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1 Piano, 4 hands (2105)
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Voice solo (2035)
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Easy Piano (1652)
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Saxophone (1405)
Keyboard (1330)
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Lyrics and Chords (1168)
Trombone (1151)
Music Theory (1128)
Piano Trio: piano, violin, cel… (1075)
Viola (1073)
Guitare (982)
Melody line, (Lyrics) and Chor… (914)
Cello, Orchestra (872)
Recorder (856)
Harp (854)
French horn (841)
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Chant (793)
Viola, Piano (761)
Choral SSAA (758)
All Instruments (756)
High voice, Piano (756)
2 Pianos, 4 hands (714)
Tenor Saxophone (680)
Ensemble A Vent (670)
Medium voice, Piano (646)
Choral Unison (639)
Opera (634)
Oboe (623)
Oboe, Piano (duet) (609)
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Banjo (547)
Double Bass (546)
Flute and Guitar (527)
French Horn and Piano (522)
School Ensemble (517)
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Trombone and Piano (488)
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C Instruments (455)
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Soprano voice, Orchestra (433)
2 Guitars (duet) (424)
String Trio: violin, viola, ce… (412)
Biography (409)
Musical Awakening (397)
2 Flutes (duet) (385)
Percussion (385)
Saxophone and Piano (376)
Matériel D'Orchestre (373)
B Flat, E Flat, C and Bass cle… (370)
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Horn and Orchestra (360)
Descant (Soprano) Recorder (356)
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Baritone voice, Piano (345)
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Voice, Guitar (330)
Tuba (327)
Concert band, Choral (314)
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Tenor voice, Piano (290)
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Harpsichord (286)
Clarinet, Orchestra (285)
Tuba and Piano (282)
CD (267)
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Ensemble Instrumental et Petit… (265)
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2 Clarinets (duet) (258)
Mezzo-Soprano voice, Piano (253)
Double bass, Piano (duet) (252)
Piano Quintet: piano, 2 violin… (250)
Brass Quartet (242)
Piano, Voice, Guitar tablature… (241)
Choral SSAATTBB (237)
Partition de Poche (233)
Partition D'Orchestre In 16 Po… (232)
2 Cellos (duet) (231)
Treble (Alto) Recorder (229)
Guitar Ensemble (224)
Orgue Et Orchestre (220)
2 Saxophones (duet) (219)
Piano Accompaniment (217)
Oboe and Orchestra (212)
Musical dictation (212)
Travaux Pour Choeurs (210)
Voix et Orchestre (206)
:: (205)
Recorder Quartet (204)
Pocket, Study conductor (204)
Accessoire (202)
Violin, Cello (duet) (197)
Conducteur et Poche (191)
Eb Instruments (184)
Trumpet, Orchestra (184)
2 Recorders (duet) (181)
Soli (SATB), Choeur Mixte (SAT… (178)
Oboe, Clarinet, Bassoon (trio)… (178)
Tuba or Euphonium or Saxhorn (176)
Band Scores (174)
Stationery (171)
4 Guitars (Quartet) (170)
B Flat, E Flat and C Instrumen… (168)
Guitar, Orchestra (163)
Dulcimer (159)
Percussion Ensemble (158)
Trio (154)
Harp, Flute (duet) (153)
Recorder Ensemble (151)
Ensemble (151)
Symphonic Band (148)
Partition D'Orchestre (148)
Snare drums (148)
Flute Quartet: 4 flutes (146)
Viola and orchestra (145)
Flute ensemble (145)
Soprano voice (145)
Euphonium or Saxhorn and Piano… (144)
Guitare et Musique de Chambre (143)
Clarinet Quintet: Clarinet, St… (140)
Violin, Viola (duet) (138)
Nursery rhyme (134)
Tenor Saxophone and Piano (133)
Big Band (133)
Bassoon, Orchestra (131)
Percussion, Piano (duet) (131)
Flexible Instrumentation (131)
Choeur Mixte, Soprano et Orche… (127)
ENS::Ensemble (127)
Musique originale (124)
Quintette (124)
Children choir, Piano (124)
Flute Trio: 3 flutes (123)
Quintette à vent (121)
Trio à Cordes (121)
Clarinet Ensemble (121)
Brass Quartet: 4 trombones (118)
Concert Band/Harmonie (117)
Descent (Soprano) Recorder, Pi… (116)
2 Flutes, Piano (112)
DVD concert (111)
Carte Postale (110)
Clarinette et Orchestre (110)
Choral CD (110)
Trombone and Orchestra (107)
Violin, Guitar (duet) (107)
Clavecin (107)
Choeur Mixte et Orchestre (105)
String Quintet: 2 violins, 2 v… (103)
Voix et Instruments Divers (102)
Trio Avec Piano (101)
Plectrum Orchestra (101)
Recorder, Piano (100)
3 Guitars (trio) (100)
Educatif (100)
Mezzo-Soprano voice (100)
Euphonium, Piano (duet) (99)
Livret (99)
Pennywhistle (98)
Piano, Guitar (duet) (97)
Big Note Piano (97)
Clarinet, Cello, Piano (trio) (95)
Marimba (93)
2 Trumpets (duet) (93)
Flute, Basso continuo (92)
Organ, Trumpet (duet) (91)
Double bass, Orchestra (89)
3 Recorders (trio) (89)
String Trio: 2 violins, cello (89)
