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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
First impression
Non classifié
104
Piano & claviers
Piano seul
91
Piano, Voix
10
Orgue
7
Piano Facile
5
Piano Trio: piano, violon, violoncelle
5
Piano, Voix et Guitare
1
1 Piano, 4 mains
1
+ 2 instrumentations
Retracter
Guitares
Guitare notes et tablatures
9
Guitare
4
Ukulele
2
Ligne De Mélodie, (Paroles) et Accords
1
Voix
Chorale SATB
6
Chorale 3 parties
4
Chorale TTBB
2
Chorale SSAA
1
Voix Soprano, Orchestre
1
Vents
Flûte traversière et Piano
26
Clarinette et Piano
26
Hautbois, Piano (duo)
17
Saxophone Alto et Piano
15
Quatuor de Flûtes : 4 flûtes
5
Flûte traversière
5
Quatuor de Clarinettes: 4 clarinettes
4
Flûte, Hautbois, Clarinette, Basson
4
Saxophone Baryton, Piano
3
2 Saxophones (duo)
3
2 Hautbois (duo)
3
Saxophone Soprano et Piano
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Quatuor de Saxophones: 4 saxophones
3
Saxophone Tenor et Piano
2
Ensemble de Flûtes
2
2 Clarinettes (duo)
2
2 Flûtes traversières (duo)
1
Clarinette, Basson (duo)
1
Hautbois, Basson (duo)
1
Clarinette, Trompette (duo)
1
Flûte, Violon, Piano
1
Clarinette
1
Flûte, Violon
1
Quintette de Flûte : 5 flûtes
1
Trio de Flûtes: 3 flûtes
1
Flûte, alto et harpe
1
Quintette de Saxophone: 5 saxophones
1
Flûte, Violoncelle
1
Hautbois, Clarinette (duo)
1
+ 25 instrumentations
Retracter
Cuivres
Cor et Piano
21
Trompette, Piano
21
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
11
Trompette
6
Trombone et Piano
4
Ensemble de Trompettes
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
2 Trombones (duo)
3
Tuba
2
2 Trompettes (duo)
2
Ensemble de Cors
1
Clarinette, Cor (duo)
1
2 Tubas (duo)
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
+ 9 instrumentations
Retracter
Cordes
Violon et Piano
32
Alto, Piano
32
Violoncelle, Piano
24
Quatuor à cordes: 2 violons, alto, violoncelle
13
2 Violons (duo)
3
Violon, Violoncelle (duo)
3
Violon
3
Harpe
3
Trio à Cordes: violon, alto, violoncelle
2
Alto (partie séparée)
1
Violon, Alto (duo)
1
2 Violoncelles (duo)
1
Violon, Clarinette, Piano (trio)
1
Alto, Violoncelle (duo)
1
Alto seul
1
Harpe, Violon (duo)
1
Contrebasse, Piano (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Harpe, Flûte (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violoncelle
1
+ 16 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
92
Orchestre
19
Ensemble de cuivres
7
Orchestre à Cordes
6
Ensemble Jazz
5
Vibraphone
3
Orchestre de chambre
3
Marimba
2
Piano et Orchestre
1
Xylophone
1
2 Marimbas
1
Orchestre, Violon
1
Batterie
1
Cloches
1
+ 9 instrumentations
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Autres
Instruments
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BASSE
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CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
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METHODE : TECHNIQUES
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OPERA
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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1
THE GREAT WALL CONCERTO For Piano & Orchestra
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Orchestre
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AVANCÉ
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ROBERT VAN HORNE
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THE GREAT WALL CONCERTO For Pi
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White Piano International Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1316174 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Classical,Contemporary,Film/TV,Multicultural,Romantic Period,World....
