroughly-researched musical text. Differing readings and editorial decisions are documented in the Critical Commentary. The edition has been finely engraved and includes practical page turns. Information on central issues of historical performance practice (pedalling, ornaments, tempo, dynamics, articulation) is provided in a detailed chapter. - Scholarly-critical Urtext edition based on most recent Beethoven research - Evaluation of Beethoven's autograph in the original - Elegant engraving with practical page turns - Informative Introduction (Eng / Ger) - Discussion of central performance practice issues (Eng / Ger) - Detailed Critical Commentary (Eng) / Piano
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Sadie Harrison: Via Della Fortuna: String Orchestra: Parts
13.95
Sadie Harrison: Via Della Fortuna: String Orchestra: Parts
Orchestre à Cordes
University Of York Music Press
Via Della Fortuna by Sadie Harrison. Written in 2013 especially for the St. Chri...
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Via Della Fortuna by Sadie Harrison. Written in 2013 especially for the St. Christopher Chamber Orchestra and Donatus Katkus.6; for String OrchestraWorld premiere: 25th April 2013 St. Katharine'sChurch Vilnius St. Christopher Chamber Orchestra conducted by Donatus Katkus.UK premiere: 10th May 2013 Cardiff Millennium Centre Vale of Glamorgan Festival.I - Casa di Caccia Antica (The House of the AncientHunt)II - Casa degli Amorini Dorati (The House of the Golden Cupids)III - Casa del poeta tragico (The House of the tragic poet)IV - Return to the Casa di Caccia Antica and northwards to Lithuania and the Amber Road(Gintaro Kelias)The piece is in four short movements each taking its title from one of the houses that line the main streets in Pompeii. Borrowing Mussorgsky's 'Promenade' from Pictures at an Exhibition the piece has twowalkers (violas) who take the listener with them onto the Via Della Fortuna then lead them from house to house. Several amber objects were found within the houses linking Pompeii with Lithuania. The lastmovement returns to the House of the Ancient Hunt then heads northwards along the Gintaro Kelias. The jubilant closing music refers to an earlier work (Geda's Weavings) based on Lithuanian folksongs.
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Sadie Harrison: Via Della Fortuna: String Orchestra: Score
14.95
Sadie Harrison: Via Della Fortuna: String Orchestra: Score
Orchestre à Cordes
University Of York Music Press
Via Della Fortuna by Sadie Harrison. Written in 2013 especially for the St. Chri...
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Via Della Fortuna by Sadie Harrison. Written in 2013 especially for the St. Christopher Chamber Orchestra and Donatus Katkus.6; for String OrchestraWorld premiere: 25th April 2013 St. Katharine'sChurch Vilnius St. Christopher Chamber Orchestra conducted by Donatus Katkus.UK premiere: 10th May 2013 Cardiff Millennium Centre Vale of Glamorgan Festival.I - Casa di Caccia Antica (The House of the AncientHunt)II - Casa degli Amorini Dorati (The House of the Golden Cupids)III - Casa del poeta tragico (The House of the tragic poet)IV - Return to the Casa di Caccia Antica and northwards to Lithuania and the Amber Road(Gintaro Kelias)The piece is in four short movements each taking its title from one of the houses that line the main streets in Pompeii. Borrowing Mussorgsky's 'Promenade' from Pictures at an Exhibition the piece has twowalkers (violas) who take the listener with them onto the Via Della Fortuna then lead them from house to house. Several amber objects were found within the houses linking Pompeii with Lithuania. The lastmovement returns to the House of the Ancient Hunt then heads northwards along the Gintaro Kelias. The jubilant closing music refers to an earlier work (Geda's Weavings) based on Lithuanian folksongs.
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Ralph Vaughan Williams: Flos Campi: Orchestra: Part
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Ralph Vaughan Williams: Flos Campi: Orchestra: Part
Orchestre
Oxford Univertsity Press
Ralph Vaughan Williams' Flos Campi for SATB wordless chorus Viola solo and Orch...
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Ralph Vaughan Williams' Flos Campi for SATB wordless chorus Viola solo and Orchestra. Part for Viola.This work is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon the Chorus never articulates a single word. Instead it serves as a section of the Orchestra creating an elegant vocal texture and backdrop to the Viola's haunting solo lines.Flos Campi was premiered in October 1925 by the violist Lionel Tertis singers from the RCM and the Queen's Hall Orchestra directed by Sir Henry Wood.
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