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CHOIR - VOC…
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DULCIMER
ELECTRONIC …
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:: (201)
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Voix Et Orchestre (85)
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Tambour (84)
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Chant et Guitare (83)
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Book (82)
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Xylophone (55)
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Cello Ensemble (54)
Choeur d'Enfants, Solistes, In… (54)
Vocal duet, Piano (54)
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Bugle (52)
3 Trombones Ténor et 1 Trombo… (52)
Solistes SATB, Choeur SATB, 2 … (52)
3 Trombones (trio) (52)
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Saxophone Quintet: 5 Saxophone… (51)
Solistes SATB, Choeur SSATTB, … (50)
Orchestre Scolaire (50)
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Flute, Violin, Keyboard (basso… (50)
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Conga (50)
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Flute and String Quartet (48)
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Electric bass, Drums (48)
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Voice and Orchestra (48)
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Clarinette, Viola and Piano (t… (47)
Ensemble Instrumental et Petit… (47)
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Trumpet, Orchestra (46)
Clarinette, 2 Violons, Alto et… (46)
Mélodies (46)
Choral, Orchestra (46)
2 Bassons et Piano ou Orgue (45)
2 Trombones et Piano ou Orgue (45)
Trio A Cordes (45)
Saxhorn Basse, Euphonium, Tuba… (45)
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Orchestre de Chambre (Flûte … (44)
Choeur SSATB, 2 Flûtes Traver… (44)
Violoncello, Basso continuo (44)
Trompette ou Bugle ou Cornet o… (44)
Flûte à Bec Soprano, Cordes … (43)
Solistes SATB, Choeur SATB, 2 … (43)
Solistes SSATTB, Choeur SATB, … (43)
Solistes SATB, Choeur SATB, 4 … (43)
2 Violons, Alto et Basse Conti… (43)
2 Saxophones Ténor et Piano o… (43)
Chanson (43)
Choeur SATB et Basse Continue (42)
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Tuba en Do et Piano (42)
Partition D'Orchestre In 16 Po… (42)
2 Clarinettes et Piano ou Orgu… (42)
Quintette de Cuivres (41)
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Saxophone Baryton (41)
Choeur d'Enfants (41)
4 Instruments à Cordes (4 Boi… (40)
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Trombone and Orchestra (40)
Clarinette, Violoncelle et Pia… (40)
Oboe and Orchestra (40)
Percussions Diverses (40)
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4 Cellos (40)
Flute, Violin and Violoncello (39)
Cello, String Bass (duet) (39)
Xylophone, Piano (39)
Flûte à Bec Alto, Cordes et … (38)
Bass Trombone and Piano (38)
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Brass Quartet: 4 trumpets (38)
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Libretto (37)
Lecture Chantée/Formation de … (37)
String quartet: 4 violins (37)
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Clavier Electronique et Ligne … (36)
Balalaïka Et Piano (36)
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Autoharp (35)
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Soprano Saxophone and Piano (35)
Duos (34)
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Batterie-Fanfare (34)
Clarinette, Alto et Piano (34)
Voice, Organ (34)
Soprano Saxophone (34)
Chamber Music (34)
Ensemble de Vents (33)
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2 Violons et Alto (33)
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2 Saxophones, Piano (33)