Bass Clef Instruments (88)
Percussions (88)
4 Euphoniums (87)
Alto et Orchestre (87)
Oboe, Violin, Viola and Violon… (86)
Flûte à Bec Alto ou Flûte T… (84)
Vocal duet, Piano (84)
Orchestre De Chambre (84)
Flute, Clarinet (duet) (84)
Guitare Electrique (83)
Trompette Et Orchestre (82)
2 Violons, Alto et Basse (82)
3 Clarinets (trio) (81)
Soli and Orchestra (80)
Saxophone ensemble (80)
Piccolo, Piano (80)
Flute, Cello, Piano (trio) (80)
Quintette à Cordes (80)
Chamber Music (79)
Tenor voice (79)
Choeur de Femmes (78)
Voice and Orchestra (78)
Low voice (77)
Treble (Alto) Recorder, Basso … (77)
Piano Quintet: piano, violin, … (77)
Accordéon et Orchestre (76)
4 Parties Mixtes (76)
Piano, Guitar (Chords) (75)
Solistes (SATB), Choeur Mixte … (75)
String Trio: 3 violins (75)
Treble (Alto) Recorder, Piano (74)
Fanfare Band (74)
Euphonium (73)
Orchestre (72)
Clavecin ou Harpe), 2 Violons … (72)
Violon 1 (6 parts) Violon 2 (6… (72)
Chant et Guitare (72)
Solistes SATB, Choeur SATB, Fl… (71)
Baritone voice (71)
Solistes SATB, Choeur SATB, 2 … (71)
Ensemble Mixte (71)
2 Violas (duet) (71)
Saxophone Ténor et Piano (71)
Vibraphone (70)
High voice (69)
Clarinet, Violin, Cello, Piano… (68)
Défilé et parade (68)
Ensemble à Cordes (68)
Scores (68)
2 Trombones (duet) (67)
Violin, Basso continuo (67)
Soprano (66)
Saxhorn and Piano (66)
Cornet and Orchestra (65)
Orchestres à Vent (65)
A Cappella (65)
Petit Ensemble Contemporain (64)
Woodwind Quintet (64)
Bass Clarinet (63)
Choral, Orchestra (63)
Harp, Orchestra (63)
Voix Mixtes (63)
Musique de film et télévisio… (62)
Cornet and Piano (61)
Mandoline, Cordes et Basse Con… (60)
Horn Ensemble (60)
4 Voix Mixtes (60)
Quatuor à Cordes ou Orchestre… (60)
5 Part Ensemble (60)
Violin, Clarinet, Piano (trio)… (59)
Solistes SATB, Choeur SATB, 2 … (59)
Flute, Oboe, Clarinet, Bassoon… (59)
2 Trumpets, Keyboard (piano or… (59)
Timpani (59)
Handbells (58)
Choeur SAM (58)
Dobro (57)
Accordion and Orchestra (57)
Chorale (57)
Baryton et Orchestre (57)
Saxophone en Mib et Piano (57)
Trombone or Euphonium (56)
Hautbois, Clarinette et Basson… (56)
Batterie et Percussions (56)
Brass Quartet: 2 trumpets, hor… (55)
2 Violins, Piano (55)
2 Violons, Alto, Violoncelle e… (55)
Lap Steel Guitar (54)
Choeur SATB, (4 Instruments, C… (54)
Choeur d'Enfants, Solistes, In… (53)
Choeurs (53)
Violon Principal, 2 Violons, 2… (52)
Flûte Traversière, Clarinett… (52)
Solistes SAT, Choeur SATB, 2 F… (52)
Bass Trombone and Piano (52)
1 Piano, 6 hands (52)
Diverses Formations (52)
2 Euphoniums et Piano ou Orgue… (51)
Orchestre Scolaire (51)
Voix et Orchestre à vent (51)
Clarinette et Orchestre à Ven… (51)
Lute (51)
Choeur et Orchestre (50)
Choeur SATB, 2 Flûtes Travers… (50)
Quatuor (48)
Variétés françaises (48)
2 Hautbois, 3 Trompettes, Timb… (48)
Xylophone or Marimba or Vibrap… (48)
Drums-Marching band (48)
Quintette de Cuivres (47)
Solistes STBB, Choeur SATTBB, … (47)
Viola, Cello (duet) (47)
3 Saxophones (trio) (47)
2 Violons et Orchestre (46)
2 Clarinets, Piano (46)
2 Cornets, Cor en Mib et Tuba (46)
2 Bassoons (duet) (45)
Libretto (45)
Orchestre de Chambre (Flûte … (44)
Marches militaires (44)
Guitar, String Quartet (44)
Trompette ou Cornet, Euphonium… (44)
Viola da Gamba (44)
4 Parties Solo Et Orchestre (43)
Solistes SATB, Choeur SATB, 4 … (43)
Solistes SATB, Choeur SATB, 2 … (43)
String quintet (43)
Solistes SATB, Choeur SATB, 2 … (43)
Cello Ensemble (43)
Saxophone Quintet: 5 Saxophone… (42)
Violon, Cordes et Basse Contin… (42)
Violin, Organ (42)
2 Euphoniums et Piano (42)
Livres (42)
Soprano Saxophone and Piano (42)
Voice, String Quartet (41)
Violon, Violoncelle Et Orchest… (41)
Medium Voice (41)
Brass Quartet: 4 trumpets (41)
Cello, Guitar (duet) (41)
4 Instruments à Cordes (4 Boi… (40)
Solistes SBar, Choeur SATB, 2 … (40)
Trompette ou Cornet, Cor en Mi… (40)
Soli (ATB), Choeur Mixte (SATB… (40)
4 Cellos (40)
Harp, Violin, Violoncello (40)
Trompette ou Cornet, Trombone … (40)
Piano et Orchestre (39)
Quintette avec Piano (39)
Soprano, Choeur Mixte (SATB), … (39)
Petit Orchestre (39)
Solistes SATB, Choeur SATB, Fl… (38)
Cajon (38)
Saxophone Baryton (38)
Ensemble Instrumental (38)
Piano, Bass, Drums (trio) (38)
Cornet (38)
Piccolo (38)
Solistes SATB, Choeur SATB, 2 … (37)
Orchestre à Cordes et Basse C… (37)
Musique de chambre (37)
Saxophone and Orchestra (37)
Harpsichord and Strings (37)
Trompette et Orchestre à Vent… (37)
String Quintet: 2 violins, vio… (37)
Choeur d'Enfants (37)
Voice, Organ (37)
Clarinet Quartet: Clarinet, Vi… (37)
Ensemble A 4 Parties (37)
2 Trombones, Piano (37)
Violon Solo, Violoncelle Solo,… (36)
Violon Principal, 2 Violons, A… (36)
Ensembles de Cordes et Piano (36)
Brass Trio (36)
Soliste, Double Choeur Mixte E… (35)
Quatuor A Cordes Et Orchestre … (35)
Flute, Clarinet, Piano (trio) (35)