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Full Orchestra - Level 5 - SKU: A0.1316174 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Classical,Contemporary,Film/TV,Multicultural,Romantic Period,World. 175 pages. White Piano International Publishing #904561. Published by White Piano International Publishing (A0.1316174). THE GREAT WALL CONCERTO for Piano & Orchestra by ROBERT VAN HORNE175 PagesPiano & Full Orchestra – AdvancedConductor Score & All Instrumental Parts IncludedApprox. Duration 13 minutes; 30 secondsComposing THE GREAT WALL CONCERTO for Piano & Orchestra was a journey of inspiration, passion, and deep personal connection for me. Having traveled to China, I was most impressed with seeing the Great Wall. Years later, I composed a musical work for piano and orchestra - a creative and classic concerto that captures the Great Wall's grandeur and majestic attraction.My first visit to the Great Wall of China was in 1983 while engaged as a pianist onboard a cruise ship that sailed the waters of Asia. My first impression seeing the Great Wall and the scenic landscape surrounding it, was one of awe and amazement.At that time, I did not realize the lasting effect this memorable attraction would have on me. Inspired and motivated by several cherished Chinese excursions to the Great Wall during my cruise ship engagement, I began the monumental task of scoring music for piano and orchestra several years later. An excerpt from 2008 Music Teacher of California Magazine review states “…The Great Wall Concerto is pleasant to listen to and has a retro 1940’s movie soundtrack mood about it - Rachmaninoff style chords against melodies in the strings...Listening to this piece, I imagined a film starring Joan Fontaine and Claude Rains as star crossed lovers fleeing their respective spouses on a visit to China.â€After many years of offering the score directly to Music Directors around the world, I am now publishing THE GREAT WALL CONCERTO with Sheet Music Plus and Sheet Music Direct.THE GREAT WALL CONCERTO is an ideal work for professional, semi-professional, pops, college and university orchestras as well as community orchestras. It can be added to any concert program featuring a guest piano soloist, and a violinist or erhu soloist.The Conductor’s Score and all Instrumental Parts are legibly notated with phrasing, dynamics, accents, and musical word descriptions. All the individual instrument parts have easy page turns with large readable scores.This 2006 recording of THE GREAT WALL CONCERTO is for demo purposes only. Except for the piano, all other instruments are digital samples. This recording does not include all the instrumental parts being heard. THE GREAT WALL CONCERTO arrangement for Two Pianos, Four Hands is also available and published by White Piano International Publishing. Robert Van Horne is a member of ASCAP.Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com
$59.99
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Lily Park - I. Wind Bell
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Orchestre
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INTERMÉDIAIRE
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Yoonjee Kim
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Lily Park - I. Wind Bell
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Yoonjee Kim
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1022807 Composed by Yoonjee Kim. Contemporary,World. Score and parts. 4 pages. Yoonjee Kim #3417623. Published by Yoo...
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Full Orchestra - Level 3 - SKU: A0.1022807 Composed by Yoonjee Kim. Contemporary,World. Score and parts. 4 pages. Yoonjee Kim #3417623. Published by Yoonjee Kim (A0.1022807). Lily Park consists of three movements entitled Wind Bell, Goblin Lights, and Rock of Ages. The three movements are based on my personal impression of the cemetery, Lily Park, where all my grandparents are buried. The first movement, the shortest in duration, is slow and calm. It is introductory in quality, and expresses the pictorial impression of the cemetery by using various tone colors. This movement utilizes mixed instrumental consorts to project the concept of moderation and serenity. There is a close connection between the first movement and the last movement, as both features a wind-bell sound, a variety of percussion instruments, and slow tempi. The first movement focuses on the external appearance of the cemetery such as the quiet atmosphere, the wind, and the sound of bell ringing. The third movement represents the mental and emotional aspects of grief, memory of the funerals and reminiscent of my grandparents. The second movement is an imaginary night scene. For thousands of years, Korean have believed that goblins roam the tombs at night and are visible as blue and red lights. The movement is fast, busy and somewhat bizarre and whimsical, depicting the motion of the goblin lights. This contrasts with other two movements, thus the overall form becomes an arch shape. In addition, only the second movement is sectionalized by three different musical ideas while the first and the last movements are through composed with a single idea.I. Wind BellThe first movement expresses the general images of the cemetery; calm atmosphere, blowing wind, clean air, and a wide green field. The place is so quiet that the only the wind-bell ringing as the wind blows can be heard. In order to depict the wind-bell sound along with other optic and aural images, I create various tone colors by using various instrumental combinations in different transpositions and registrations.