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2 Flûtes Traversières, 2 Cor… (32)
Solistes ST, Choeur SATB, Flû… (32)
2 Hautbois, 2 Clarinettes, Tim… (32)
2 Flûtes Traversières ou 2 F… (32)
Flûte Traversièreou Piccolo,… (32)
Solo S, Choeur SATB, 2 Flûtes… (32)
Concert Band ou Harmonie et Ba… (32)
Bassoon, Orchestra (32)
DVD Opera and Ballets (32)
Flute, Viola and harp (32)
Batterie Fanfare En Sib (32)
4 Voix Mixtes (32)
Flute and Strings Trio (32)
Musique de chambre (32)
Défilé et parade (32)
Choeur SS (B) ou SA (B), 2 Vio… (32)
Saxophone en Mib et Piano (32)
Lyrics only (32)
Choeur SSATTB, (6 Instruments,… (31)
Flute, Oboe, Clarinet, Bassoon… (31)
Clarinette et Cordes (31)
Clavier Ou Piano (31)
2 Percussions (31)
Trumpet ensemble (31)
Ensemble Divers (31)
Flûte à Bec Alto, 2 Flûtes … (30)
2 Violons, 2 Altos et 2 Violon… (30)
Recorder, Bass Continuo (30)
Cello, Organ (30)
Flûte Traversière et Cordes (30)
Batterie Fanfare En Mib (30)
Quatuor avec Piano (30)
5 Recorders (30)
2 Clarinettes en Sib et Clarin… (30)
Bass Clarinet, Piano (30)
2 Violons, Cordes Et Basse Con… (30)
Solistes SST, Choeur SSAATB, 2… (29)
Ocarina (29)
Flûte Traversière Violoncell… (29)
Trompette ou Cornet à Pistons… (29)
Balalaika (29)
Recorder, Guitar (duet) (29)
2 French horns, Piano (29)
Tenor (29)
Violin, Horn and Piano (29)
Trio de Pianos, Salon Ensemble… (29)
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Flûte à Bec F1, C1, 2 Violon… (28)
Solo Flûte à Bec F1, 2 Violo… (28)
2 Clarinettes, 2 Violons, Orgu… (28)
Flûte Traversière, Violon, 2… (28)
Trompette ou Flûte à Bec ou … (28)
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Flûte à Bec Alto ou Flûte T… (28)
Trombone, Organ (28)
Marches militaires (28)
Saxhorn or Euphonium (28)
Voix Et Orff-Instruments (28)
2 Violons, 2 Altos ou 3 Violon… (28)
Variétés françaises (28)
Orgue, 2 Hautbois, 2 Violons, … (28)
Flûte Traversière, Alto et V… (28)
Flûte à Bec F1, Violon et Ba… (28)
2 Hautbois, 2 Clarinettes, 2 B… (28)
Hautbois, Clarinette et Basson… (28)
Flûte à Bec, Guitare et Musi… (28)
Plectrum Orchestra (28)
Instruments Acoustiques (28)
2 Trompettes (duo) (28)
Euphonium en Clé de Fa Do ou … (27)
SATB, (4 InstrumentS Basse et … (27)
2 Cornets (27)
Voice, String Quartet (27)
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Concert Band ou Harmonie et Cl… (27)
4 Parties Mixtes (27)
Guitare (Fingerpick) (27)
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Solistes SATB, Choeur SATB, 2 … (27)
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Mandolin, Piano (duet) (27)
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Edition Critique des oeuvres d… (27)
Piano et Orchestre (27)
Baryton et Orchestre (27)
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Solistes STBar, Choeur SATB, 2… (26)
Solistes SATB, Choeur SATB, Tr… (26)
Flûte Traversière, Hautbois,… (26)
Ukulélé Soprano (26)
Violin, Viola and Orchestra (26)
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String Trio: 3 cellos (26)
5 Voix (SSATB) et Basse Contin… (26)
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Guitar Tab, Voice, Bass, Drum (25)
Bagpipe (25)
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Flûte Traversière, Alto et G… (25)
Choeur SAT (25)
Voix et CD Playback (25)
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2 Trompettes et 3 Trombones (25)
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Medium Voice (25)
Flûte à Bec et Piano (25)
2 Trompettes Sib, 1 Cor, 1 Tro… (24)
Flûte à Bec, 2 Violons, Alto… (24)
Petit Choeur SATB, 2 ViolonSBa… (24)
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Quartette Pour Flûtes à Bec … (24)
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Gaetano Donizetti: La fille du régiment: Orchestra: Score
Orchestra
[Score]
Ricordi
Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fil...