Djembe (35)
Saxhorn or Euphonium (35)
3 Voix Egales (35)
Soprano, Piano (35)
Lyrics only (34)
Balalaika (34)
Orchestre D'Instruments A Plec… (34)
Choral SSATTB (34)
Recorder, Guitar (duet) (34)
Conga (34)
8 Voix (SATB Et SATB) Et Basse… (33)
5 Voix (SSATB) et Basse Contin… (33)
Soprano Saxophone (33)
Clavier ou Orgue Electronique (33)
Solistes SATB, Choeur SATB, 2 … (33)
Solistes SATB, Choeur SATB, Ha… (33)
Soli (STB), Choeur Mixte (SATB… (33)
String Quintet: 2 violins, vio… (33)
Choeur SSATB, 2 Flûtes Traver… (32)
2 Violons, Violoncelle Et Orch… (32)
Choeur en 8 Parties (SATB-SATB… (32)
Brass Quartet: 2 trumpets, 2 t… (32)
Concert Band ou Harmonie et Ba… (32)
Trombone et Orchestre à Vent (32)
Orchestre D'Harmonie avec Soli… (32)
Pop music (32)
Flûte Traversière et Cordes (32)
Solo S, Choeur SATB, 2 Flûtes… (32)
String Quartet : 4 violas (32)
Choeur SS (B) ou SA (B), 2 Vio… (32)
Cello, String Bass (duet) (32)
Ensemble Divers (32)
Chanson (32)
4 Voix Mixtes a Cappella (32)
Choeur SSATTB, (6 Instruments,… (31)
Violoncello, Basso continuo (31)
Flûte à Bec Alto et Basse Co… (31)
Flûte Traversière, Hautbois,… (31)
Cor en Fa (31)
Partition D'Orchestre In 8 (31)
Batterie-Fanfare (30)
Flûte Traversière ou Flûte … (30)
Electric bass, Drums (30)
Violoncelle et Orchestre de Ch… (30)
4 Tubas (2 Euphoniums et 2 Tub… (30)
Trumpet ensemble (30)
Tuba and Orchestra (30)
Euphonium and Orchestra (30)
Trombone Et Orchestre (30)
2 French horns (duet) (30)
Trio (2 Soli Avec Réduction D… (30)
Piano Trio: Violin, Viola, Pia… (29)
Solistes SST, Choeur SSAATB, 2… (29)
2 Violons, Violoncelle et Bass… (29)
Drum set and Piano (29)
5 Recorders (29)
3 Trombones (trio) (29)
2 Saxophones, Piano (29)
Choeur de Femmes (SMezA) (29)
Flute Quartet: Flute, Violin, … (29)
Ocarina (29)
Book (29)
Percussions Diverses (29)
Guitare (Fingerpick) (29)
3 Trumpets (trio) (29)
Harpe, Violon et Violoncelle A… (28)
Flûte Traversièreou Piccolo,… (28)
Flûte Traversière Violon et … (28)
Violon, Alto, Guitare et Violo… (28)
2 Violons, Violoncelle Et Orch… (28)
Opéra (28)
Baritone Saxophone (28)
2 Hautbois, 2 Clarinettes, 2 B… (28)
Clavier Electronique et Ligne … (28)
Accordion - Piano, Voice, Guit… (28)
Cor, Euphonium et Piano ou Org… (28)
Guitare Tablatures Flatpick et… (28)
Flûte à Bec, Guitare et Musi… (28)
Flûte Traversière Alto et Gu… (28)
Descant (Soprano) Recorder, Ba… (28)
Cello, Organ (28)
Livre Musical (28)
Xylophone (28)
Flûte Traversière, Hautbois,… (27)
2 Choeurs Mixtes (SATB Et SATB… (27)
Solistes STTBB, Choeur SATB, 2… (27)
Vocal duet (27)
Choeur SATB, 2 Trompettes, 2 T… (27)
2 Trompettes (duo) (27)
Solistes SATB, Choeur SATB, 2 … (27)
Voix et Orff-Instruments (27)
Violin, Horn and Piano (27)
2 French horns, Piano (27)
Clarinette, Alto et Piano (27)
Guitare Flatpick et Plectre (27)
Choeur Mixte a Cappella (27)
Solistes SATB, Choeur SATB, 2 … (27)
Concert Band ou Harmonie et Cl… (26)
Solistes SST, Choeur SATB, 2 F… (26)
Petit Choeur SATB, Contrebasse… (26)
Solistes SATB, Choeur SATB, Tr… (26)
Solistes STBar, Choeur SATB, 2… (26)
Bagpipe (26)
SATB, (4 InstrumentS Basse et … (26)
String trio (26)
Trumpet, Trombone (duet) (26)
Musique Légère (26)
Mezzo-Soprano et Orchestre (26)
Saxophone Alto et Orchestre à… (26)
Solistes SBar, Choeur SSATB, 2… (25)
Solistes SATB, Choeur SATB/SAT… (25)
2 Hautbois Et Orchestre (25)
Choeur SATB/SATB, (8 Instrumen… (25)
Choeur Mixte (SATTB/SATTB), So… (25)
Tout Instrument (25)
Choeur SATB, 2 Violons, Alto e… (25)
2 Violins and Basso (25)
2 Pianos et Orchestre (25)
Soprano, Basse, Choeur Mixte e… (25)
Instruments à Vent (25)
Trompette, Cordes Et Basse Con… (25)
CD only (25)
Choeur de Femmes (SSA) et Pian… (25)
Chorale d'Enfants et Piano (25)
Choeur Mixte (SSATBB) (25)
2 Clarinettes, 2 Violons, Orgu… (24)
Petit Choeur SATB, 2 ViolonSBa… (24)
Flûte Traversière Et Orchest… (24)
2 Hautbois, 2 Cors, 2 Clarinet… (24)
Clarinette et Quatuor à Corde… (24)
Quartette Pour Flûtes à Bec … (24)
Hautbois (Flûte), Violon, Alt… (24)
Quatuor à Cordes et Guitare (24)
Trompette, Instruments à Cord… (24)
Solistes SATBB, Choeur SATB, 2… (24)
Basson, 2 Violons, 2 Altos et … (24)
Solistes SATB, Choeur SATB, 2 … (24)
Quatuor à Cordes et Basse Con… (24)
Hautbois, Basson et Piano ou O… (24)
Flûte Traversière Violoncell… (24)
Flûte Traversière, Clarinett… (24)
Solistes SATTB, Choeur SSATTBB… (24)
String Trio: 2 violins, viola (24)
Marches de concert (24)
Soli (T (Evangelist), B (Jesus… (24)
Solistes ATB, Choeur SATB, Fl… (24)
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...Le Ciel, Tout A L'Heure Encore Si Limpide, Soudain Se Trouble Horriblement... (JARRELL MICHAEL)
Français
Orchestra
[Sheet music]
Lemoine, Henry
Par JARRELL MICHAEL. De la nature... du musical Michael Jarrell, né en 1958, e...
