Format : Study Score / Miniature
Préface : Hugh MacDonald / Partition /
SKU: LM.28399
ISBN 9790230983990.
GANNE Louis : C'est l'amour (Les Saltimbanques) - GOLDSMITH Jerry : Theme principal du film Papillon - DELIBES Leo : Valse lente (Coppelia) - BERLIOZ Hector : Symphonie fantastique, Un bal (II) - WALDTEUFEL Emile : Estudiantina Op.191 - CHARRIER Vincent : Valse d'ete (piece originale).
SKU: BT.DHP-1114234-140
9x12 inches. English-German-French-Dutch.
Symphonie Fantastique, composed by Hector Berlioz, is a symphony in five movements based upon Berlioz's own experiences of disappointment in love. Tohru Takahashi's arrangement fully exploits the capabilities of the concert band whilst staying true to the tonal colour and textures of the original. Movements include: Reveries - Passions, Un Bal, Scène aux champs, Marche au supplice and Songe d'une nuit de sabbat. Hector Berlioz was nogal teleurgesteld in de liefde. Met de nog steeds modern klinkende Symphonie Fantastique gaf hij hieraan uiting. Tohru Takahashi verwerkte de originele partituur voor deze transcriptie. Hij wil hiermee de mogelijkhedenvan een modern blaasorkest optimaal benutten, maar verliest daarbij de originele klankkleuren nooit uit het oog. De optionele solopartij voor de cornet verschijnt in het tweede deel. Oorspronkelijk werd deze voor de beroemdekornettist Jean-Baptiste Arban geschreven.Mooi en meeslepend!Symphonie Fantastique bestaat uit de vijf delen Rêveries-Passions (Mijmeringen), Un bal (Een bal), Scène aux champs (Scène op de velden), Marche au supplice (Gangnaar het schavot) en Songe d'une nuit de sabbat (Droom van een heksensabbat).Berlioz' einzigartige instrumentale und musikalische Herangehensweise klingt auch im 21. Jahrhundert noch neu. Für diese neue Transkription für Blasorchester schöpfte Tohru Takahashi unter bestmöglicher Ausnutzung der originalen Klangfarben die Möglichkeiten eines modernen Blasorchesters voll aus. Die Sinfonie besteht aus den fünf Sätzen Rêveries-Passions, Un bal, Scène aux champs, Marche au supplice und Songe d'une nuit de sabbat. L'originalité instrumentale et musicale de Berlioz apparaît encore au XXIe siècle avec la même fraîcheur, que celle qui présida lors de la création de l'oeuvre. Pour cette nouvelle transcription pour orchestre vent, Tohru Takahashi a revisité la partition de Berlioz en respectant l'orchestration originale, afin d'exploiter pleinement le vaste potentiel d'un orchestre vent. La Symphony Fantastique se compose de cinq ensembles Rêveries-Passions, Un bal, Scène aux champs, Marche au supplice et Songe d'une nuit de Sabbat.L'originalit strumentale e musicale di Berlioz è attuale anche nel XXI secolo. Per questa nuova trascrizione per banda, Tohru Takahashi ha rivisitato lo spartito di Berlioz rispettando l'orchestrazione originale per sfruttare al meglio il vasto potenziale delle formazioni di fiati moderni. La Symphonie Fantastique si compone di cinque movimenti: Reveries-Passions, Un Bal, Scène aux champs, Marche au supplice e Songe d'une nuit de Sabbat.
SKU: BT.DHP-1114234-010
SKU: HL.48187694
UPC: 888680849177. 5.5x7.5x0.694 inches.
Hector Louis Berlioz: Symphonie fantastique Op.14 (PH90) (Orchestra).
SKU: CY.CC2756
Symphonie Fantastique was written in 1830 as one of the first program symphonies in musical history. The Witches' Sabbath is the fifth and final movement tells the story of the author himself amongst a hideous gathering of sorcerers, monsters and witches who have come together for his funeral. The original melody from the first movement is now a vulgar and grotesque dance. Berlioz also combines the Dies irae melody to strike even more fear into the listener.This arrangement of about 10 minutes in length by Randall Malmstrom is a full transcription of the movement and is appropriate for advanced performers.
SKU: AP.44925S
ISBN 9781470659585. UPC: 038081516202. English.
Including three movements from Berlioz's five-movement Symphonie Fantastique, originally composed in 1830---A Ball, March to the Scaffold, and A Witches' Sabbath---this masterwork is revered as one of the most vivid program pieces in classical music, and remains to this day one of the most popular works of the Romantic period. Carefully scored for the contemporary concert band. (6:45).