$17.00
Lily Park - II. Goblin Lights
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Orchestre
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Yoonjee Kim
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Lily Park - II. Goblin Lights
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Yoonjee Kim
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SheetMusicPlus
Full Orchestra - SKU: A0.1022809 Composed by Yoonjee Kim. Contemporary,World. Score and parts. 16 pages. Yoonjee Kim #3417625. Published by Yoonjee Kim ...
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Full Orchestra - SKU: A0.1022809 Composed by Yoonjee Kim. Contemporary,World. Score and parts. 16 pages. Yoonjee Kim #3417625. Published by Yoonjee Kim (A0.1022809). Lily Park consists of three movements entitled Wind Bell, Goblin Lights, and Rock of Ages. The three movements are based on my personal impression of the cemetery, Lily Park, where all my grandparents are buried. The first movement, the shortest in duration, is slow and calm. It is introductory in quality, and expresses the pictorial impression of the cemetery by using various tone colors. This movement utilizes mixed instrumental consorts to project the concept of moderation and serenity. There is a close connection between the first movement and the last movement, as both features a wind-bell sound, a variety of percussion instruments, and slow tempi. The first movement focuses on the external appearance of the cemetery such as the quiet atmosphere, the wind, and the sound of bell ringing. The third movement represents the mental and emotional aspects of grief, memory of the funerals and reminiscent of my grandparents. The second movement is an imaginary night scene. For thousands of years, Korean have believed that goblins roam the tombs at night and are visible as blue and red lights. The movement is fast, busy and somewhat bizarre and whimsical, depicting the motion of the goblin lights. This contrasts with other two movements, thus the overall form becomes an arch shape. In addition, only the second movement is sectionalized by three different musical ideas while the first and the last movements are through composed with a single idea.II. Goblin Lights
$17.00
Easy On Me
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Orchestre
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FACILE
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Adele
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Paul Lorenz
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Easy On Me
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Paul Lorenz
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.1494427 By Adele. By Adele Adkins and Greg Kurstin. Arranged by Paul Lorenz. Broadway,Classical,Musical/Show,Pop,Rock...
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Full Orchestra - Level 2 - SKU: A0.1494427 By Adele. By Adele Adkins and Greg Kurstin. Arranged by Paul Lorenz. Broadway,Classical,Musical/Show,Pop,Rock,Soul. 39 pages. Paul Lorenz #1071020. Published by Paul Lorenz (A0.1494427). Adele Easy On Me Orchestral Version by Paul Lorenz – Sheet Music for a Breathtaking Crossover Masterpiece Discover the extraordinary orchestral arrangement of Adele’s iconic hit Easy On Me by the renowned composer and arranger Paul Lorenz. This exclusive sheet music offers musicians and ensembles the chance to perform a piece that blends the emotional depth of Adele’s original song with the grandeur and sophistication of a full orchestra. Whether you are a professional musician or part of an ensemble, this sheet music is designed to elevate your performance and captivate your audience. A Unique Orchestral Experience Paul Lorenz, known for his collaborations with the London Symphony Orchestra, has created a version of Easy On Me that is both powerful and moving. The arrangement captures the soul of Adele’s lyrics and melodies while introducing rich, orchestral textures that add a new dimension to the song. This sheet music allows you to bring that same majestic sound to your own performances, whether in a concert hall, studio, or classroom setting. What You’ll Find in This Sheet Music Complete Orchestral Score: The sheet music includes a full score, meticulously arranged to ensure that every instrument shines. Each part is crafted with precision, allowing musicians to deliver a flawless performance.Individual Parts for All Instruments: From strings to woodwinds, brass, and percussion, every section of the orchestra is represented. The individual parts are easy to follow, making it simple for musicians of all levels to perform together.Detailed Performance Notes: Paul Lorenz has included insights and tips on how to best bring out the emotion