(+)
Par JARRELL MICHAEL. De la nature... du musical Michael Jarrell, né en 1958, est l'un des compositeurs les plus en vue de sa génération. Dans une démarche toute personnelle, qui ne s'est inféodée à aucun mouvement, et dans une quête intérieure inlassablement poursuivie, il a opéré une synthèse de l'héritage des musiques d'après-guerre dont il a extrait certaines caractéristiques techniques pour les mettre au service d'une véritable poétique musicale. En effet, contrairement à ses aînés, il explore moins le langage pour lui-même, faisant des nouvelles techniques le lieu d'une mutation dans la pensée musicale, qu'il ne cherche à le mettre au service de l'expression. Aussi se méfie-t-il d'une conceptualisation excessive, et de l'utopie dont l'oeuvre serait porteuse, préférant mettre en valeur les vertus d'un artisanat qu'il enseigne par ailleurs à Vienne et à Genève, ainsi que lors de nombreux séminaires à travers l'Europe. Ses oeuvres, facilement identifiables dans l'abondante production contemporaine, sont toutes liées les unes aux autres, non seulement par une certaine forme de sensibilité, leur tonalité propre, mais aussi par la récurrence de certains traits que Jarrell retravaille dans des contextes différents. Il s'est ainsi très tôt constitué un univers qu'il ne cesse de remodeler, visant moins l'originalité apparente de chacune des pièces qu'un déplacement constant des perspectives dans lesquelles les mêmes idées, en elles, peuvent être appréhendées. 'Cent fois sur le métier...' voilà quelle pourrait être sa devise. On trouve ainsi dans chacune de ses oeuvres quelque chose de familier qui acquiert en même temps une certaine étrangeté, sentiment qui constitue peut-être un élément essentiel de son expressivité. La musique de Jarrell arpente les régions du rêve et de l'irréalité, à la recherche de son moment de vérité, souvent situé dans les sonorités les plus graves et tes plus lentes, là où le temps, ailleurs agité, s'immobilise. C'est peut-être ce qui confère à sa musique une forme de tendresse inséparable de la beauté sonore, allant jusqu'à un esthétisme raffiné, loin des recherches extrêmes et des formulations autoritaires. Chez lui, même les techniques instrumentales les plus inhabituelles, ou les sonorités électroniques, auxquelles il a souvent recours, sont rapatriées dans un monde sensible emprunt de pureté où ce sont les qualités expressives qui dominent. Celles-ci ne renvoient pas forcément au moi du compositeur, qui tend au contraire à s'effacer, mais davantage à l'essence même du musical, au phénomène en soi, porteur d'une présence singulière au monde. On retrouve de telles qualités dans sa dernière oeuvre, ...Le ciel, tout à l'heure si limpide, soudain se trouble horriblement..., commandée par l'Orchestre de la Suisse Romande. Elle fait appel à un grand orchestre symphonique standard: 3 flûtes (dont alto et piccolo, 2 hautbois et cor anglais, 2 clarinettes et clarinette basse, 2 bassons et contrebasson, 4 cors, 3 trompettes, 3 trombones, tuba, harpe, timbales, 4 percussions (vibraphone, glockenspiel, cloches tubes, cymbales, bongos, tam-tam, grosse caisse, temple blocks, tom grave, spring coils, triangle, mark tree) et cordes. Malgré un titre qui pourrait sous-entendre un élément programmatique, l'oeuvre appartient à la catégorie de la musique pure. L'orchestre y est traité de façon conventionnelle, mais avec une virtuosité d'écriture, un raffinement dans la sonorité qui exige beaucoup de ses interprètes. D'un seul tenant, l'oeuvre se divise en quatre parties principales d'inégale longueur, les deux premières étant plus importantes que les deux suivantes: la première est constituée d'un continuum de notes rapides réparties entre les cordes et Les bois, tandis que les trompettes, doublées par différents instruments, lancent une figure d'appel incisive qui s'allonge progressivement. L'écriture est d'une grande virtuosité, les figurations en triples croches passant d'un instrument ou d'un groupe à un autre. Les notes rapides se figent une première fois dans des oscillations jouées notamment par les cordes divisées, puis à travers des notes répétées qui traversent toute la texture orchestrale. Après un passage intermédiaire privilégiant les sons graves, l'écriture vive reprend jusqu'à un sommet dramatique marqué par des trilles, aussitôt suivi d'une désintégration qui mène à la seconde partie. Celle-ci débute avec des quintes jouées par les cordes graves divisées et colorées par les percussions (les contrebasses, qui doivent modifier leur accord, jouent des sons harmoniques). La musique semble vouloir repartir d'un point originel, elle se réinvente à partir d'une structure élémentaire, dans une extrême douceur. L'impétuosité du début laisse place à une grande délicatesse des sonorités. C'est un trait que l'on retrouve dans de nombreuses pièces de Jarrell: après l'effervescence d'une écriture brillante, agitée, nerveuse, que l'auditeur suit dans sa course folle, vient un moment réflexif et profond, qui nécessite une réorientation de l'écoule, une plongée dans la nature même du phénomène sonore. La trame qui se déploie dans un tempo lent offre ainsi une autre image de la sonorité orchestrale, comme si une musique des origines, au caractère de litanie, était soudain dévoilée sous la couche éclatante du début. Elle donne le sentiment d'avoir commencé bien avant son moment d'apparition, comme si elle provenait des couches profondes de la conscience, d'une mémoire archaïque. D'ailleurs, Jarrell réélabore ici un passage d'une pièce antérieure, Music for a While, lui reprenant son matériau de base. Le sentiment de profondeur est dû au formidable ralentissement du temps, qui nous met soudainement en apesanteur, mais aussi à une forme en spirale, qui tranche avec la musique directionnelle qui précédait. L'effet que provoque la distance sensible entre de tels contrastes est onirique: on ne sait plus si la première partie, qui nous échappe en se projetant vers l'avant, n'était qu'une forme illusoire, ou si nous entrons, avec la partie lente, dans une sorte de rêve éveillé. Un passage central, dans cette seconde partie, s'organise autour de guirlandes sonores à la harpe et aux cloches que tout l'orchestre remplit de sonorités suaves. Les arpèges descendants des vents doublés par des pizzicatos de cordes, que transpercent des notes répétées aux trompettes et aux cors, dans un climat encore doux, annoncent la reprise du mouvement frénétique. Mais cette fois, ce sont moins des figures virevoltantes qui passent à travers les pupitres que des blocs de notes joués par la masse des instruments: des figures qui s'élancent vers le haut aboutissent à des notes répétées, en une forme d'antiphonie, et mènent à un sommet d'intensité. Après quoi, en guise de coda, une quatrième partie nous conduit à une fin mourante: l'harmonie se fige, les polyrythmes annulent toute sensation de mesure, les longues tenues des instruments graves chutent chromatiquement, les percussions jouant des figures rituelles, en résonance, jusqu'à l'immobilité finale. Le titre de la pièce provient de Lucrèce (De la nature). Il n'a pas de signification structurelle immédiate, comme souvent chez Jarrell, mais exprime en quelques mots l'idée qui avait présidé au morceau. Le trouble s'apparente ici à une forme d'étrangeté, à quelque chose d'inquiétant qui n'apparaît pas de façon narrative, tel un vent d'orage dans un ciel serein, mais comme l'essence même de l'articulation formelle entre deux types d'écriture, deux types d'expression qui exigent des temporalités opposées l'une à l'autre. La soudaineté, c'est le renversement entre les deux. Pourtant, on retrouve un même noyau entre les parties vives et les parties lentes, la quinte jouant dans les deux cas un rôle structurel, et le mib apparaissant comme une note polaire (toute la musique de Jarrell est aimantée par des pôles qui orientent l'écoute). Si le passage du limpide au trouble se traduit par la sonorité orchestrale, par le maniement très sensible des timbres qui provient en grande part de la tradition orchestrale française, il se manifeste aussi par des figures qui évitent tout profil thématique, toute forme mélodique au sens traditionnel du terme, et qui composent la texture. L'auditeur a directement à faire avec la matière sonore. Et celle-ci est composée de part en part. L'adjectif poétique vient à l'esprit pour définir une invention qui s'écarte aussi bien des formes illustratives que des constructions schématiques, et qui repose essentiellement sur l'organisation des hauteurs au détriment des effets, des sonorités bruiteuses ou des gestes iconoclastes. Et malgré les passages brillants, malgré les explosions sonores toujours maîtrisées et un maniement virtuose de l'orchestre, cette poétique révèle un caractère fondamental plutôt intimiste. Philippe Albèra / contemporain / Répertoire / Orchestre