SKU: BT.DHP-1084336-010
Hector Berlioz (1803-1869) schreef de ouverture Le Corsaire (De zeerover) in Nice, in het jaar 1844. De eerste uitvoering vond plaats onder de titel La tour de Nice (De toren van Nice). Pas later kreeg het werk de naamLe Corsaire, waarschijnlijk naar een gedicht van Lord Byron, voor wie Berlioz veel bewondering had. De originaliteit van deze ouverture wordt alom geprezen. De muziek is van een energieke levendigheid die aanstekelijk werkt.Niet voor niets is Le Corsaire nog altijd een van de populairste orkestwerken van Berlioz.Hector Berlioz schrieb diese Ouvertüre mit dem ursprünglichen Titel La Tour de Nice (Der Turm von Nizza) im Jahre 1844 in selbiger Stadt und benannte sie erst später um, vermutlich nach einem Gedicht von Lord Byron, den er sehr verehrte. Die Ouvertüre wurde von Anfang an für ihre Originalität und Lebendigkeit gelobt. So ist es kein Wunder, dass Le Corsaire, das hier in einer Transkription des Tohru Takahashi vorliegt, auch heute noch zu den beliebtesten Werken von Berlioz gehört.Berlioz ne révèle aucun talent musical particulier dans son enfance ; ses parents ne sont pas musiciens. Vers l’ ge de treize ans, il apprend jouer de la fl te bec et de la guitare et prend des cours de chant. En 1821, il s’installe Paris et marche sur les pas de son père en suivant un temps les cours de la Faculté de Médecine. Mais au bout d’un an, et au grand désespoir de ses parents, il abandonne ses études et entre au Conservatoire de Paris. Sa passion pour l’actrice irlandaise Harriet Smithson, qu’il épousera quelques années plus tard (un mariage malheureux), a largement influencé sa vie et sa musique. Lorsqu’il remporte le Prix de Rome en 1830, Berlioz avait déj composé quelques œuvres majeures dont la Symphonie Fantastique. Berlioz devient la figure essentielle du romantisme français. Ses œuvres sont dominées par ses idées novatrices.La première version de l’ouverture Le Corsaire remonte un séjour que Berlioz fit Nice en 1844. L’œuvre fut donnée en création sous le titre La Tour de Nice. Par la suite, Berlioz remania sa composition et lui donnera son titre définitif Le Corsaire. La référence au roman poétique de Lord Byron qui le compositeur vouait une grande admiration, reste une supposition qui ne fait pas l’unanimité.Cette ouverture fut particulièrement saluée pour son originalité. La musique déborde d’énergie et les effets sont fantastiques. Il n’est donc pas surprenant de constater que Le Corsaire est une des œuvres orchestrales les plus connues et les plus jouées de Berlioz.
SKU: BT.DHP-1084336-140
SKU: HL.44010867
UPC: 884088578527. 9x12 inches. English-German-French-Dutch-Japanese.
Hector Berlioz (1803-1869) schreef de ouverture Le Corsaire (De zeerover) in Nice, in het jaar 1844. De eerste uitvoering vond plaats onder de titel La tour de Nice (De toren van Nice). Pas later kreeg het werk de naamLe Corsaire, waarschijnlijk naar een gedicht van Lord Byron, voor wie Berlioz veel bewondering had. De originaliteit van deze ouverture wordt alom geprezen. De muziek is van een energieke levendigheid die aanstekelijk werkt.Niet voor niets is Le Corsaire nog altijd een van de populairste orkestwerken van Berlioz.Hector Berlioz schrieb diese Ouvertüre mit dem ursprünglichen Titel La Tour de Nice (Der Turm von Nizza) im Jahre 1844 in selbiger Stadt und benannte sie erst spater um, vermutlich nach einem Gedicht von Lord Byron, den er sehr verehrte. Die Ouvertüre wurde von Anfang an für ihre Originalitat und Lebendigkeit gelobt. So ist es kein Wunder, dass Le Corsaire, das hier in einer Transkription des Tohru Takahashi vorliegt, auch heute noch zu den beliebtesten Werken von Berlioz gehort.Berlioz ne revele aucun talent musical particulier dans son enfance ; ses parents ne sont pas musiciens. Vers l'age de treize ans, il apprend a jouer de la flute a bec et de la guitare et prend des cours de chant. En 1821, il s'installe a Paris et marche sur les pas de son pere en suivant un temps les cours de la Faculte de Medecine. Mais au bout d'un an, et au grand desespoir de ses parents, il abandonne ses etudes et entre au Conservatoire de Paris. Sa passion pour l'actrice irlandaise Harriet Smithson, qu'il epousera quelques annees plus tard (un mariage malheureux), a largement influence sa vie et sa musique. Lorsqu'il remporte le Prix de Rome en 1830, Berlioz avait dejacompose quelques œuvres majeures dont la Symphonie Fantastique. Berlioz devient la figure essentielle du romantisme francais. Ses œuvres sont dominees par ses idees novatrices.La premiere version de l'ouverture Le Corsaire remonte a un sejour que Berlioz fit a Nice en 1844. L'œuvre fut donnee en creation sous le titre La Tour de Nice. Par la suite, Berlioz remania sa composition et lui donnera son titre definitif Le Corsaire. La reference au roman poetique de Lord Byron a qui le compositeur vouait une grande admiration, reste une supposition qui ne fait pas l'unanimite.Cette ouverture fut particulierement saluee pour son originalite. La musique deborde d'energie et les effets sont fantastiques. Il n'est donc pas surprenant de constater que Le Corsaire est une des œuvres orchestrales les plus connues et les plus jouees de Berlioz.
SKU: BA.BA10303-01
ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.
