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II: Trgl
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Carmen Suite II
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Georges Bizet
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Carmen Suite II
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
2 (auch 2 Picc.) · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. S. (Trgl. · Schellentr. · gr. Tr. m. Beck.) - Str. orchestra - SKU:...
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2 (auch 2 Picc.) · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. S. (Trgl. · Schellentr. · gr. Tr. m. Beck.) - Str. orchestra - SKU: S9.Q21192 On the critical edition by Robert Didion. Composed by Georges Bizet. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Duration 24 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q21192. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21192). German • English • French.Carmen ist eine der beliebtesten und weltweit meist aufgeführten Opern. Ihr Komponist Bizet hat die Uraufführung, die ein Misserfolg war, nicht mehr erlebt. Die Oper setzte sich jedoch rasch an allen großen Bühnen durch und zog unzählige Bearbeitungen einiger besonders schöner Musiknummern nach sich, darunter die Carmen-Phantasie für Violine und Orchester des spanischen Violinvirtuosen Pablo de Sarasate. Höchstwahrscheinlich war es Bizets enger Freund und Studienkollege Ernest Guirauds, der insgesamt 12 Nummern der Oper in zwei Orchester-Suiten zusammenfasste. Die fehlenden Singstimmen hat er, wie es in solchen Fällen üblich war, durch Instrumente ersetzt. Neben den beiden Taschenpartituren sind Dirigierpartitur und Orchesterstimmen als Leihmaterial erhältlich. Der Notentext basiert auf unserer wissenschaftliche Neuausgabe der Oper, herausgegeben von Robert Didion.
$19.99
Hommage à Hieronymus Bosch
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Orchestre
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Svatopluk Havelka
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II: Beck
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Hommage à Hieronymus Bo
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Schott Music - Digital
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SheetMusicPlus
Orchestra - SKU: S9.Q5355 Symphonic Fantasy. Composed by Svatopluk Havelka. This edition: study score. Downloadable, Study score. Duration 13 min...
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Orchestra - SKU: S9.Q5355 Symphonic Fantasy. Composed by Svatopluk Havelka. This edition: study score. Downloadable, Study score. Duration 13 minutes. Schott Music - Digital #Q5355. Published by Schott Music - Digital (S9.Q5355). 3 (2. und 3. auch Picc.) * 2 * Engl. Hr. * 2 * Bassklar. * 3 (3. auch Kfg.) - 4 * 4 * 3 * 1 - P. S. (Vibr. * I: Guiro * Tamb * Trgl.; II: Beck. * 2 Tomt. * 3 Bong. * 2 kl. Tr. * 2 Kuhgl.; III: Gl. * kl. Tr. * Mar. * Woodbl. * Beck.; IV: Flex * Tamt. * Glsp. * Marimba) (4 Spieler) - Hfe. * Cel. * Klav. - Str. (14 * 12 * 10 * 8 * 6)3 (2. und 3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 (3. auch Kfg.) - 4 · 4 · 3 · 1 - P. S. (Vibr. · I: Guiro · Tamb · Trgl.; II: Beck. · 2 Tomt. · 3 Bong. · 2 kl. Tr. · 2 Kuhgl.; III: Gl. · kl. Tr. · Mar. · Woodbl. · Beck.; IV: Flex · Tamt. · Glsp. · Marimba) (4 Spieler) - Hfe. · Cel. · Klav. - Str. (14 · 12 · 10 · 8 · 6).
$17.99
Spielmusiken
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Hans Werner Henze
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Spielmusiken
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Schott Music - Digital
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SheetMusicPlus
Orchestra - intermediate - SKU: S9.Q16429 From the musical fairytale Pollicino. Composed by Hans Werner Henze. This edition: score. Concertino. D...