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Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fille du régiment, always one of Donizetti?s most popular stage works, was first performed at the Théâtre de l?Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success ? at the Opéra-Comique alone, more than one thousand performances were given between 1840 and 1917 ?, and was widely staged in the major European and American opera houses. Owing to the lack of available autograph music sources ? only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France ?, the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première. The critical edition of La fille du régiment reinstates Tonio?s romance «Pour me rapprocher de Marie» from Act Two, included in the original libretto and actually sung at the première, but expunged from the Schonenberger edition of the score. Donizetti himself cut the romance soon after the première, possibly because of the tenor?s poor performance - as a result, the omission became customary. The appendices to this critical edition present, additionally, two unpublished variants, handed down in form of complete and autograph score: these pieces, crossed out or modified through the compositional process, add fresh new possibilities to current performance practices. The first one is a duet for Marie and Tonio that Donizetti had originally devised for Act Two, but later deleted from the score. The second one is a preliminary draft of the Act Two Finale, later expunged and replaced, in both music and literary text, by the final version.
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Timbres Espaces Mouvements Ou 'La Nuit Etoilee' Partition Orchestre In 8 Ph307 (DUTILLEUX HENRI)
Orchestra
[Sheet music]
Heugel
Par DUTILLEUX HENRI. Composed in 1978 by Henri Dutilleux, Timbres, Espace, Mouve...
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Par DUTILLEUX HENRI. Composed in 1978 by Henri Dutilleux, Timbres, Espace, Mouvement Ou La Nuit Etoileé is a work for Orchestra, also named “The Starry Night” after the painting by Van Gogh. It was commissioned by Mstislav Rostropovich for the National Symphony Orchestraof Washington and is dedicated to Charles Münch. This work for Orchestra lasts approximately 20 minutes and depicts the content of the painting. It is scored for a full Orchestra without Violins or Violas. The Cellos serve to represent space, with swirling solos alongside calmer sections, while thelack of Violins and Violas epitomises for the quiet and motionless sections of the painting. The solo of the Wind instruments and Drums characterizes the clouds and the light of the moon and stars. It is divided into two parts: 1. Nébuleuse (Nebula) and 2. Constellations, which are divided by a Cello interlude. Composed in 1978 by Henri Dutilleux, Timbres, Espace, Mouvement Ou La Nuit Etoilee is a work for Orchestra, also named ; The Starry Night after the painting by Van Gogh. It was commissioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Munch. This work for Orchestra lasts approximately 20 minutes and depicts the content of the painting. It is scored for a full Orchestra without Violins or Violas. The Cellos serve to represent space, with swirling solos alongside calmer sections, while the lack of Violins and Violas epitomises for the quiet andmotionless sections of the painting. The solo of the Wind instruments and Drums characterizes the clouds and the light of the moon and stars. It is divided into two parts: 1. Nebuleuse (Nebula) and 2. Constellations, which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work, winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, among many others. His work also includes a Piano sonata, two symphonies, the Violin concerto 'L'Arbre Des Songes' (The Tree Of Dreams) and the Cello concerto 'Tout Un Monde Lointain' (A Whole Distant Word)./ Répertoire / Orchestre
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Joseph Haydn: Symphony in E-flat major Hob. I:76: Orchestra: Score
Orchestra
[Score]
Barenreiter
Haydn composed his Symphony no. 76 at the same time as his Symphonies nos. 77 an...
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Haydn composed his Symphony no. 76 at the same time as his Symphonies nos. 77 and 78 for a planned trip to England that never took place. Nonetheless, H. C. Robbins Landon calls these works the ?English symphonies? as they arestylistically closely linked to the ?London Bach?, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ?Leicht und nicht vil Concertirend?, meaningthat they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form. Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn?s large-scalechoral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the ?Works of Joseph Haydn?. The Bärenreiter catalogue now includes the complete performance material for several ?Sturm und Drang?symphonies as well as all the London and Paris symphonies.
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Reza Vali: Segah: Double Concerto: Orchestra and Solo: Score
Orchestra
Lauren Keiser Music Publishing
Full Score-The Persian traditional music (called the Dastgah Segah) is based on ...