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In The Shadow Of The Bat: Orchestra: Score
Orchestra
Wilhelm Hansen
In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels M...
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In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels Marthinsen (2009). Programme note: In the Shadow of the Bat is a triple concerto for three trombones and orchestra inspired by Batman and his enemies The Joker Two-Face and The Penguin. A central idea of modern versions of the Batman myth is that the batman is created by the fantastic villains that he fights and they are created by him - and that Batman is driven by revenge and hate barely held in check by an intense sense of justice. Batman represents 'the dark side' while the villains are hyper-imaginative colourful creative caracters who happen to be completely insane. The rivalry between soloists and orchestra is anything but friendly: The three soloists represent one villain each the orchestra 'is' the batman - and while the villains take centre stage during most of the concerto they are eventually overwhelmed by the sheer power of the orchestra and sent where they belong: The lunatic's asylum. The concerto begins with the creation of the batman: An eight year old boy persuades his parents to leave an opera performance before it is over; outside in an alley they are shot and killed by a criminal while the boy watches. And he decides that all criminals must be punished! Then follows the Villaineuos Fugue: a multi-part fugue-like exposition of villain motives and stylistic environments. It is the exposition of the joker (alto trombone) two-face (tenor trombone) and the penguin (bass trombone). And after a brief and very slow interlude where the three criminals form an alliance and make their plans the Toccata of Crime begins: Bright fast moving highly energetic expansive and colourful music still dominated by the soloists. But later the orchestra moves to centre stage with slow omnious swooping bat-music that climaxes as the soloists are defeated by the orchestra. In the Shadow of the Bat is commissioned
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Witold Lutoslawski: Trois Poemes D'henri Michaux: Orchestra: Instrumental Work
Orchestra
[Sheet music]
Chester
Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first perfo...
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Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choirand an orchestra similar to that of the Symphony of Psalms though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first and only then did he choose the threepoems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat with its onomatopoeic invented words dates form the 1920s; the other two texts which are more philosophic than pictorial form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will bemore useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony which brass sforzandi punctuate with increasing frequency frames the beginning and end of Pens?es. Afterthe choir?s first unaccompanied passage the woodwind have a staccato section over which the female voices singing downward glissandi are superimposed (?Ombre de mondes infimes??). Then the woodwind and both pianos join in alapping ostinato which illustrates the text of the next forte choir entry ?Pens?es la nage merveilleuse?? The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of agamelan-like ensemble of vibraphone c?leste harp and pianos.
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Kongen Af Himmelby - Demo: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopia...
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Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopiaville-Demo is commissioned by Finn Schumacker for The Odense Symphony Orchestra. Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied up in a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focus is on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to me to start making orchestral excerpts from my operas that are meant to be played before the premiere (and after please); I call them 'operatrailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and more appetizer-ish. The Utopiaville-Demo is a fast-and-furious cinemascope 3D THX-demo for my chamber opera 'The King ofUtopiaville' which is sort of a mix between a reversed revolutionary opera (reversed because it's about a revolutionthat flops) and a rhythm'n blues theatre concert. The opera takes place on the remote tropical island of Honga-Tonga where a mayor form Europe is taking a much needed holiday as far away as possible from his home town Utopiaville. The mayor desperately needs to get away:He has overstepped his authority blatantly and broken every rule of law he felt like in order to create a modern liberalistic society where sanitation medicare hospitals schools the police and all other public institutions are sold to private investors and then leased back by the public - that way noone will ever have to pay taxes because everything finances itself the mayor says and in order to keep reality at a safe distance he drinks massive amounts of insanely expensive french claret all in the best interest of the inhabitants of Utopiaville of course.Honga Tonga can't get any further away from Waikiki Beach: It looks something like the 1933 version of
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Snehvides Spejl - Operatrailer: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Composer's Program Note Repertoire operas occationally have orchestral suites: B...
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Composer's Program Note Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied upin a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focusis on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to meto start making orchestral excerpts from my operas that are meant to be played before the premiere (andafter please); I call them 'opera trailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and moreappetizer-ish. SNOW WHITE'S MIRROR is a full scale two act dramatic opera written for the Danish National Opera. The opera is a modern re-telling for grown-ups of the brothers Grimm's fairy tale: Snow White is a self-centered teenage narcissist and the villain of the opera; she ends up loosing everyone but herself either because she kills them or because they decide they can't stand being around her anymore. But apparently she's o.k. with that...The music is intended for a large audience: it's basically pop music done with all the craftmanship of aclassical composer who's equally at home with large scale symphonic form avantgarde technique opera singing - and modern pop. The Trailer is in three movements. It contains three sections of the opera; the prelude an interlude close to the beginning of the second act and the final scene but one. It's a gloomy sort of trailer starting out in grand title sequence style moving on to a decidedly odd piece where Snow White find her way to the dwarfs (who're creepy junkies doing pornography to get money to buy dope) and ending in kind of an eerie rejection mood: Everyone still alive walks out on Snow White singing 'skin as white as snow hands red with blood soul as black as ivory'.(NM 2010)
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Small Pieces Composed In Homage To The Saxon Court
Orchestra
Schott
Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented...