and dynamics of the piece. These notes are invaluable for conductors and musicians looking to deliver a performance that resonates with their audience. Why Choose Paul Lorenz’s Orchestral Arrangement? This sheet music is more than just notes on a page; it’s a gateway to an unforgettable musical experience. Paul Lorenz’s arrangement of Easy On Me has been praised for its innovative approach to orchestral music, combining classical techniques with contemporary elements. By choosing this sheet music, you’re not only adding a stunning piece to your repertoire but also embracing a composition that bridges the gap between pop and classical music. Perfect for Concerts, Recitals, and Special Performances This orchestral version of Easy On Me is ideal for a wide range of performances. Whether you’re planning a concert, a recital, or a special event, this piece will leave a lasting impression on your audience. Its universal appeal makes it suitable for diverse audiences, ensuring that everyone in attendance will be moved by the performance. Get Your Copy Today Don’t miss out on the opportunity to perform this beautiful and powerful orchestral arrangement of Easy On Me. Purchase your copy of Paul Lorenz’s sheet music today and take the first step towards an unforgettable performance. Available in digital and print formats, this sheet music is ready to be part of your next musical journey.
$149.90
Dance of the Sugar Plum Fairy - Orchestral Version (Full Score and Parts)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Classique
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Peter Ilyich Tchaikovsky
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César Madeira
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Dance of the Sugar Plum Fairy
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Sheet Music To Play Editions
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1179925 Composed by Peter Ilyich Tchaikovsky. Arranged by César Madeira. Children,Christmas,Film/TV,Opera,Romantic...
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Full Orchestra - Level 3 - SKU: A0.1179925 Composed by Peter Ilyich Tchaikovsky. Arranged by César Madeira. Children,Christmas,Film/TV,Opera,Romantic Period. Score and Parts. 33 pages. Sheet Music To Play Editions #779872. Published by Sheet Music To Play Editions (A0.1179925). Dance of the Sugar Plum Fairy from The Nutcracker Suite Op.71a. The Orchestral Version. With Full Score and Individual Parts. Enjoy it!Pyotr Ilyich Tchaikovsky (1840 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music would make a lasting impression internationally.For Tutorials, Play Alongs or request New Arrangements, visit my YouTube Channel: Sheet Music To Play
$19.99
Elegy for Solo Clarinet and Orchestra
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Orchestre
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INTERMÉDIAIRE
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Joel Jacklich
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Elegy for Solo Clarinet and Or
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Joel Jacklich
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.723172 Composed by Joel Jacklich. Concert,Contemporary. Score and parts. 63 pages. Joel Jacklich #6228003. Published ...
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Full Orchestra - Level 3 - SKU: A0.723172 Composed by Joel Jacklich. Concert,Contemporary. Score and parts. 63 pages. Joel Jacklich #6228003. Published by Joel Jacklich (A0.723172). This is the orchestral version of Elegy. Commissioned by Mitch Sturman in memory of our mutual friend, composer John B. Edmondson (1933-2016). Mr. Sturman had commissioned new works for the Wilson Jr. H. S. Warrior Band in El Centro, CA for nine years for annual Concerts of Premieres. John B. Edmondson, one of America's leading composers of educational music, with over 800 compositions and arrangements in his catalog, had been commissioned by Mitch seven times for new works, including his last ever composition, Imperial County Impressions performed in May, 2016, prior to Mr. Sturman's retirement in June, 2016. The first commission John had made for Mitch was his Serenade for Solo Clarinet and Band. Mitch felt it would be a fitting tribute for me to compose a work also for solo clarinet and band. This was composed for a memorial tribute concert for John B. Edmondson at Wilson Junior High School on April 6, 2017, where the seven pieces commissioned for the Wilson Band would be performed. The solo clarinet, first clarinet, and first trumpet require moderately experienced players to play the parts musically. All the rest of the parts are easily handled by a typical junior high school band or orchesra.