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Full Score-The Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segah has no interval in common with the European/ Western equal-temperament tuning. This lack of common intervalsbetween the Segah mode and the equal-temperament tuning will lead to a cognitive dissonance if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systemsand use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures. The piece consists of two Persian traditional instruments the Ney (Persian vertical bamboo flute) and the Kamanche (Persian spikefiddle) as the musical representatives of the Persian culture set against the Western orchestra as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp and string quintet accompanies thePersian instruments. The harp is tuned to the Segah intervals and the string quintet plays in the Segah mode. The orchestra is performing inthe Western equal- temperament tuning. From the very first bars of the main section of the piece confusionsand misunderstandings arise. The orchestra being unable to play in Segah or understand the mode becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musicalviolence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists efforts to express their musical thoughts. In the midst of all these confusions and cultural misunderstandings musical connections and attractionsstart to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each others musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing thegradual replacement of the clash of civilizations with the dialogue of civilizations. Segah was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15 2016.
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Brazil By Night/Samba-Medley/Vive la France/Walzer-Medley (Salonorchester). Sheet Music for Orchestra
Orchestra
[Sheet music]
Peer Musik Verlag
Von Peermusic gibt es Arrangements berühmter Klassiker diverser Genres für Sal...
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Von Peermusic gibt es Arrangements berühmter Klassiker diverser Genres für Salonorchester in Doppelnummern (Bänden mit 2 Musiktiteln) - ähnlich wie die Doppelnummern für Combo. Die Besetzung - Standard: C-Stimme (Akkordbezifferung und Text); Gitarre/Melodie (Akkordbezifferung und Text); Drums/Melodie (mit Text); 1./2. Violine; 1./3. Stimme Altsax; 2. Stimme Tenorsax; 1./2. Stimme Trompete; 1. Stimme Posaune; Bass; Klavier (Akkordbezifferung und Text) Hier der Doppelband mit Brazil By Night/Samba-Medley und Vive la France/Walzer-Medley (beide: Lakits).
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La Camisa Negra: Orchestra: Score
Orchestra
Peer Musik Verlag
Moliendo Café-Von Peermusic gibt es Arrangements ber?hmter Klassiker diverser G...
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Moliendo Café-Von Peermusic gibt es Arrangements ber?hmter Klassiker diverser Genres f?r Salonorchester in Doppelnummern (B?nden mit 2 Musiktiteln) - ?hnlich wie die Doppelnummern f?r Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbl?ser (Standard) bis 5 Sax./6 Blechbl?ser (Standard + Erg?nzer) und den Erg?nzer-Stimmensatz. Hier der Standardsatz. Die Besetzung - Standard: C-Stimme (Akkordbezifferung und Text); Gitarre/Melodie (Akkordbezifferung und Text); Drums/Melodie (mit Text); 1./2. Violine; 1./3. Stimme Altsax; 2. Stimme Tenorsax; 1./2. Stimme Trompete; 1. Stimme Posaune; Bass; Klavier(Akkordbezifferung und Text). Hier der Doppelband mit La camisa negra (Aristizabal) und Moliendo Caf? (Manzo).
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La Camisa Negra: Orchestra: Score and Parts
Orchestra
[Sheet music]
Peer Musik Verlag
Moliendo Café-Von Peermusic gibt es Arrangements ber?hmter Klassiker diverser G...
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Moliendo Café-Von Peermusic gibt es Arrangements ber?hmter Klassiker diverser Genres f?r Salonorchester in Doppelnummern (B?nden mit 2 Musiktiteln) - ?hnlich wie die Doppelnummern f?r Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbl?ser (Standard) bis 5 Sax./6 Blechbl?ser (Standard + Erg?nzer) und den Erg?nzer-Stimmensatz. Hier der Standardsatz plus Erg?nzerstimmen. Die Besetzung - Standard: C-Stimme (Akkordbezifferung und Text); Gitarre/Melodie (Akkordbezifferung und Text); Drums/Melodie (mit Text); 1./2. Violine; 1./3. Stimme Altsax; 2. Stimme Tenorsax; 1./2. Stimme Trompete; 1. Stimme Posaune; Bass;Klavier (Akkordbezifferung und Text). Erg?nzer: 3. Stimme Violine; 4. Stimme Tenorsax; 3. Stimme Trompete; 2. Stimme Posaune; Bariton-Saxophon; Cello. Hier der Doppelband mit La camisa negra (Aristizabal) und Moliendo Caf? (Manzo).
