Partitions Numériques de It's Just Another New Year's Eve pour Orchestre

Partitions numériques Accès après achat

Partitions
Gratuites
1

Partitions
Numériques
3

Vous avez sélectionné:

It's Just Another New Year's Eve
Orchestre

Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brotherâ€™s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthewâ€™s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holstâ€™s The Planets for themes that would portray Jupiter and Saturnâ€™s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holstâ€™s motives provide CONJUNCTIONâ€™s foundation I also used Handelâ€™s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020â€™s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturnâ€™s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiterâ€™s main hymn theme. Still, itâ€™s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.

Full Orchestra - Level 4 - Digital Download SKU: A0.1205401 Composed by Ben Clapton. Classical,Contemporary. Score and parts. 103 pages. Ben Clapton #803587. Published by Ben Clapton (A0.1205401). An Orchestral Fanfare, written for the Metropolitan Symphony Orchestra, Perth. 2 Flutes (2nd doubling Piccolo), 2 Oboes, 2 Bb Clarinet, 2 Bassoon, 4 French Horns, 2 Trumpets in Bb, 2 Trombones, 1 Tuba, 4 Percussion (Timpani, Bass Drum, Snare Drum, Cymbals), Harp, StringsComposer's notes:2022 was a year that sparked inspiration for me. I am not talking about just one spark either, but a series that beautifully led me to the creation of my piece. After seeing the 2022 MetSO program it was evident that it lightly using the Brass players, and I knew they were feeling a bit underutilised. Which sparked the first idea in my mind to write a piece that would take full advantage of their skills, and heavily use brass instruments. The program coincided with the 45th Anniversay of the Orchestra which started it life as the Karrinyup Symphony Orchestra. Rekindling the orchestraâ€™s relationship with the City of Stirling and returning to the City of Stirling as a rehearsal venue in 2023, was another spark of inspiration which led me towards the pieceâ€™s namingâ€¦ the â€˜Karrinyup Fanfareâ€™. The last spark of inspiration was a query inside my mind. The opening of the piece contrasts two somewhat conflicting meanings of the word Karrinyup. During an Aboriginal Studies unit, I discovered that Karrinyup is a Noongar word that translates to â€œthe place where there are spidersâ€. However, this differs from the City of Stirling official meaning of the name Karrinyup on the website. It states the word means â€œthe place where Kangaroos drinkâ€, possibly because it sounds much more pleasant and doesnâ€™t inspire the fear that spiders often do. It was this contrary interpretation of the word â€˜Karrinyupâ€™ which provided the final spark of inspiration I needed for this composition. You see, when you listen to the opening, the theme jumps up and down through the horns, and represents the Kangaroo â€“ Yongka. Whilst as the fanfare continues, you will notice the second theme â€“ the crawling strings represent the spider â€“ Kar. I hope you enjoy it as much as I did creating it. May it, and this new year, spark inspiration for you.

Full Orchestra - Level 4 - Digital Download SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classical,Contemporary,Film/TV. Score and Parts. 212 pages. Fajora Music #821876. Published by Fajora Music (A0.1225840). RAGING FURIES - Rasende FurienGoddesses of revenge - GÃ¶ttinnenn der RageConcert Piece for big orchestra - Score and PartsThe image of the raging furies as a topos has permeated the world of thoughts and images of mankind for thousands of years and has inspired and fascinated countless artists.This idea is also based on an emotional background, a violent, uncontrolled emotional outburst, a rage (Latin: furor, in the sense of frenzy, passion and madness, French: rage). The resulting affect action is described as rage or fury, combined with a state of mind of uncontrolled excitement in the sense of being beside oneself or out of one's senses.The personification of these affects was in Greek and Roman mythology with the trio of vengeance goddesses, the Erinyens (Latin furia) called: Alekto (the incessant, the never resting), Megaira (German: MegÃ¤re, the envious anger) and Tisiphone (the Vengeance avenging the murder, represented with a dog's head and bat's wings), and another, that of Nemesis (the reconciling justice). Already in antiquity they were depicted in sculptures, embossed on coins or immortalized as images on amphorae.They appear in all eras of fine arts, sometimes in female, male or androgynous form, e.g. as avenging angels, or as hybrid beings between humans and animals. Pictures by Albrecht DÃ¼rer, Hieronymus Bosch, Tizian, Peter Paul Rubens, William Hamilton, Johann Heinrich Fuessli, Franz von Stuck, Alfred Kubin, Salvador Dali, Francis Bacon, Yongbo Zhao and many others are proof of this.They found their way into the literature of Virgil (Aeneis), Dante (Divine Comedy) or John Milton (Paradise Lost). Goethe lets them appear in Faust II, Schiller (Die Kraniche des Ibykus) and many others refer to them directly or in a modified form, such as Kurt Tucholsky (Gripsholm Palace), Alfred DÃ¶blin (Berlin Alexanderplatz), Max Frisch (Homo Faber) or Jean-Paul Sartre (The Flies).In opera, they become an important element in highly dramatic scenes, especially on themes with a mythological or historical background, often also related to the underworld, as in Monteverdi (Il Ritorno d`Ulisse in Patria), Lully (Armide), Gluck (Orpheus and Euridice) or Purcell (Dido and Aeneas). Haendel dedicates an aria to them in Rinaldo, the Furie Terribili. Mozart also uses it in The Magic Flute, in his aria Der HÃ¶lle Rache by the Queen of the Night.Furies appear up to the present in various forms, in comics, fantasy novels, computer games, or kung fu films of the 70s (Furies on the yellow river). They are even popular as plastic children's toys, mostly in particularly frightening and creepy presentations (Matchbox/Fighting Furies or Warhammer/Erinnye). This remarkable history and reception inspired Rainer Fabich to create this new orchestral work from his MYThS series. PEGASUS - Ride on Wings, ULYSSES - PrÃ©lude to an Odyssey and THE AMONZS - Myth and Projection have already been released. As the title suggests, this is frantically wild music (Allegro molto vivace) that seems to run away, like an action film with fast motives and runs of strings and woodwinds, combined with strong accents of brass and massive percussion Set. Alternations of straight and asymmetrical beats illustrate erratic sequences of movement, as are typical of scenes with the highest intensity, especially in films (e.g. a chase). In the jazzy middle section, the furies calm down a little, before they pick up speed again in a bombastic third section and increase to the point of ecstasy.

Compositeurs