$40.00
Concerto in Bb Major for Double Bass and Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Robert E
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Concerto in Bb Major for Doubl
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R. E. Proctor
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102...
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Full Orchestra - Level 4 - SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102129. Published by R. E. Proctor (A0.809714). A concerto for Double Bass and orchestra in the traditional fast - slow – fast concerto format. While not overly challenging for the bass soloist, it does explore, to a degree, the upper reaches of the instrument as well as sounding the beautiful low range. The first movement is that might be called Neo – Classical, opening with an 8-measure solo in a Largo or slow tempo. The tempo then changes to Allegro (fast) for the balance of the movement. The movement ends as it began with the double bass playing alone. The second movement is a jazz waltz. In 9/8, it opens with the soloist playing pizzicato against a rhythmic cord progression. The bass and cello sections pick this up to provide a ground upon which the balance of the movement is played over. The second movement is in the relative minor of Bb which is G minor. A haunting melody is introduced by the bass and doubled by the strings. This melody is replayed by various instruments as the Bass Soloist plays variations on this theme. The harp and the bass solo end the movement. The third movement leans toward French Impressionism. This movement is Andantino; however, it is a spirited. Written in cut time, where the half note equals 92 beats per minute. The melody is introduced by the woodwinds with the harp accompanying. The strings and brass join in as the woodwinds repeat the melody. Finally, the bass solo takes charge of the melody using it as a theme and variation. The harp is used extensively in this concerto providing harmonic, melodic, and rhythmic support for the bass. Written in 2015, the concerto is a new work, however, it is not experimental music. It uses the standard orchestral instruments playing in the standard fashion. It is replete with modern harmonic sounds and chord progressions. As concerto's go, this one is not overly difficult providing the bassist with a starting point as a soloist. It does require the soloist to have some mastery over the instrument as the music traverses most of the instrument’s range. Performance time is approximately 13 minutes and 10 seconds.
$19.95
Elegy Sentimentale for Orchestra
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Orchestre
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Keith Terrett
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Elegy Sentimentale for Orchest
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Keith Terrett
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SheetMusicPlus
Full Orchestra - SKU: A0.746748 Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terrett (A0.746748)....
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Full Orchestra - SKU: A0.746748 Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terrett (A0.746748). ere at last is my ’’Elegy sentimentale’’ for orchestra, and my first original composition (opus 1), for full symphony orchestra.I hope it makes an excellent piece for amateur and professional orchestras alike; with some challenging and interesting string, woodwind and brass writing for all.I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.A Supreme Work of Art!The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.Gerald Manning
$30.00
Albeniz/Leytush – “La Vega”, (The Alhambra)
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Orchestre
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AVANCÉ
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Classique
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Isaac Albeniz
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A
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Albeniz/Leytush – &ldquo
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1076412 Composed by Isaac Albeniz. Arranged by A. Leytush. 20th Century. Score and parts. 96 pages. Arkady Leytush #6...