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Incantation. Concerto for Piano and Orchestra No. 4 H 358 / Fantasia Concertante. Concerto for Piano and Orchestra No. 5 in B-flat major H 366 (MARTINU BOHUSLAV)
Orchestra
[Sheet music]
Barenreiter
The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnat...
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The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / Orchestre
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Mozart W.a. - La Flute Enchantee Kv 520 - Fac-simile
Orchestra
[Score]
Barenreiter
Mozart, Wolfgang Amadeus The Magic Flute K. 620 Facsimile of Mozart's autograp...
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Mozart, Wolfgang Amadeus The Magic Flute K. 620 Facsimile of Mozart's autograph score The Seven Great Operas in Facsimile Editions of Mozart?s Autograph Scores ?Idomeneo?, ?Die Entführung aus dem Serail?, ?Le nozze di Figaro?, ?Don Giovanni?, ? Così fan tutte ?, ?Die Zauberflöte ?, ?La clemenza di Tito? ? Mozart?s seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Through happy coincidence, all seven opera scores have survived almost complete in Mozart?s manuscript. The Packard Humanities Institute (PHI, Los Altos , California ) has now embarked on producing a facsimile edition of the seven autograph scores. Mozart scholars, libraries and of course all lovers of Mozart?s stage works now have the opportunity of acquiring these priceless manuscripts in flawless reproductions. At the same time, all risks about preserving Mozart?s legacy for the world of music are taken care of. The Packard Humanities Institute (PHI) charitable foundation, known for its philanthropic programmes in the arts and sciences, has forged an ideal cooperation for the Mozart project. Under the scholarly direction of an editorial board (Ulrich Konrad , David Packard, Wolfgang Rehm , Christoph Wolff; General editor Dietrich Berke) the International Mozarteum Foundation Salzburg and the libraries where Mozart?s manuscripts are held are working together with the Packard Humanities Institute. The production of the volumes is exquisite, for the digitalization of the manuscripts has been undertaken using the latest technology, which allows for an astounding level of authenticity and precision in detail. The printing follows the uncompromisingly high standards demanded by the edition. All seven volumes include essays on the history of literature and ideas by Hendrik Birus , Hans Joachim Kreutzer and Robert Miller as well as musicological introductions by leading Mozart scholars in German and English. The facsimile edition will be distributed by Bärenreiter- Verlag . - consolidation of Mozart manuscripts held in different places - highest level of precision in reproduction and authenticity of colour through use of the latest technology - unique offer thanks to project sponsorship by the Packard Humanities Institute (Los Altos, California) Precision in reproduction thanks to cutting edge technology In preparing the manuscripts for reproduction, equipment was used in line with the highest technical standards currently available. Mozart?s original manuscripts of the seven operas are held by several libraries. For five of the operas, the different acts have even ended up in different libraries following World War II. Thus, the autograph of Act I of ? Così fan tutte ? is in the Jagiellonian Library in Kraków and the second act in the Staatsbibliothek zu Berlin ? Preußischer Kulturbesitz . In order to achieve a uniformly high level of precision in reproduction and authenticity of colour both within a work and for all seven editions, the use of the same technical equipment in all the different places was a prerequisite. Specialist from the Salzburg firm ? Kirchberger Photography? were employed, were provided with the latest equipment by the Packard Humanities Institute and also given special additional training in the modern technology by specialists in the USA. Proofs of each edition were compared with the original in each location and improved until the likeness could not be bettered in all details. Mozart?s music and text notation is reproduced extremely clearly, and even those places where Mozart corrected or had rubbed out marks he had already made, appear in these editions in a previously unmatched transparency.
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Felipe Pedrell: Canco De L'Estrella (Score): Orchestra: Score
Orchestra
[Sheet music]
-
Intermediate/advanced
Manual De Falla Ediciones
Felipe Pedrell's Canco De L'Estrella for Voice and Piano was later arranged wi...
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Felipe Pedrell's Canco De L'Estrella for Voice and Piano was later arranged with orchestral accompaniment by Manuel De Falla. This edition revised by Yvan Nommick includes the full orchestral score of De Falla's orchestral version and includes detailed editorial notes in Spanish.
