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Giuseppe Verdi: Forza Del Destino Ouverture: Orchestra: Miniature Score
Orchestra
Eulenburg
Miniature score for the astounding and arresting overture to Verdi's The Force O...
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Miniature score for the astounding and arresting overture to Verdi's The Force Of Destiny from 1862 in complete miniature score ideal for academic or personal study.
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Gabriel Fauré: Pelléas Et Mélisande: Orchestra: Score
Orchestra
Leduc, Alphonse
Musique de scène-“An enchanted dream” – these words from po...
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Musique de scène-“An enchanted dream” – these words from poet Charles Van Leberghe give an idea of the public’s enthusiasm for the first English language performance on June 21 1898 of Maurice Maeterlinck’s symbolist play. Staged at the Prince of Wales Theatre the play was translated by Jack W. Mackail with stage music composed by Gabriel Fauré. Occupied by various administrative tasks the composer asked his favourite student Charles Koechlin to orchestrate the score in May 1898. The London theatre’s limited instrumental staff corresponded perfectly to the apprentice musician’s ideals of clarity and transparency.Established by Roger Nichols and Otfrid Nies this trilingual edition (French – English – German) is based on signed manuscripts and distinguishes itself through a 60-page critical commentary that precisely retraces the birth of the work. The book presents for the first time the complete incidental music written for the London premiere of Pelléas et Mélisande with the aim of staying true to Koechlin’s original annotated version. Koechlin’s orchestration is equal to the work: a model of clarity and refinement.
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Ernest Bloch: Sinfonia Breve: Orchestra: Score
Orchestra
Schirmer
Score-Of almost any of the works of Bloch's maturity the 'Sinfonia Breve' has t...
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Score-Of almost any of the works of Bloch's maturity the 'Sinfonia Breve' has the least amount of Jewish ‘flavour’. In 1952 when this piece was written Bloch was exploring some other vocabularies rather than the one that is most often identified with him. His flirtation with (twelve-tone techniques still sounds like Bloch. The title of the work indicates a more formal structure than many of his more poetic creations. It does follow the classical four movement pattern and Bloch links them by utilizing appropriately transformed thematic material. The first movement commences with an important thrusting theme. The second movement is meditative and quite beautiful. Thestring section dominates and Bloch exhibits the same mastery of counterpoint that one finds in his string quartets. The Scherzo begins with an off-beat major 7th figure. The first trio is a slower lyrical contrast. The second trio has the most exotic writing of the whole Sinfonia. The finale recalls much of the important material from the previous movements. This grand summation ends calmly.
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Stephen Albert: Riverrun: Orchestra: Score
Orchestra
Schirmer
Score-'RiverRun' was Steven Albert's third work inspired by the writing of James...
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Score-'RiverRun' was Steven Albert's third work inspired by the writing of James Joyce. The opening movement ‘Rain Music’ is meant to convey the origins of a river. After the sharply accented chords of the movement's introduction themusic becomes quieter suggesting an atmosphere of expectancy. The lightly scored second movement ‘Leafy Speafing’ has a languid cadenza-like opening on alto flute followed by a more tightly focused thematic idea from thesolo viola. The two instruments then engage in a quiet dialogue against the softly changing chords.The third movement ‘Beside the Rivering Waters’ is a fragmented march and scherzo. It opens with a children'ssong. The march for the pit band follows and we are engulfed in a boozy wake. The scherzo brings a return of the current then the march returns abruptly followed by the children's tune - which is in turn transformedinto a raucous pub song. Throughout the fourth movement ‘RiversEnd’ musical ideas from the preceding movements are recalled. Night is falling and the river is moving quietly into darkness. As it approaches the open sea itsmomentum builds and it soon becomes a torrent spilling into the ocean. The work ends quietly.
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Georg Friedrich Händel: The Musick for the Royal Fireworks: Orchestra: Score
Orchestra
Barenreiter
Faksimile nach dem Autograph der British Library-The Barenreiter Facsimile seal ...
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Faksimile nach dem Autograph der British Library-The Barenreiter Facsimile seal is used exclusively for facsimile publications that meet the highest technical and scholarly demands. The distinguishing features include A facsimile in high resolution full-colour printing reflecting the original Specially selected paper Decorative binding in keeping with the historic theme Individually trimmed pages as far as the edition allows A commentary by internationally renowned scholarsWith an introduction and commentary by Christopher Hogwood (English/German)
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Ludwig van Beethoven: Symphony No. 2 D Major Op. 36: Orchestra: Miniature Score
Orchestra
Eulenburg
Beethoven's Symphony No. 2 contrasts strongly with his first one. It is bursting...
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Beethoven's Symphony No. 2 contrasts strongly with his first one. It is bursting with more energy is more emotional and surprising and possesses a formal boldness which has not been seen before culminating in the all-surpassing coda of the finale.