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Full Orchestra - Level 5 - SKU: A0.1076412 Composed by Isaac Albeniz. Arranged by A. Leytush. 20th Century. Score and parts. 96 pages. Arkady Leytush #680568. Published by Arkady Leytush (A0.1076412). Orchestra: Piccolo, Flute, Oboe, English Horn, Clarinet in B flat, Soprano Saxophone, Bass Clarinet, 2 Bassoons, 4 Horns in F, 2 Trumpets in B flat, 2 Trombones, Bass Trombone, Tuba, Timpani, Percussion: Triangle, Castanets, Maracas, Snare drum, Cymbals, Gong, Tam-tam, Bass drum, Harp and Strings. - Advanced Intermediate - Composed by Isaac Albeniz (1860-1909). Arranged by Arkady Leytush. Romantic Period, Impressionistic, Repertoire, European. 96 pages. Published by Arkady Leytush (S0.616185). Item Number: S0.616185 The composition of La Vega completed in 1897. It is interesting to note that Albeniz almost completely abandoned the composition of piano works after La Vega, although his fame was mainly focused on the works for this instrument. Although La Vega was planned as part of a cycle of melodies written on poems by his patron Money-Coutts and was therefore used as an independent piece of an orchestra suite, this work was originally composed for piano. According to the autographed dating found on the last page of the manuscript, Albeniz finished La Vega at first on January 26, 1897 in Auteuil, in a Paris neighborhood. In the course of the following weeks, decided to make profound changes. He deleted the last five pages of the Vega, added six at the beginning and composed a different ending of seven more pages. This revision ended in Paris on February 14, 1897, and Albeniz wrote down on the last page: La Alhambra, symphonic suite on poems by F. B. Money-Coutts: nº 1: La Vega. La Vega is an evocation of the Granada plains on the edge of the city, a musical reflection, as the composer put it, contemplated from the Alhambra Palace. Claude Debussy, on hearing Albeniz play the piece, enthusiastically told him of his wish to immediately go and discover Granada.
$60.00
The Cross Kirk and the lang walk
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Orchestre
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INTERMÉDIAIRE
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Graham Hamilton
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The Cross Kirk and the lang wa
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Hambone Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1440683 By Graham Hamilton. By Graham Hamilton. Classical,Contest,Festival,Film/TV,Historic,Traditional. 103 pages. H...
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Full Orchestra - Level 3 - SKU: A0.1440683 By Graham Hamilton. By Graham Hamilton. Classical,Contest,Festival,Film/TV,Historic,Traditional. 103 pages. Hambone Music #1020661. Published by Hambone Music (A0.1440683). A dramatic film-type composition capturing the journey of a novice monk during 15th Century Scotland. For orchestras of an intermediate standard. Ahaunting french horn solo is followed by a dramatic trek utilising the whole orchestra to the end where the horn to round the piece off.Inspired by an old ruined church in my town called the 'Cross Kirk' the history of which can be found here: https://www.britainexpress.co.uk/attr... Part 1 (0 - 2:24) It is around the year 1650. A novice monk awakes from his slumber to the echoes of prayers and holy chanting coming through the cloisters. After he rises, he readies the oxen for a trek down the St. Andrews Road to the nearby satellite site of the priory - the site of the modern day St Andrew's cemetery. Part 2 (2:26 -3:37) It is an arduous trek over a muddy, rocky, unprepared track with heavy carts, with oxen straining to pull the load. They stop for a breather (3:09) and the impressive vistas are observed and the flag at 'Auld Neidpath' is just visible, reflected in the noble theme between the arduous oxen trekking theme. Part 3 (3:37 - 6:02) The caravan starts to speed up; the oxen being startled by the sounds of fanfare trumpets coming from behind - a brave group of knights have broken through English lines and speed towards Neidpath to reinforce the besieged occupants. As they pass the wagon train, the fanfares get louder until the party reach the head of the train (4:30) where the lead Knight halts to show piety to the Hieromonk who blesses him and his knights (4:55). The novice looks on awe-inspired at the brave knights, with noble faces, resplendent in shining armour, with banners flapping in the wind. (5:02) No time to stop! The knights remount and continue on, the fanfares trailing off into the distance. The wagon train slows down having reached its destination. Part 4 (6:03 - 8:12) The novice is back at the priory, reflecting on seeing knights for the first time (receiving their blessing); their nobility and bravery impressed upon him and retires to his cell for the evening, the evening prayers and chants again echoing through the cloisters (6:30). As he closes his eyes, his mind returns to the knights and a smile crosses his face (8:01) as he gently drifts off to sleep, as the final bell of the day tolls.
$49.99
Ikarus - Score Only
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Orchestre
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AVANCÉ
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Contemporain
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Benedikt Brydern
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Ikarus - Score Only
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ConSordino Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.751143 Composed by Benedikt Brydern. 20th Century,Contemporary. Score and parts. 25 pages. ConSordino Music Publishin...