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Orchestra - intermediate - SKU: S9.Q16429 From the musical fairytale Pollicino. Composed by Hans Werner Henze. This edition: score. Concertino. Downloadable, score. Duration 9 minutes. Schott Music - Digital #Q16429. Published by Schott Music - Digital (S9.Q16429). A good means for amateur orchestras to approach New Music! Henze's enchanting fairytale opera Pollicino was written for the school children of the little hiltop vollage, Montpulciano, in Tuscany where he stated his famous summer workshop. It has since been performed all over the world, including two productions in England.3 Sopraninoblfl. (auch 2 Sopranblfl.) · 2 Altblfl. · Tenorblfl. · Bassblfl. · Tenorkrummhr. (od. Hr. od. ein ähnliches Instrument) · Basskrummhr. (od. Fg. od. Pos. mit Dämpfer od. ein ähnliches Instrument) - P. S. (Sopranglsp. · Altglsp. · Altmetallophon · Sopranxyl. · Altxyl. · Bassxyl. · 2 Trgl. · 3 hg. Beck. · 3 Schellentr. [ohne Schellen] · Mil. Tr. · Schellentr. · Trinidad Steel Drum [od. Altmetallophon] · gr. Tr. [mit Beck.] · Mar. · Matraca · Kast.) (5 Spieler) - 2 Git. · Harm. (od. elektr. Org.) · Klav. - Sopranpsalter (od. Org. od. Vl.) · Altpsalter (od. Org. od. Vl.) · Tenorpsalter (od. Org. od. Vl.) - Str. (Solo-Vl. · 3 · 0 · 0 · 1 · 1) Einzelbesetzungen: Musica facile I: 2 Sopraninoblfl. · 2 Altblfl. · Tenorblfl. · Bassblfl. - P. S. (Schellentr. · Mar.) (2 Spieler) - Sopranglsp. · Bassxyl. - 2 Git. - Str. (1 · 0 · 0 · 1 · 1) Musica facile II: Sopraninoblfl. · 2 Sopranblfl. · 2 Altblfl. · Tenorblfl. · Bassblfl. · Tenorkrummhr. (od. Hr.) · Basskrummhr. (od. Fag. od. Pos.) - P. S. (Trinidad Steel Drum [od. Altmetallophon]) (1 Spieler) - Sopranglsp. · Altmetallophon · Sopranxyl. · Altxyl. - 2 Git. - Sopranpsalter (od. Vl.) · Altpsalter (od. Vl.) · Tenorpsalter (od. Vl.) - Str. (3 · 0 · 0 · 1 · 1) Musica facile III: P. S. (2 Trgl. · 3 hg. Beck · 3 Schellentr. [ohne Schellen] · Schellentr. · Mil. Tr. · gr. Tr. [mit Beck.] · Mar. · Kast. · Matraca) (5 Spieler) Musica facile IV: 3 Sopraninoblfl. · 2 Altblfl. · Tenorblfl. · Bassblfl. - S. (Trinidad Steel Drum) (1 Spieler) - Altglsp. · Sopranxyl. · Altxyl. · Bassxyl. - 2 Git. - Sopranpsalter (od. Org. od. Vl.) · Altpsalter (od. Org. od. Vl.) · Tenorpsalter (od. Org. od. Vl.) - Str. (0 · 0 · 0 · 1 · 1) Musica facile V: 3 Sopraninoblfl. · 2 Altblfl. · Tenorblfl. · Bassblfl. - Altglsp. · Sopranxyl. · Altxyl. · Bassxyl. - 2 Git. - Sopranpsalter (od. Org. od. Vl.) · Altpsalter (od. Org. od. Vl.) · Tenorpsalter (od. Org. od. Vl.) Musica facile VI: 3 Sopraninoblfl. · 2 Altblfl. · Tenorblfl. · Bassblfl. - Tenorkrummhr. (od. Hr.) · Basskrummhr. (od. Fg. od. Pos.) - P. S. (Trgl. · Schellentr.) (2 Spieler) - Sopranxyl. · Altxyl. · Bassxyl. - Git. · Harm. (od. elektr. Org.) · Klav. - Sopranpsalter (od. Org.) · Altpsalter (od. Org.) · Tenorpsalter (od. Org.) - Str. (Solo-Vl. · 3 · 0 · 0 · 1 · 1).
$27.99
Speaking Drums
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Peter Eotvos
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Speaking Drums
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Schott Music - Digital
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SheetMusicPlus
Percussion and orchestra - difficult - SKU: S9.Q49877 Four poems for percussion solo and orchestra. Composed by Peter Eotvos. This edition: solo ...