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Carl Nielsen: Symphony No.4 'The Inextinguishable' Op.29: Orchestra: Score
Orchestra
Carl Nielsen Edition
This is the full score for Carl Nielsen's Symphony No. 4 The Inextinguishable ...
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This is the full score for Carl Nielsen's Symphony No. 4 The Inextinguishable the composer's most popular and most frequently recorded and performed work. Although Carl Nielsen's Symphony No. 4 was completed in 1916 and although it prominently features a thundering duel between timpani the composer did not write this work in response to World War I. Instead it is a noisy energetic thrusting paean to the inextinguishability of life itself. And as music like life in this instance is inextinguishable the four intricately interlinked movements are played without a break. In this work can be heardthe influences of Brahms Dvorak Sibelius and others all transformed by Nielsen's creative spirit. The symphony ends in grand Romantic style with a triumphant finale wherein the jagged two-note and three-note themes of the beginning are conquered by the songlike theme of the third movement. CN00013A is the parts to accompany this full score.
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Wolfgang Amadeus Mozart: Serenade In B-Flat Major K.361 - Gran Partita:
Orchestra
Barenreiter
Serenade für 13 Instrumente-An announcement in the Wiener-Zeitung read: ?Concer...
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Serenade für 13 Instrumente-An announcement in the Wiener-Zeitung read: ?Concert. Today [23 March 1784] Herr [Anton] Stadler Sr. presently in the service of His Majesty the Emperor will hold a concert for his own benefit at the Royal Imperial National Court Theatre in which among other select pieces he will present a grand work for wind-band of a quite special character composed by Herr Mozart.? That this was almost certainly four movements from the present Serenade in B-flat major K.361 is suggested by an account of the occasion published some months later which states ?Today I heard a composition by Herr Mozart in 4 movements for wind ensemble . . . comprising 13 instruments: 4 horns 2oboes 2 bassoons 2 clarinetts 2 basset horns and a contrabass viol. . . .?Much music of the serenade-divertimento-cassation-Nachtmusik type was written in a light style and intended for social occasions rather than formal concerts. In such a context K.361 is striking for its seriousness of artistic content its length (seven movements lasting nearly an hour) and its extended instrumentation (most wind-band music of the period calls for five to eight or nine players not thirteen). If the work was not conceived in the first instance as a concert work its potential as such must have been recognized early on by Mozart or Stadler.- Urtext of the New Mozart Edition- Parts (BA5331-22) and study score format 22.5 x 16.5cm (TP312) available for sale
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Shade and Darkness (CASABLANCAS BENET)
Orchestra
[Score]
Unión Musical Ediciones
Par CASABLANCAS BENET. Shade and Darkness, lasting some 12:30 minutes, was co-co...
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Par CASABLANCAS BENET. Shade and Darkness, lasting some 12:30 minutes, was co-commissioned by the Centro Nacional de Difusión Musical and the Festival Internacional de Música y Danza de Granada. The work is inspired by Turner's famous painting of the same name, subtitled 'The Night Before the Flood', although this does not imply any programmatic or even less descriptive intention, beyond the composer's admiration for the painter, and for the richness of tones and chiaroscuro, subtlety in the treatment of pictorial matter, and the dynamism and emotional force present in his work, to whose depth John Ruskin alludes: 'Nuance is in Turner, first of all, a beautiful aid to the great impression to be conveyed, but it is neither the source nor the essence of that impression; it is little more than a visible melody... preparing the feelings for the reading of the mysteries of God.' The score, generous in expressive contrasts, explores the ductility and richness of possibilities of the strings, with a very diversified use of textures, densities and colours. The formal arrangement describes a wide ternary arc, consisting of two slow and often static sections - not without ominous foreboding - and a more lively central part, punctuated by occasional turbulence and dazzling flashes of timbre, culminating in a powerful climactic process. In the final bars the four voices of the classical quartet fleetingly emerge, as a tribute to Günter Pichler, founder and member of the Alban Berg Quartet, to whom the score is dedicated, and who conducted the premiere of the work in front of the Joven Orquesta Nacional de España on 24 and 25 June 2014 at the Auditorio Nacional de Música in Madrid and in the Patio de los Mármoles del Hospital Real in Granada. / Date parution : 2022-03-15/ Répertoire / Petit Orchestre
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Suite from the Star Wars Epic - Part I
Orchestra
Alfred Publishing
A definitive, lasting arrangement worthy of the epic! Featuring Duel of the Fate...
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A definitive, lasting arrangement worthy of the epic! Featuring Duel of the Fates, Across the Stars, and Revenge of the Sith, each individual movement from Episodes I, II, and III can stand alone, or followed by Part II of the suite (item 00-26677). (4:45) This title is available in SmartMusic.