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Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Score
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Lord Berners: A Wedding Bouquet (Full Score): Orchestra: Score
Orchestra
[Sheet music]
Chester
A Wedding Bouquet was the idea of Lord Berners who wanted Frederick Ashton to m...
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A Wedding Bouquet was the idea of Lord Berners who wanted Frederick Ashton to make a ballet pantomime out of one of Gertrude Stein's plays and who both wrote the music and designed the 'decor' and costumes. The name ofthe play was 'They must be Wedded to Their Wife' but this was thought too long for advertising and was changed to A Wedding Bouquet. Lord Berners went to visit Gertrude Stein in Bilignin and she liked the idea and he foundin her house a carpet which gave him the pattern for the backcloth for the ballet.The ballet was first spoken of as a choral ballet and the opera chorus did sing or chant the words at the early performances but it was entirelyunlike any other choral ballet before or since. The words explained the action introduced the characters made utterly irrelevant comments worked themselves into a frenzied rhythmical accompaniment or injected on occasional aptphrase that devastated dancers and audience alike. Not all of the words have ever been really intelligible but gradually the audience got to know certain phrases by heart and the ballet has a devoted public although inevitably ithas always been a rather special one and to this day there are people who detest the whole affair don't 'understand' it and think it an absurd waste of time and talent.
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Joseph Haydn: Symphony D major Hob. I:96: Orchestra: Study Score
Orchestra
[Score]
G. Henle
The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s s...
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The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s symphonic ?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity ?The Miracle? was bestowed erroneously for the miracle ? that no one was injured when a chandelier fell during a concert ? took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s symphonic ?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity ?The Miracle? was bestowed erroneously for the miracle ? that no one was injured when a chandelier fell during a concert ? took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
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Hans Abrahamsen: Four Pieces For Orchestra: Orchestra: Score
Orchestra
Wilhelm Hansen
Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programm...
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Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject
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Hans Werner Henze: Scorribanda Sinfonica: Orchestra: Score
Orchestra
[Sheet music]
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Intermediate/advanced
Chester
Composer's Notes:This piece written during the winter months of 2000-2001 cons...
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Composer's Notes:This piece written during the winter months of 2000-2001 consists of one movement Allegro con fuoco in which an old score is revisited raided and ravished by its composer. The earlier music hadbeen written in the mid-fifties for a stage work Maratona di Danza and for its maker the director Luchino Visconti.Elements from the older piece reappear on and off like shadows under the surface of new ones like more orless vague memories images of young people suffering pain and despair in their struggle for survival in a barbaric pitiless modern world.My new composition is a kind of concerto for very large symphony orchestra an étude onconstant and often rapid musical changes of mood and colours built on a variety of rhythmic figures incessantly and brutally pushing the music ahead. Sometimes it is as though voices are weeping sometimes crying out loud withpain with anxiety under the cold hearted pressure of an overwhelming violence. Hans Werner Henze Commissioned on the occasion of the 50th anniversary of das neue werk Hamburg. Premiered on 29th June 2001. Duration 15minutes.
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Michael Nyman: The Prologue to Dido and Aeneas: Orchestra: Score
Orchestra
[Score]
Chester
Full Score-Nyman's 2011 The Prologue to ‘Dido and Aeneas’ is a prolo...
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Full Score-Nyman's 2011 The Prologue to ‘Dido and Aeneas’ is a prologue to Henry Purcell's opera on a libretto by Nahum Tate. The libretto is based on Book IV of Virgil's Aeneid. It recountsthe love of Dido Queen of Carthage for the Trojan hero Aeneas and her despair when he abandons her. This edition of the work is scored for SATB String section and Harpsichord.
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Per Nørgård: Symphony No. 6 'At The End Of Day': Orchestra: Score
Orchestra
Wilhelm Hansen
Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Pro...
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Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day” (New Testament 2 Peter 3:8) My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000. The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ... This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute). The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation. Without a break follows the third and last passage in a
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Picnic At Hanging Rock: Orchestra: Score
Orchestra
Wilhelm Hansen
Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byströ...
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Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byström (2010). Programme Note ”What we see and what we seem are but a dream a dream within a dream” – These words opens Peter Wier’s film on Joan Lindsay’s novel Picnic at Hanging Rock from 1967. The story takes place on Valentines Day 1900. A group of school girls go on a picnic at Hanging Rock in Australia and get caught up in a volcanic eruption. Three of the girls disappear without a trace – as if they where swallowed up by the mountain. Inspiredby Peter Weir’s poetic and many layered film I have composed a tone poem – with the emphasis on poem – or poetry – as opposed to programme music. Disappearance is an important motif. The piece is a series of disappearances and transformations – one after another. At the end you can hear how the sound of the orchestra disappears in a swarm of clanging triangles – a way of picturing the girls disappearing into the mountain. I have tried to catch several other of the characteristics of the film: The school girls in their white dresses the dangerous yet alluring mountain where the watches mysteriously stop at 12 the spell that makes the girls climb higher and higher and – at the end – the unanswered hesitant question: what really did happen? Britta Byström
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Ludwig van Beethoven: Overture no. 3 for the Opera Leonore (1806): Orchestra:
Orchestra
G. Henle
For his only opera Leonore/Fidelio Beethoven wrote four overtures in total. Chr...
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For his only opera Leonore/Fidelio Beethoven wrote four overtures in total. Chronologically the so-called Leonore Overture no. 3 is the second of the series and perhaps the most performed of all Beethoven?s overtures. During his own lifetime it was heard not only in the theatre but also in concert thereby establishing with the Coriolan and Egmont overtures the new genre of the concert overture. Recognised around the middle of the nineteenth century as a masterpiece it went on to become the ?declared favourite of all orchestras ? as Beethoven biographer Anton Schindler testifies. It now appears as astudy score based on the musical text of the Beethoven Complete Edition with its own specially prepared foreword.
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Poul Ruders: Handel Variations: Orchestra: Score
Orchestra
[Sheet music]
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Intermediate/advanced
Wilhelm Hansen
Poul Ruders' Handel Variations for Orchestra (2009) -Ninety Symphonic Reflection...