The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CY.CC3111
ISBN 9790530110881. 8.5 x 11 in inches.
Symphonie Fantastique was written in 1830 as one of the first program symphonies in musical history. The March of the Scaffold is the fourth of five movements, telling the story of a drugged-induced dream where an artist who has murdered his lover is condemned to death and marched to the scaffold where he witnesses his head being chopped off by a guillotine. This arrangement for 8-part Trombone Ensemble of about 7 minutes in length by Randall Malmstrom is an arrangement of the full movement and is appropriate for advanced performers.
SKU: FH.WCE1
ISBN 978-1-55440-588-6.
This new series offers a sequenced approach to the study of clarinet from the beginner to advanced levels. With a progressive collection of Repertoire, Etudes, Recordings, Orchestral Excerpts, and Technique, the Clarinet Series, 2014 Edition provides complete support for teachers and students at every level of study. Nine progressive volumes of Repertoire expose students to a wealth of music from the earliest works for clarinet to accompanied and unaccompanied contemporary compositions. Students will explore some of the most definitive solo pieces written for clarinet, along with popular folk tunes, Klezmer melodies, Classical solos, and contemporary compositions that incorporate traditional and extended techniques.Level 7:De Hebriden, op. 26: Overture - Felix MendelssohnSymphony No. 39, K 543: II, III, IV - Wolfgang Amadeus MozartSymphony No. 5, op. 64: I, II - Pyotr Il'yich TchaikovskySymphony No. 2, op. 36: II - Ludwig van BeethovenPiano Concerto No. 2, op. 18: II - Sergei RachmaninoffSymphony No. 6 (Pastoral), op. 68: I - Ludwig van BeethovenLevel 8:Prince Igor: Polovtsian Dance No. 8, Polovtsian Dance No. 17 - Aleksandr BorodinIl barbiere di Siviglia: Overture - Gioachino RossiniSymphony No. 4 (Italian), op. 90: IV - Felix MendelssohnSymphony No. 4, op. 98: II - Johannes BrahmsOuverture zu Offenbach's Orpheus in der Unterwelt - Carl BinderSymphony No. 8 (Unfinished), D 759: II - Franz SchubertSymphonie fantastique: III - Hector BerliozLevel 9:Symphony No. 6 (Pastoral), op. 68 : I, II, III - Ludwig van BeethovenSymphony No. 3, op. 90: I, II - Johannes BrahmsSymphony No. 4, op. 60: II - Ludwig van BeethovenSemiramide: Overture - Gioachino RossiniSymphony No. 3 (Scottish), op. 56: II - Felix MendelssohnPrelude a l'apres midi d'un faune - Claude DebussySymphony no. 9, op. 125: II - Ludwig van BeethovenLevel 10:Symphony No. 2, op. 27: III - Sergei RachmaninoffViolin Concerto, op. 61: II - Ludwig van BeethovenIncidental Music to A Midsummer Night's Dream, op. 61: Scherzo - Felix MendelssohnSymphony No. 1, op. 39: I, III - Jean SibeliusVariations on a Theme by Haydn, op. 56a: Variation II, Variation IV, Variation V - Johannes BrahmsSymphony No. 8, op. 93: III - Ludwig van BeethovenSheherazade, op. 35: II, III, IV - Nicolai Rimsky-KorsakovAssociate: B_, A, C Clarinet:Capriccio espagnole, op. 34: I, III, IV - Nicolai Rimsky-KorsakovDances of Galanta - Zoltan KodalyPini di Roma: III - Ottorino RespighiSuite de l'oiseau de feu: Variation de l'oiseau de feu - Igor StravinskySymphony No. 6 (Pathetique), op. 74: I - Pyotr Il'yich TchaikovskySymphony No. 9, op. 70: II, III - Dmitri ShostakovichDon Juan, op. 20 - Richard StraussSymphonie fantastique: V - Hector BerliozPeter and the Wolf, op. 67: Nervoso - Sergei ProkofievPrince Igor: Polovtsian Dance No. 17 - Aleksandr BorodinAssociate: E_ Clarinet:Symphony no. 5, op 100: IV - Sergei ProkofievTill Eulenspiegels lustige Streiche, op. 28 - Richard StraussSymphony no. 5, op. 47: II - Dmitri ShostakovichSymphonie fantastique: V - Hector BerliozBolero - Maurice RavelAssociate: Bass Clarinet:Les Huguenots: Trio from act 5 - Giacomo MeyerbeerViolin Concerto no. 1, op. 77: II - Dmitri ShostakovichGrand Canyon Suite: III - Ferde GrofeDon Quixote, op. 35: Sancho Panza, Variation X - Richard Strauss.
SKU: FH.WC7
ISBN 978-1-55440-583-1.
SKU: NR.16128
Symphonie fantastique.
SKU: AP.98-RWS210101
Berlioz’s most famous Romantic Era standard, Symphony Fantastique is a colorful, evocative musical masterpiece that continues to withstand the test of time, pleasing all audiences. In this transcription, Evan VanDoren has artfully crafted its fourth movement, March to the Scaffold, for the modern wind ensemble, taking creative care to present the work in its truest form while maximizing playability!