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Sables (MURAIL TRISTAN)
Français
Orchestra
[Sheet music]
Lemoine, Henry
Par MURAIL TRISTAN. Sables reprend certains des partis pris d'Altitude 8000, en ...
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Par MURAIL TRISTAN. Sables reprend certains des partis pris d'Altitude 8000, en les poussant plus loin: absence d'événements ponctuels (aucun son percussif), continuité extrême (aucun silence, si ce n'est au début de la pièce...). Les notes sont considérées comme de simples 'grains de sable' dont l'accumulation va créer des formes, des 'dunes'. La pièce n'est pas encore véritablement spectrale, mais utilise déjà des phénomènes de résonance naturelle. La note de programme écrite à l'occasion de la création précise: 'Le système harmonique utilise les seuls points de référence objectifs... qui sont les résonances naturelles et le bruit blanc, symbolisé par le cluster. La trame harmonique est en évolution permanente: il n'y a pas à un moment donné 'une harmonie', mais un processus de transformation harmonique qui est en cours... Le parti pris non événementiel entraîne qu'il est impossible de distinguer des parties distinctes. On peut seulement considérer cinq régions séparées par des moments où le (les) processus d'évolution se renverse(nt). Tout est soumis à cette règle: trame harmonique, orchestration, densités, intensités, architecture à un moment donné. Toutefois les processus en cours dans chaque ordre de phénomène ne sont pas nécessairement concomitants, et il existe des processus 'croisés'... Le principe de continuité entraîne une écriture 'microcosmique': les notes n'ont pas d'importance par elles-mêmes. On ne les individualise pas, on entend seulement l'évolution qui résulte de leur présence... Tristan Murail / contemporain / Date parution : 1975-01-01/ Répertoire / Orchestre
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Liszt F. - Les Preludes And Other Symphonic Poems - Conducteur
Orchestra
[Study Score / Miniature]
Dover Publications
This authoritative edition presents full-score reproductions of three of Liszt...
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This authoritative edition presents full-score reproductions of three of Liszt’s best-known symphonic poems. Les Preludes (Symphonic Poem No.3) grew out of the composer’s unpublished choral setting of Joseph Autran’s poem “The Four Elements”, blending stirring martial music and lovely pastoral themes to make this work the most popular of the symphonic poems. Mazeppa (Symphonic Poem No.6) evokes Victor Hugo’s portrayal of the Cossack leader and the symbolic triumph that comes only after defeat: “He runs, he flies, he falls, and he stands up king!” Heroide Funebre (Symphonic Poem No.8) is the last vestige of the monumental Revolutionary Symphony, planned but never completed, suggesting universal brotherhood: a fine, heroic, dignified funeral march. In these richly sonorous works, Liszt explored the concept of the one-movement “transformation of themes,” an approach to composition that Wagner would carry forward in his development of the leitmotif. Liszt’s expanding chromaticism would be no less influential, anticipating the twentieth century’s embrace of atonality. Frequently performed favourites of audiences around the world, these three works are reprinted from the original Breitkopf & Härtel edition.
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Jonas Kaufmann. Tenor (VOIGT THOMAS)
Orchestra
[Book]
Barenreiter
Par VOIGT THOMAS. „Der begehrteste Tenor der Welt', „the greatest tenor of t...
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Par VOIGT THOMAS. „Der begehrteste Tenor der Welt', „the greatest tenor of today', „der neue König der Tenöre' - unter den Topstars der Opernwelt nimmt Jonas Kaufmann seit Jahren eine Sonderstellung ein. 2010, zu seinem Bayreuther Debüt in Hans Neuenfels' legendärer „Lohengrin'-Inszenierung, erschien erstmals sein Buch-Porträt, in dem er ausführlich über die Licht- und Schattenseiten seines Berufes sprach und das von Kritik und Fans gleichermaßen gefeiert wurde. In der erweiterten Neuausgabe reflektiert der Sänger nun auch die letzten Jahre seiner künstlerischen Entwicklung. Nicht nur seine jüngsten Erfahrungen auf der Opernbühne und im Konzertsaal, sondern auch seine Begegnungen mit anderen großen Künstlern, sein Verhältnis zu Verdi und Wagner und seine Beschäftigung mit Tenor-Hits der Tonfilm-Ära kommen hier zur Sprache. Die neue Ausgabe enthält u.a. Beiträge von Plácido Domingo und Jürgen Kesting sowie attraktive, teils bisher unveröffentlichte Fotos. - Eine der meist verkauften Sängerbiografien der letzten Jahre - Aktualisiert und um wichtige Beiträge und attraktive Fotos ergänzt Der Autor Thomas Voigt ist freier Autor, Journalist und Filmemacher. Als renommierter Opern- und Sängerexperte ist er meist für Rundfunk und Fernsehen tätig- seine publizistische Tätigkeit wurde mit der „Gottlob-Frick-Medaille in Gold' ausgezeichnet. / Livre / Livre
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Symphony #2 D Major Op. 36
Orchestra
Eulenburg
Beethoven's Symphony #2 contrasts strongly with his first one. It is bursting wi...
