Edition : Paris, l'Auteur, 1787L'effectif de l'orchestre est modeste : cordes, 2 hautbois, 2 cors. Les parties des solistes peuvent être tenues par les chefs de pupitre de l'orchestre. La seconde symphonie concertante ajoute aux 2 violons solos, soit un alto solo, soit un cor solo. Pour cette édition, suivie d'un concert à l'Abbaye aux Dames, une mise en partition a été réalisée et jointe à ce fac-similé.Présentation par les étudiants de la formation supérieure aux métiers de l'orchestre des musiques classiques et romantiques - Abbaye aux Dames - Saintes : Biographie de Bertheaume, les symphonies de Bertheaume au Concert Spirituel, éléments d'interprétationParties séparées : violino primo principale, violino secondo principale, alto viola principale, corno principale, violino primo, violino secondo, alto, basso, - oboè primo, oboè secondo, corno primo, corno secondo / Instrument(s) Et Orchestre, (2 Violons Et Orchestre, 2 Violons, Alto Et Orchestre, 2 Violons, Cor Et Orchestre) / 141 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Edition : Paris, Imbault, 1789.Présentation par les étudiants de la formation supérieure aux métiers de l'orchestre des musiques classiques et romantiques, Abbaye aux Dames, Saintes : Les symphonies concertantes de Devienne (catalogue) - l'agrémentation de Devienne - mise en partition.Parties séparées (édition originale) : Flauto principale, Oboe principale, Corno principale, Fagotto principale, Violino primo, Violino secondo, Alto, Basso, Oboe primo, Oboe secondo, Corno primo, Corno secondo. - Partition (manuscrite moderne) - - Effectif de l'orchestre - : cordes, 2 hautbois, 2 cors. Cette oeuvre charmante, dont les parties solistes sont assez virtuoses, mérite d'être inscrite au répertoire des orchestres modernes ou jouant sur instruments d'époque. C'est un heureux exemple de la symphonie concertante en France à la fin du XVIIIe siècle. Fac-similé des parties séparées (édition de 1789), et mise en partition. / Instrument(s) Et Orchestre (Flûte, Hautbois, Cor Et Basson) / 132 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Score-For String Orchestra and presented as a study score. Winner of the 2001 Pulitzer Prize in music! This landmark five-movement string symphony was commissioned by the Boston Symphony Orchestra in honor of the 100th anniversary ofsymphony hall in that city and premiered there on November 30 2000 with Seiji Ozawa conducting. The composer's comments about the music appear in an introduction to the score.

Per Nørgård Third Symphony - A Short Introduction by Jørgen I. Jensen. Analyse of Per Nørgård 3. SymphonyTranslation into English: John Bergsagel

This compilation of 11 flute solos from the legendary Rubank educational library now includes online access to: · Full-performance and accompaniment-only audio tracks · PDF piano accompaniment files · PLAYBACK+ A multi-functional audio player that allows you to adjust tempo without changing pitch, change keys, and create practice loops - available exclusively from Hal Leonard. Contents: Albumleaf (R. Wagner) · Canzona (Bertoni) · Chanson Pastorale (Koepke) · Gavotta from Classical Symphony · Menuet from Platee (Rameau) · Menuetto from Eine Kleine Nachtmusik (Mozart) · Polovtsian Dance (Borodin) · Slumber Song (Schlummerlied) (Schumann) · Song of India (Rimsky-Korsakov) · Two Menuettos from Flute Sonata in C (Bach) · Villanella (Koepke). / Flûte Et Piano

This collection for easy Guitar includes 36 pieces arranged in standard notation and tab including: Blue Danube Waltz (Strauss), Can Can (Offenbach), Dance of the Sugar Plum Fairy (Tchaikovsky), Für Elise (Beethoven), Humoresque (Dvorak), In the Hall of the Mountain King (Grieg), Lullaby (Cradle Song) (Brahms), Romeo and Juliet (Love Theme) (Tchaikovsky), The Surprise Symphony (Haydn), Toreador Song (Bizet), Trumpet Voluntary (Clarke), Turkish Rondo (Mozart), Wedding March (Mendelssohn) and more. / Guitare

Symphony No.5 Symphony No. 1 In C Minor, First Movement Excerpt Symphony No. 6 In B Minor ('pathetique') The Unfinished Symphony (Theme) Symphony No.7 C Maj (Schubert) Symphony No.3 A Min(Mendelssohn) Symphony No.2 In C (Schumann) Symphony No. 4 In D Min(Schumann Symphony No.2 D Min (Dvorak) Symphony No 4 In G (Dvorak) Symphony No 5 In E Min (Dvorak) Symphony No.5 (Refor-Mendelssohn Symphony No. 4, Finale Symphony No.2 (Brahms) Symphony No. 3 In F Major Symphony No.4 (Brahms) Theme-Symphony #4(Mendelssohn) Theme (Symphony#3) Schumann