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Poul Ruders' Handel Variations for Orchestra (2009) -Ninety Symphonic Reflections on Eight Bars by Georg Friedrich Handel.Commissioned by and dedicated to the Aarhus Symphony Orchestra in celebration of their 75th anniversary 2010. Premiered by The Aarhus Symphony Orchestra conducted by Giancarlo Andretta at the Aarhus Concert Hall 14 January 2010. Programme noteThe short feisty Bourrée from Handel´s famous Water Music (First Suite in F major) has for some years been hovering at the back of my mind as possessing the perfectpotential for a series of variations. Not unlike the short 'morsel' by Henry Purcell (the witches Ho-ho-ho-chorus from the opera Dido and Aeneas) which kicks off the ten variations of my orchestral work Concerto in Pieces the music per se is not particularly interesting but it nevertheless grows on you and is difficult to get rid of. It is merely a handful of sequences (a technique much used in the Baroque era - a method in which the same motif is being shifted up and down in a specified order). Actually it is only the first eight bars of the Bourrée which I haul through the wringer.It would be obvious to assume that Handel Variations make up a sequel to Concerto in Pieces but in spite of the similarity in character between the two chosen themes the Handel Variations are far more symphonically coherent. There are no less than ninety (!) variations and each variation (they are relatively short ranging from four up to forty-something bars) runs seamlessly into the next creating a huge symphonic body of constantly changing colours. I set out with the original theme without interfering but the 'erosion' begins to gnaw away at the theme already from the first variation. Imagine a vast gallery of Handel portraits in which Georg Friedrich appears at first fully recognizable but then the 'disfiguration' sets in and
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Michael Nyman: The Prologue To Dido And Aeneas: Opera: Vocal Score
Orchestra
[Vocal Score]
Chester
Vocal Score-Nyman's 2011 The Prologue to ‘Dido and Aeneas’ is a prol...
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Vocal Score-Nyman's 2011 The Prologue to ‘Dido and Aeneas’ is a prologue to Henry Purcell's opera on a libretto by Nahum Tate. The libretto is based on Book IV of Virgil's Aeneid. It recountsthe love of Dido Queen of Carthage for the Trojan hero Aeneas and her despair when he abandons her. This edition of the work is scored for SATB with Piano reduction.
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Poul Ruders: Corona - The Solar Triology No. 3: Orchestra: Score
Orchestra
Wilhelm Hansen
Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 19...
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Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 1995.Programme note:CORONA makes the final part of the SOLAR-TRILOGY a huge symphonic triptych about the life and behavior of the Sun. The first'panel' GONG depicts the birth life and final collapse of our nearest star the second ZENITH describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. CORONA then is a symphonic 'portrait' of the phenomenally hot whispy brim encircling and radiating from the Sun a sizzling halo of electrons and photons visible only during a total eclipse. Formally CORONAfollows the process of such totality in progress:the gradual eclipsing by the Moon - total darkness with thefierce sparkling outer corona - the gradual 'rebirth' of the light toward the full gl.ory and warmth of the Sun.Besides the obvious astronomical narrative of the SOLAR-TRILOGY there's a metaphysical angle too underlying each of the three compositions: GONG in spite of its apparent energy may be the most pessimistic of them all epitomizing the death and ultimate annihilation of the prime source of Life itself. ZENITH is a hommage to human aspiration and spiritual endurance and CORONA ends with Hope and Glory after a journey from depression throughtotal despair. Super-structurally the zenith of ZENITH makes the zenith of the entire trilogy i.e. when the E- flat of the unisone horns in ZENITH is heard we are exactly halfway through the collected work.Poul Ruders
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Hector Berlioz: Symphonie Fantastique Op. 14: Facsimile
Orchestra
[Facsimile]
-
Advanced
Barenreiter
Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France-Facsi...
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Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France-Facsimile of the autograph score held in the Bibliothèque nationale de FranceDocumenta musicologica II/532920 pp. of facsimile and 12 pp. of Commentary (Eng/Ger/French)Half-leather binding Love and insanity tenderness and vulgarity bordering on the grotesque: Hector Berlioz never avoided extremes neither in his life nor in his oeuvre. His entire Symphonie fantastique is pervaded by a musical ?idée fixe? representing a woman he adored. The symphony brought about his breakthrough and has remained popular ever since. The impact of his masterly approach to composition especially in the treatment of theorchestration could still be felt in the 20th century. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score which was also used for performances by pasting strips of paper over the bars or parts in question. This facsimile edition in high-quality four-colour reproduction presents the manuscript as it is today ? with strips of paper that can be folded out making both versions visible. Hugh Macdonald General Editor of the New Berlioz Edition explains the work?s genesis and presents particular passages from each movement.
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Poul Ruders: Final Nightshade - An Adagio Of The Night: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fish...
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Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be
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Helen Grime: Everyone Sang: Orchestra: Score
Orchestra
[Partitions]
Chester
Everyone Sang was composed by Scottish composer Helen Grime in 2010. It was comm...
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Everyone Sang was composed by Scottish composer Helen Grime in 2010. It was commissioned by BBC Radio 3 for the 75th anniversary of the BBC Scottish Symphony Orchestra. It was first performed at CityHall Candleriggs Glasgow in December 2010 and is arranged for Orchestra. When composing this piece Grime states that she imagined the Orchestra as many individual voices that were capableof producing a unified melody but also breaking off into separate strands of song. Since it was composed as a commemoration for the BBC Scottish Symphony Orchestra Grime wished to emphasise the Orchestra as a grand unified whole as well as their individual sections and sounds. The piece unifies the orchestra with a sense of celebration and elation as well as a sense of melancholy making it apt that the pieceis named after a poem by Siegfried Sassoon.
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The Symphony: From Mannheim to Mahler
Orchestra
[Book]
Faber Music Limited
Par . The Symphony: From Mannheim to Mahler is a fascinating and accessible guid...
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Par . The Symphony: From Mannheim to Mahler is a fascinating and accessible guide that considers the development of the symphony from a number of different perspectives: analytical, historical, and critical. Exploring important milestones, touchpoints, events, key works, and the composers that surround the genre, it also includes a composer timeline, detailed case studies and comprehensive music examples. This handy and informative book is ideal for GCSE, A-Level, and undergraduate music students, as well as anyone wanting to study and learn more about the genre. Christopher Tarrant is Lecturer in Music Analysis at Newcastle University. He received his PhD from Royal Holloway, University of London and now teaches and writes about concert music of the long nineteenth century with a special emphasis on theory of form and the Nordic symphony. Christopher is also a violinist and conductor. Natalie Wild is Director of Research and Deputy Director of Music at the Music in Secondary Schools Trust (MiSST). Her research focuses on the role a classical music education can play in breaking down social barriers. Natalie has taught both GCSE and A-Level Music for many years as Head of Music in various inner-city schools. / Date parution : 2022-05-17/ Livre / Orchestre
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Richard Strauss: Der Zweikampf [The Duel] (1884): Orchestra: Score and Parts
Orchestra
Spartan Press
o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centr...