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Beethoven's Symphony #2 contrasts strongly with his first one. It is bursting with more energy, is more emotional and surprising and possesses a formal boldness which has not been seen before, culminating in the all-surpassing coda of the finale. / Orchestre
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Symphonic Prayer Op. 93 (TCHEREPNINE ALEXANDER)
Orchestra
Belaieff
Par TCHEREPNINE ALEXANDER. Symphonique op de prière 93 était composé en juill...
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Par TCHEREPNINE ALEXANDER. Symphonique op de prière 93 était composé en juillet 1959. La première représentation a été réalisée par Eleazar de Carvalho le concert d'ouverture du Festival de musique panaméricaine à Chicago en août de la même année. Le travail se compose de quatre sections qui suivent un de l'autre sans interruption : Procession - Confusion - prière - des lumières. De nombreux spectacles par les chefs d'orchestre distingués, la 'prière symphonique' est devenu partie du répertoire standard de la musique contemporaine./ Répertoire / Orchestre
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Feria (LINDBERG MAGNUS)
Orchestra
[Sheet music]
Boosey and Hawkes
Par LINDBERG MAGNUS. Pièce pour orchestre de 17 minutes, commandée par la Finn...
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Par LINDBERG MAGNUS. Pièce pour orchestre de 17 minutes, commandée par la Finnish Broadcasting Company (radio finlandaise). Création aux Proms de la BBC en août 1997 par l’Orchestre symphonique de la Radio finlandaise. Le compositeur déclare : « Le mot espagnol de Feria désigne un festival ou une manifestation ayant lieu en plein air, et dont l’ambiance festive a inspiré cette œuvre. Dans la partie d’ouverture, au tempo rapide, des idées musicales aux rythmes explosifs, mais surtout les fanfares de trompettes toujours présentes dans la pièce annoncent un spectacle public plein de vie. La partie principale, plus lente, conduit au point central de la pièce, qui se reconnaît à la succession caractéristiques des accords du Lasciatemi morire (« Lamento d’Ariane ») de Monteverdi. »/ Recueil / Orchestre
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Mozart W.a. - Eine Kleine Nachtmusik Kv 525 - Facsimile
Orchestra
[Facsimile]
-
Easy
Barenreiter
“Eine kleine Nachtmusik” “... written with ease, but skillfully refined”...
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“Eine kleine Nachtmusik” “... written with ease, but skillfully refined” “Eine kleine NachtMusick” is how Mozart entered the Serenade in G major in his personal catalogue of works on 10 August 1787. It was written without any known incentive or commission during the time that Mozart was composing “Don Giovanni”, a time when he was celebrating his greatest success as an opera composer. The work is one of the jewels of Mozart’s output, combining bright radiance and a natural simplicity with brilliant refinement. Similarly, the autograph manuscript of this perfect masterpiece is captivating because of its balanced clarity and beautiful handwriting. The manuscript was inaccessible to the public for almost half a century, but now Bärenreiter has received exclusive permission to produce a new facsimile of Mozart’s original. The edition reproduces the facsimile pages as individual sheets and leaves, reflecting the way the original copy has survived. These pages – in high-quality colour printing, each trimmed individually – are presented in a handsome box. This is accompanied by a booklet with an introductory text by Wolfgang Rehm including information on the genesis of the composition and the various aspects of the autograph manuscript. “The fact that it’s all over town does not alter anything in the quality of this occasional piece written with ease but skillfully refined.” (Wolfgang Hildesheimer) BÄRENREITER FACSIMILE The seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest demands in both scholarly and technical terms. The distinguishing features include: - a facsimile in high-quality colour printing - scholarly commentary •Facsimile of the autograph score KV 525 •Introduction: •I. 1787: The work. Its background, genesis, significance and impact •II. The Autograph. Its clear, its twisted paths •Notes and References •Einführung: •I. 1787: Das Werk. Sein Umfeld, seine Entstehung, Bedeutung und Wirkung •II. Das Autograph. Seine eindeutigen, seine verschlungenen Pfade •Anmerkungen •Watermark No. 55 •Facsimile of the autograph fragment KV 525a Edition no.: BVK 2282 ISBN: 9783761822821 Volume / Series: Documenta musicologica II/46 / Bärenreiter Facsimile Editor: Rehm, Wolfgang Language(s) of work: German, English Product format: Facsimile Binding: in a case Pages / Format: 38 S. - 25,4 x 34,0 cm
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Hector Berlioz: Symphonie Fantastique Op. 14: Facsimile
Orchestra
[Facsimile]
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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.
756.50 GBP - Sold by Musicroom UK
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