Symphony No. 4 - an Organ Symphony (2008) by Poul Ruders. Organ part & reduced score: WH31186C Orch. parts are available on hire: hire@ewh.dk Preface / Programme Note When introducing a large-scale symphonic work not only as a symphony but as an organ symphony it would be impossible not to think of and perhaps compare it with Camille Saint-Saëns’s famous SYMPHONY NO. 3 popularly known as the Organ Symphony. Well that is a risk I am prepared to take – and live with the consequences.Saint-Saëns however listed his work as a symphony avec/with organ. Theorgan only appears in two out of the four sections of thepiece. In my symphony the instrument plays a far more significant part and is featured in all four movements. But it is not a concerto for organ and orchestra rather a symphony with organo obligato - a symphony with an organ part of a soloistic nature. So an Organ Symphony it is. The first movement PRELUDE is exactly that: a foreplay to what is in store for the rest of the symphony. It is slow (very slow!) and predominantly hushed: the organ and the orchestra wake up side-by-side getting to know one another.The second movement CORTÈGE is a slowly moving processional and it evokes extreme solemnity and austerity. Later on the music takes flight and the atmosphere lightens considerably a far more playful music emerging.This leads to the third movement ETUDE an exercise in instrumental virtuosity and technical challenge.The fourth and last movement is called CHACONNE but I could just as well have named it passacaglia (the definition of those two terms seems to blur even among the learned). Bearing in mind the last movement of Johannes Brahms´s SYMPHONY NO.4 which is universally agreed on as being a passacaglia I chose to avoid the Wrath of the Gods and opted for

The Piano Bench Of Easy Classical Music is a tremendous piano collection containing 400 pages of great music literature, specially selected and edited for the developing pianist who loves classical music. Here you will find the world's favorite preludes, minuets, sonata movements, nocturnes, waltzes, gavottes, mazurkas, romantic short pieces, impressionistic works, and light classics- as well as themes from the great symphonies, chamber works, operas, and ballets by the master composers of the past four centuries. / Piano

Compilation. The Piano Treasury of Easy Classical Music is designed to be the cornerstone of your personal music library. This tremendous piano collection contains 400 pages of great music literature, specially selected and edited for the pianist who loves classical music. No other single volume can provide the wealth of exquisite piano selections contained within these pages. Here you will find the world's favourite inventions, preludes, fugues, minuets, sonata movements, nocturnes, waltzes, mazurkas, intermezzos, romantic short pieces, impressionistic works, and light classics, as well as the most rewarding traditional arrangements of themes from the great symphonies, chamber works, operas, and ballets by the master composers of the past four centuries. / Niveau : Elémentaire / Rép Classique / Recueil / Piano

The unprecedented commercial success of the CD of Henryk Miko aj Góreckis Third Symphony in 1991 fifteen years after the date of its composition not only drew the Polish composer to the worlds attention arousing interest in his earlier works but also gave rise to a discussion about the state of culture in what might be described as a decadent period. So was the Third Symphony ahead of its time? Was it justifiable to regard the work as an end-of-the-seventies piece of aesthetical provocation? Should the wilful confusion of high and low aesthetic orders be considered a symbol of the end of post-Enlightenment utopia when the idea of progress in all fields including art constituted the fundamental criterion for evaluation? Attempts to answer these questions have given rise to a certain intellectual confusion leading occasionally to the advancing of false theses such as the attribution of Góreckis compositional output to the New Age spiritual landscape or the comparison of his compositional procedures with those of American minimalist composers. In fact the Third Symphony Symphony of Sorrowful Songs reflects both the composers individual exploration of technique and his attempt to determine his own Christian spiritual identity. The composition is a new manifestation of the sonoristic reductionism technique and the idea of simple music in line with Krzysztof Drobas designation of these phenomena according to which all details and modifications of tone colour are significant. By conferring on the three movements of the composition a form of mystery which negated a rational sense of time and made the work dissolve in a seemingly infinite continuum the composer managed to bring the Symphony within the sphere of folk ceremonial tradition. Anguish the principal theme of the composition presented here through both the mothers suffering after her sons death and the image of a woman prisoner in a Gestapo prison makes real sense only in the light of faith and the drama of Golgotha. Góreckis Third Symphony Symphony of Sorrowful Songs for soprano solo and orchestra dedicated to the composers wife was written in 1976. Commissioned by Südwestfunk in Baden-Baden it was premiered on 4 April 1977 during the 14th International Festival of Contemporary Art in Royan with Stefania Woytowicz as soloist. The same singer has made several recordings of the composition with different orchestras. The CD with Dawn Upshaw as soloist and the London Sinfonietta conducted by David Zinman won a Golden Disc award in 1991. The first movements outer sections (Lento sostenuto tranquillo ma cantabile) consist of an austere ten-part canon on strings. Its Aeolian theme was derived from a Kurpian song notated in Rev. Father W adys aw Skierkowskis collection. The canon is characterized by continual repetition of the theme (and its counterpoint) all its answers being tonal and thus not going beyond the notes of the scale. In this way a vibrating sound magma

Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day”  (New Testament 2 Peter 3:8)  My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000.  The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ...  This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute).  The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation.  Without a break follows the third and last passage in a