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La Camisa Negra: Orchestra: Parts
Orchestra
[Sheet music]
Peer Musik Verlag
Moliendo Café-Von Peermusic gibt es Arrangements ber?hmter Klassiker diverser G...
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Moliendo Café-Von Peermusic gibt es Arrangements ber?hmter Klassiker diverser Genres f?r Salonorchester in Doppelnummern (B?nden mit 2 Musiktiteln) - ?hnlich wie die Doppelnummern f?r Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbl?ser (Standard) bis 5 Sax./6 Blechbl?ser (Standard + Erg?nzer) und den Erg?nzer-Stimmensatz. Hier die Erg?nzerstimmen. Die Besetzung - Erg?nzer: 3. Stimme Violine; 4. Stimme Tenorsax; 3. Stimme Trompete; 2. Stimme Posaune; Bariton-Saxophon; Cello. Hier der Doppelband mit La camisa negra (Aristizabal) und Moliendo Caf?(Manzo).
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Olivier Messiaen: Eclairs sur L'Au-Dela Vol.1: Orchestra: Score
Français
Orchestra
[Sheet music]
Leduc, Alphonse
Volume 1-Olivier Messiaen (1908-1992) is known for his unique composition style....
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Volume 1-Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony melodies and his passion for ornithology his Éclairs Sur L'Au-Delà for Orchestra is no exception to the composer's popular distinctive style. Composed between 1987-1991 Éclairs Sur L'Au-Delà was one of the composer's last works with the premiere occuring six months after his death. The work includes Messiaen's popular compositional techniques such as his modes of limited transposition and the use of birdsong.Messiaen's piece for orchestra is divided in to eleven movements and a typical performance lasts about one hour. Éclairs Sur L'Au-Delà is essential to all advanced orchestras seeking to expand and vary their repertoire.
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Claude Debussy: Première Rhapsodie: Orchestra: Part
Orchestra
For Orchestra With Solo Clarinet In B-Flat-Debussy’s Première Rhapsodi...
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For Orchestra With Solo Clarinet In B-Flat-Debussy’s Première Rhapsodie is one of two concertante works completed premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano he made a few subtle changes particularly in m. 201 which has been a bone of contention among clarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that shedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary (Eng)
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Claude Debussy: Première Rhapsodie: Orchestra: Part
Orchestra
For Orchestra With Solo Clarinet In B-Flat-Debussy’s Première Rhapsodi...
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For Orchestra With Solo Clarinet In B-Flat-Debussy’s Première Rhapsodie is one of two concertante works completed premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano he made a few subtle changes particularly in m. 201 which has been a bone of contention among clarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that shedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary (Eng)
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Claude Debussy: Première Rhapsodie: Orchestra: Part
Orchestra
For Orchestra With Solo Clarinet In B-Flat-Debussy’s Première Rhapsodi...
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For Orchestra With Solo Clarinet In B-Flat-Debussy’s Première Rhapsodie is one of two concertante works completed premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano he made a few subtle changes particularly in m. 201 which has been a bone of contention among clarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that shedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary (Eng)
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Olivier Messiaen: La Transfiguration de Notre-Seigneur Jesus-Christ: Orchestra:
Français
Orchestra
[Sheet music]
Leduc, Alphonse
2nd Septenary-Olivier Messiaen (1908-1992) is known for his unique composition s...
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2nd Septenary-Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony melodies and his passion for ornithology his La Transfiguration De Notre-Seigneur Jésus-Christ for Choir Seven solo instruments and Orchestra is no exception to the composer's popular distinctive style. Composed between 1965-1969 La Transfiguration De Notre-Seigneur Jésus-Christ is based on the account of Jesus' Transfiguration found in the Gospels of Matthew Mark and Luke. The work requires a huge 200 performers and with 14 movements a typicalperformance lasts about an hour and a half. La Transfiguration De Notre-Seigneur Jésus-Christ incorporates Messiaen's popular compositional techniques such as his modes of limited transposition and the use of birdsong. Texts are largely based on the Bible. La Transfiguration De Notre-Seigneur Jésus-Christ is essential to all advanced musicians seeking to expand and vary their ensemble repertoire on a large-scale.