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Full Orchestra - Level 5 - SKU: A0.751143 Composed by Benedikt Brydern. 20th Century,Contemporary. Score and parts. 25 pages. ConSordino Music Publishing #4633239. Published by ConSordino Music Publishing (A0.751143). Ikarus started life as a composition for 9 solo string instruments but soon grew into a fully orchestrated piece. On one hand it tells the classic story of Ikarus who, ignoring the warnings of his father, flew too close to the sun and died. On the other hand it pays homage to the inventiveness of the human spirit and embraces mankind’s ability, through the creation of complicated machines, to achieve more than our mortal bodies would allow.The music starts softly with Ikarus preparing for his take-off. Slowly the huge wings unfold and the piece lifts off with a majestic theme/motif. The nervous sixteen notes in the string section symbolize the constant flow of air and motion needed by Ikarus to fly.The joy of movement is mirrored by the cellos and bassoons, gliding in and out of the orchestra. Sounds of birds, clouds and impressions of earth from above are represented by various short melodic or rhythmic fragments throughout the first phase of his flight.Slowly the intensity and excitement builds until we are completely swept away and have lost all sense of reason or danger. Then, in the climax of the composition, Ikarus and his wings crash to the ground and the orchestra brakes down with him, loosing feather after feather until all has been destroyed. After this violent moment, the compositions quiets down gradually and reflects on the failure of Ikarus.Performed and recorded by Robert Ian Winstin and the Kiev Philharmonicon July 14, 2005Orchestral Material for Performance available as Rental Only.
$17.99
Hark! the Herald-Angels Sing (Letter Format)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Felix Bartholdy Mendelssohn
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Sandstone Music
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Hark! the Herald-Angels Sing
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Sandstone Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.978434 Composed by Felix Bartholdy Mendelssohn. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sac...
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Full Orchestra - Level 4 - SKU: A0.978434 Composed by Felix Bartholdy Mendelssohn. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 48 pages. Sandstone Music #6057731. Published by Sandstone Music (A0.978434). The latest publication in the Sandstone Epic Christmas Collection, this new arrangement of 'Hark! the Herald-Angels Sing' is for full orchestra when you want to impress the audience! Including all three verses of this carol, this arrangement is suitable for choirs and / or audiences to sing along to. A brand new fanfare between verses 2 and 3 has been included, as well as a brand new descant. If your choir or audience wish to sing the standard David Willcocks choral parts in the first two verses, or his descant in the third verse, these will also fit with this arrangement.Christmas carols for full orchestra are virtually impossible to find, so the Sandstone Epic Christmas Collection solves this problem. Suitable for use by churches, schools, colleges and universities as well as amateur and professional orchestras, these arrangements add a new interest to existing well-known and well-loved carols, meaning you can include them in your Christmas programme for your choir or for audience participation.
$79.99
Oh Come All Ye Faithful (Adeste Fideles) (Letter Format)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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John Francis Wade
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Sandstone Music
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Oh Come All Ye Faithful
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Sandstone Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.978432 Composed by John Francis Wade. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sacred. Score...
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Full Orchestra - Level 4 - SKU: A0.978432 Composed by John Francis Wade. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 51 pages. Sandstone Music #6057721. Published by Sandstone Music (A0.978432). The first publication in the new Sandstone Epic Christmas Collection, this new arrangement of 'Oh Come, All Ye Faithful' is for full orchestra when you want to impress the audience! Including three verses of this carol, this arrangement is suitable for choirs and / or audiences to sing along to. A brand new fanfare opening has been included, as well as links between verses so the tempo can continue. If your choir or audience wish to sing the standard David Willcocks descant in the third verse ('Sing choirs of angels'), this will fit with this arrangement. If more verses are required, verse 2 can be easily repeated.Christmas carols for full orchestra are virtually impossible to find, so the Sandstone Epic Christmas Collection solves this problem. Suitable for use by churches, schools, colleges and universities as well as amateur and professional orchestras, these arrangements add a new interest to existing well-known and well-loved carols, meaning you can include them in your Christmas programme for your choir or for audience participation.