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o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss. We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of 'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead. In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old. We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction. In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript. He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds. The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the
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Per Nørgård: Voyage Into The Golden Screen: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Voyage Into the Golden Screen for Chamber Orchestra is a complex experimental w...
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Voyage Into the Golden Screen for Chamber Orchestra is a complex experimental work by Danish composer Per Nørgård that has been of elemental important in the composer's work. In the 1960's Nørgård claims to have discovered rather than invented a series of notes he calls 'the infinity series' rather like a twelve-tone series but infinite generative fractal and without the rhythmic and other confines of the true serialists. In Voyage the instruments are microtonally and individually retuned to create an aural space between half-steps. Voyage was the first work in which Nørgård put the infinity series at the centre of the work. Voyage Into The Golden Screen is awork in two movements. The slow-moving layers create aural intensity in the first part while the second movement explores more minimalist textures. Together they create an elemental sound experiment just one element of this composer's monumental creativity and originality.
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No other people (BARRY GERALD)
Orchestra
[Study Score / Miniature]
Schott
for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Ray...
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for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods. In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original. I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings. There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo. They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing. Something of this is in the music.' Gerald Barry, 2009/ Répertoire / Orchestre
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Peter Maxwell Davies: The Turn Of The Tide: Orchestra: Miniature Score
Orchestra
[Sheet music]
Chester
The task: to write a piece that could involve children as players singers and c...
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The task: to write a piece that could involve children as players singers and composers alongside a professional symphony or chamber orchestra. The solution: a peace-cry for the biosphere in which the collaborative nature of theenterprise is a metaphor for a wished-for human enlightenment to the ways of the natural world. Davies provides five musical elements and five ways of development and uses these to illustrate five branches of life on earth:water-plants trees fish birds and mammals (including man). There is a space for answers from children's instrumental groups and then a larger space in which the children can develop the given ideas perhaps with members of theorchestra. Davies returns as composer to depict through an excess of development creation turned sour. Finally everyone comes together with a unison hymn with orchestra and instrumental groups celebrating the turn of thetide.This work for young instrumentalists children's chorus and orchestra was commissioned by the Association of British Orchestras as the centrepiece of an education project which coincided with the implementation of theNational Curriculum for music in schools in England and Wales echoing similar developments in Scotland and Northern Ireland.Score. Duration c. 25mins.
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Helen Grime: Virga: Orchestra: Score
Orchestra
Chester
Virga is precipitation that falls from a cloud but evaporates before it reaches ...
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Virga is precipitation that falls from a cloud but evaporates before it reaches the ground. It can produce rather dramatic and beautiful scenes especially during a sunset.Helen Grime'sVirga was ommissioned by the London Symphony Orchestra in partnership with UBS as part of the UBS Soundscapes: Pioneers series. First performed by the London Symphony Orchestra in July 2007 at BarbicanHall London conducted by Yan Pascal Tortelier.Parts are available on hire from the publisher.
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Søren Nils Eichberg: Morpheus: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Søren Nils Eichberg's Morpheus - Concerto for Orchestra (2013). Commissioned by...
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Søren Nils Eichberg's Morpheus - Concerto for Orchestra (2013). Commissioned by The Danish National Symphony Orchestra / DR. Parts are available on hire: hire@ewh.dk Programme note Morpheus in the Greek mythology is the most powerful of the Oneroi the gods of dreams. He is the one who sends us our dreams and he may appear to us within the dreams in disguise. Analogous to the logic of dreams in Morpheus everything is interwoven as chains of associations appear to logically lead us from one line of thought to another. Everything seems strangelyfamiliar. But the logic is treacherous and we already feel it may only be valid within the dream. Nothing that appears similar is actually ever really the same. Half awakening we struggle to hold on to a vanishing world we felt we were on the verge of understanding but which we already know will eventually escape us when we fully awake. Everything remains a mystery until the end. The seven movements/dreamscapes are: Vortex Trees and Walls Escher (Toccata) Crystal Into the Cloud Non-Euclid Arctica
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The European Anthem (BEETHOVEN LUDWIG VAN)
Orchestra
[Score]
Schott
Music from the last movement of the Ninth Symphony. Par BEETHOVEN LUDWIG VAN. Th...
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Music from the last movement of the Ninth Symphony. Par BEETHOVEN LUDWIG VAN. The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823. In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers – a vision Beethoven shared with him. In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions – for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for. In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity. The score of this offical anthem is exclusively available from the Schott publishing house./ Répertoire / Orchestre
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Kbm 14/15 Bischöfliche Zentralbibliothek Regensburg - Die Liturgika Der Proskschen Musikabteilung
Français
Orchestra
G. Henle
Mit einem Anhang der handschriftlichen Gesangbücher aus den Signaturengruppen K...
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Mit einem Anhang der handschriftlichen Gesangbücher aus den Signaturengruppen Kk und Kp / Orchestre
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John Luther Adams: Become Ocean: Orchestra: Score
Orchestra
Chester
Full Score-John Luther Adams' Become Ocean for Orchestra (Full score) 'Become O...
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Full Score-John Luther Adams' Become Ocean for Orchestra (Full score) 'Become OceanOver the years my orchestral music has become simpler and more expansive. Clouds of Forgetting Clouds of Unknowing (1991-95) contains four different musical textures. In the WhiteSilence (1998) has three. For Lou Harrison (2002) reduces this to just two. In Dark Waves (2007) I finally got to one. When Ifirst heard that piece I began to wonder if I could sustain asimilar sound for a longer span of time. The result is Become Ocean a meditation on the vast deep and mysterious tides of existence.Thetitle is borrowed from a mesostic verse that John Cage wrote in honor of Lou Harrison's birthday. Likening Harrison's music to a river in delta Cage writes: LiStening to it we becOme oceaN. Lifeon this earth first emerged from the sea. And as the polar ice melts and sea level rises we humans find ourselves facing the prospect that once again we may quite literally become ocean.' – John Luther Adams
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