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Pyotr Ilyich Tchaikovsky: 1812 Overture Marche Slave and Francesca da Rimin:
Orchestra
[Score]
Dover Publications
Authoritative Russian editions of three concert-hall mainstays: the '1812' Overt...
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Authoritative Russian editions of three concert-hall mainstays: the '1812' Overture Op. 31 among the best loved of all classical compositions; the very popular Marche Slave Op. 32; and Francesca da Rimini Op. 32 a poignant and dramatic tone poem considered one of the composer's finest works.
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Claude Baker: The Glass Bead Game: Orchestra: Full Score
Orchestra
Lauren Keiser Music Publishing
The Glass Bead Game
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Lalo Schifrin: Tango Concertantes: Orchestra: Score
Orchestra
Lauren Keiser Music Publishing
Dedicated to Cho - Liang Lin and premiered February 2009 with the LA Chamber Orc...
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Dedicated to Cho - Liang Lin and premiered February 2009 with the LA Chamber Orchestra.
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Augustin Lara: Las Vispera: Orchestra: Part
Orchestra
Peermusic Classical
Las Vispera
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Claude Debussy: La Mer: Orchestra: Parts
Orchestra
[Score]
Barenreiter
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work ...
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Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).
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Claude Debussy: La Mer - Three Symphonic Sketches: Orchestra: Score
Orchestra
[Score and Parts]
Barenreiter
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work ...
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Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).
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Claude Debussy: La Mer: Orchestra: Part
Orchestra
[Part]
Barenreiter
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work ...
(+)
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).
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Claude Debussy: La Mer: Orchestra: Part
Orchestra
[Part]
Barenreiter
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work ...
(+)
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).
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Claude Debussy: La Mer: Orchestra: Part
Orchestra
[Part]
Barenreiter
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work ...
(+)
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).
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Claude Debussy: La Mer: Orchestra: Part
Orchestra
[Part]
Barenreiter
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work ...
(+)
Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).
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New Year Suite (TIPPETT MICHAEL SIR)
Orchestra
Schott
Par TIPPETT MICHAEL SIR. Détails de la formation instrumentale: 3.2.ca.2.b Clar...
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Par TIPPETT MICHAEL SIR. Détails de la formation instrumentale: 3.2.ca.2.b Clarinette asax.tsax.barsax(ssax).2.cbn-4.4.3.1-5perc(kit (s.d., t.d., cym. (crash and hi-hat), 2 tom-toms, b.d., w.bl., gng., slit dr.), t.d., b.d., brake dr., clash cym., sus.cym., tamb., cast., wh., large tri., lge. tam-tam, xyl., vib., glock., 2 sets of 6 tub.bells (metal rod), claves, rattle)-hp.2e Guitare -Strings (4.4.4.4.2 min)-taped effects (spaceship and distant voices) - Durée: 30' - Format: New Edition landscape/ Répertoire / Orchestre
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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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Smetana, Bedrich : Má vlast (My Country)
Orchestra
[Sheet music]
Barenreiter
The first performance of ?Má vlast? as a six-part symphonic cycle took place on...
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The first performance of ?Má vlast? as a six-part symphonic cycle took place on 5 November 1882. With the founding of the Czech Philharmonic in 1896 this work received a far greater reception. Since 1952 the music festival ?Prague Spring? has opened with this complete cycle.
This edition is based on the ?Study Edition of the Works of Bedrich Smetana?, vol. 14, supplemented by an up-to-date detailed foreword about the genesis and history of the work by Marta Ottlová.
Contents
Vy?ehrad / Vltava (The Moldau) / ?árka / Z Ceských luhu a háju (From Bohemia?s Woods and Fields) / Tábor / Blaník
? New foreword by Marta Ottlová (Cz/Eng/Ger)
? Urtext based on the ?Study Edition of the Works of Bedrich Smetana?
Detailed instrumentation: Piccolo flute, Flute (2), Oboe (2), Clarinet (in B-flat) (2), Bassoon (2), Horn (4), Trumpet (2), Trombone (3), Tuba, Kettledrum, Triangle, Cymbals, Concert drum, Harp (2), Violin (2), Viola, Violoncello, Double bass / Classique / Partition / Broché /
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