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Percussion and orchestra - difficult - SKU: S9.Q49877 Four poems for percussion solo and orchestra. Composed by Peter Eotvos. This edition: solo part. A battere. Downloadable, Solo part. Duration 23 minutes. Schott Music - Digital #Q49877. Published by Schott Music - Digital (S9.Q49877). Artificial language.'Talking whilst playing the drum is not something unique. We can find it in traditional Indian percussion, and in jazz when musicians accompany their play with 'Sprechgesang'. This piece goes the opposite way: It begins with the percussionist speaking nonsensically, the emphasis on the rhythm, which he then passes on to his instrument. Like the pure, childish joy of repeating the same word in a different tune, the soloist teaches his instrument to speak until the drums start to talk themselves. Several poems form the basis; in the first two movements it are three poems by Sándor Weöres, and in the third movement it is a poem by Jayadeva. Each sentence has a more complex form than the one before. Rhythms form words, words form sentences, and sentences create a narrative.' (Ann-yi Bingöl)2 (2. auch Picc.) · 1 (auch Engl. Hr.) · 1 · Bassklar. · 1 - 2 · 1 · 1 · 0 - S. (I: Glsp. · Crot. · Vibr. · 3 Beck. · Nietenbeck. · 5 Kuhgl. · 2 Bong. · Vibraslap · Grelots · 2 Kieselsteine; II: Vibr. [von Spieler 1] · Trgl. · 5 Gong · Tamt. [t.] · Schellen-Tamb. · 2 Bong. · gr. Tr. · Vibraslap · 2 hg. koreanische Steinplatten) (2 Spieler) - Hfe. · Cel. - Str. (6 · 6 · 6 · 4 · 2) - S. solo (Bassp. · Marimba · Röhrengl. · Cowbell · Trgl. · 8 Beck. · kl. Crash-Beck. · gr. chin. Beck. mit Filzgleitern · 3 kl. Flachgongs · 2 Tamt. · kl. Tr. · Feldtr. · 4 Tomt. · 5-6 gr. Holztr. [Mokugyo oder Salatschüssel] · Hi-Hat · 2 Woodbl. · 2 Löwengebrüll · 4 frei wählbare Instrumente: z.B. Tomt. · Tamt. · Operngong · Beckenplatte [Der Solist rezitiert auch Laut-Gedichte von Sándor Weöres und Jayadeva.]).
$23.99
Armonica
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Orchestre
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Joerg Widmann
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II: Glsp
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Armonica
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Schott Music - Digital
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SheetMusicPlus
Orchestra - SKU: S9.Q23760 For Orchestra. Composed by Joerg Widmann. This edition: study score. Music Of Our Time. Downloadable, Study score. Dur...
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Orchestra - SKU: S9.Q23760 For Orchestra. Composed by Joerg Widmann. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 14 minutes. Schott Music - Digital #Q23760. Published by Schott Music - Digital (S9.Q23760). Mit seinem Orchesterwerk Armonica begibt sich Jörg Widmann auf die Suche nach der Harmonie. Klänge wie von einer Glasharmonika bestimmen Anfang und Ende des Stücks. In seinem Verlauf weitet sich das Werk Hinsichtlich der rhythmische, melodischen und dynamischen Differenzierung, als stelle es eine einzige, riesige Atembewegung dar oder: das Ein- und Ausatmen einer Ziehharmonika.1 · 2 · 2 · 2 - 2 · 2 · 0 · 0 - P. S. (I: Crot. · Beck. · Watergong · 2 Tamt.; II: Glsp. · Beck. · Watergong · 2 Tamt.; III: Vibr. · Beck. · chin. Beck. · Watergong · 2 Tamt. · Trgl.) - Glasharm. · Hfe. · Cel. · Akk. · Klav. - Str. (12 · 10 · 8 · 6 · 6).
$29.99
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Chor gefangener Trojer
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Hans Werner Henze
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Chor gefangener Trojer
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Schott Music - Digital
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SheetMusicPlus
2 Picc. · 1 · 2 (2. auch Engl. Hr.) · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 4 · 4 · 3 · 1 - P. S. (Trgl. · hg. Beck. · kl. T...
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2 Picc. · 1 · 2 (2. auch Engl. Hr.) · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 4 · 4 · 3 · 1 - P. S. (Trgl. · hg. Beck. · kl. Tr. · gr. Tr. · Xyl.) (3 Spieler) - Hfe. · Klav. - Str. mixed choir and large orchestra - SKU: S9.Q3144 Symphonic Movement from Goethe's Faust, II. Part, Act 3. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 15 minutes. Schott Music - Digital #Q3144. Published by Schott Music - Digital (S9.Q3144). German.
$23.99
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