$79.99
Oh Come All Ye Faithful (Adeste Fideles) (A4 Format)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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John Francis Wade
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Sandstone Music
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Oh Come All Ye Faithful
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Sandstone Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.978433 Composed by John Francis Wade. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sacred. Score...
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Full Orchestra - Level 4 - SKU: A0.978433 Composed by John Francis Wade. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 53 pages. Sandstone Music #6057723. Published by Sandstone Music (A0.978433). The first publication in the new Sandstone Epic Christmas Collection, this new arrangement of 'Oh Come, All Ye Faithful' is for full orchestra when you want to impress the audience! Including three verses of this carol, this arrangement is suitable for choirs and / or audiences to sing along to. A brand new fanfare opening has been included, as well as links between verses so the tempo can continue. If your choir or audience wish to sing the standard David Willcocks descant in the third verse ('Sing choirs of angels'), this will fit with this arrangement. If more verses are required, verse 2 can be easily repeated.Christmas carols for full orchestra are virtually impossible to find, so the Sandstone Epic Christmas Collection solves this problem. Suitable for use by churches, schools, colleges and universities as well as amateur and professional orchestras, these arrangements add a new interest to existing well-known and well-loved carols, meaning you can include them in your Christmas programme for your choir or for audience participation.
$79.99
Hark! the Herald-Angels Sing (A4 Format)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Felix Bartholdy Mendelssohn
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Sandstone Music
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Hark! the Herald-Angels Sing
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Sandstone Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.978435 Composed by Felix Bartholdy Mendelssohn. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sac...
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Full Orchestra - Level 4 - SKU: A0.978435 Composed by Felix Bartholdy Mendelssohn. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 48 pages. Sandstone Music #6057735. Published by Sandstone Music (A0.978435). The latest publication in the Sandstone Epic Christmas Collection, this new arrangement of 'Hark! the Herald-Angels Sing' is for full orchestra when you want to impress the audience! Including all three verses of this carol, this arrangement is suitable for choirs and / or audiences to sing along to. A brand new fanfare between verses 2 and 3 has been included, as well as a brand new descant. If your choir or audience wish to sing the standard David Willcocks choral parts in the first two verses, or his descant in the third verse, these will also fit with this arrangement.Christmas carols for full orchestra are virtually impossible to find, so the Sandstone Epic Christmas Collection solves this problem. Suitable for use by churches, schools, colleges and universities as well as amateur and professional orchestras, these arrangements add a new interest to existing well-known and well-loved carols, meaning you can include them in your Christmas programme for your choir or for audience participation.
$79.99
Melodies
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Orchestre
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Contemporain
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Gyorgy Ligeti
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Melodies
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Schott Music - Digital
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SheetMusicPlus
Orchestra - Composed by Gyorgy Ligeti (1923-2006). This edition: study score. Music Of Our Time. Downloadable. Duration 12 minutes. Schott Music - D...
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Orchestra - Composed by Gyorgy Ligeti (1923-2006). This edition: study score. Music Of Our Time. Downloadable. Duration 12 minutes. Schott Music - Digital #Q23904. Published by Schott Music - Digital
I composed the orchestral piece Melodien in 1971. I tried to loosen up the dense micropolyphony of my musical language, to make it more transparent. Basically, I stayed true to my earlier style: the musical form unfolds like a stretched fabric in the continuously flowing time, but the individual voices no longer merge (as in my earlier music), rather they can be heard individually in their overlapping and interweaving . The voices become individual melodies, with their own style, their own tempo, rhythm and interval structure. If you listen to the work for the first time, it appears as a chaos of discrepant melodies - but if you know the music better, the internal connections become tangible, the hidden harmonic skeleton of the form becomes tangible. (Gyorgy Ligeti)
This facsimile edition offers an impressive access to the composer's work. A study score in modern notation is also available.
$22.99
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