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Lyrics only (18)
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Saxophone and Orchestra (18)
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Livre Musical (13)
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Tout Instrument (10)
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Trompette, Cordes Et Basse Con… (9)
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Voice and Big Band (9)
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Tuba en Do et Piano (9)
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Tenor Banjo (9)
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Fake Book (9)
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Poul Ruders: Handel Variations: Orchestra: Score
Orchestra
[Sheet music]
-
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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Magnus Lindberg: Kinetics: Orchestra: Instrumental Work
Orchestra
Wilhelm Hansen
This work was written with a mix between computer technology and the more tradit...
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This work was written with a mix between computer technology and the more traditional orchestra the piece was composed in such a way that it would support it's own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics the piece had to be written in terms of foreground and background harmony every foreground chord would always have it's background a shadow existing without it's main chord.Another theme to the piece is that of textural motion as rapid gestures and motions are a big part ofthe composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level so with a repetitive rhythmic pattern the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for Orchestra commissioned by the Finnish Broadcasting Company.
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Franz Joseph Haydn: Symphony No. 100 In G: Orchestra: Miniature Score
Orchestra
Eulenburg
London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his secon...
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London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his second trip to England in 1794. This work is one of the still popular from the series of the so-called '12 London Symphonies' (Hob. 1/93 - Hob. 104).The work characterized by musical finesse and various sonic stimuli has the following four movements: I. Adagio - Allegro - II. Allegretto (C major) - III. Menuet: Moderato - IV. Presto. The somewhat unusual epithet 'military symphony' refers essentially to the second and the fourth movement ('Allegretto' and 'Presto') in which the instrumentation is enriched by timpani triangle cymbals and bass drum and thereby the evokes the impression of amilitary band. A 'trumpet signal' especially set in the second movement led to such a characterization. On the value and importance of this G major Symphony the following article from the Allgemeine Musikalische Zeitung of April 1799 reveals: 'It is a little less learned and easier to grasp than some of the other's newest works but new ones Ideas just as rich as they. Perhaps the surprise in music can not be furthered than it is here by the sudden collapse of full Janissary music in the minor of the second movement-since until then one has no suspicion that these Turkish instruments are attached to the symphony. But here too not only the inventive but also the prudent artist shows. Nevertheless the Andante is nevertheless a whole: for in all the pleasing and easy things that the composer in order to infer from the idea of his coup deceitfully brought it into the first part of it it is nevertheless arranged and worked in a march.' The 'Military Symphony' was premiered on March 31 1799 in London.
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Gustav Holst: Masters in This Hall: Orchestra: Parts
Orchestra
Shawnee Press
Words by William Morris (1834-1896); Traditional French Carol; Final Verse and C...
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Words by William Morris (1834-1896); Traditional French Carol; Final Verse and Chorus Based on a Harmonization by Gustav HolstA truly dynamic interpretation of a wonderful French carol! ?Masters in This Hall ?in its original form is festive and full of life. This arrangement from Mark Hayes is even more exciting! Unexpected harmonies and a fabulous accompaniment make this lively Christmas carol a must for concert or festival. Foradvanced SATB choirs school or church use. Also available iPrint orchestration and StudioTrax CD.
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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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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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Pyotr Ilyich Tchaikovsky: Sinfonia N. 4 Fa M. Op.36: Orchestra: Study Score
Orchestra
Dover Publications
In Tchaikovsky's symphonic output his Symphony No. 4 was a pivotal work. It ann...
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In Tchaikovsky's symphonic output his Symphony No. 4 was a pivotal work. It announced the composer as a major symphonist of his time overshadowing his previous less-than-distinguished efforts in this form and opened the way to his last major works: the haunting Fifth Symphony and the biographical Sixth the profound 'Pathétique.'Tchaikovsky's Fourth Symphony ? written in 1877 at the age of thirty-seven ? offers itself as an intensely personal statement. Dramatically shaped and brilliantly orchestrated it captures a theatrical quality and orchestral color that shaped the composer's symphonic fantasy Francesca da Rimini written just a year earlier. The Fourth opensunequivocally with the thrust of a brass fanfare ? the 'fate' motive that is to reappear in the last movement ? then flows with the effortless quality that characterizes Tchaikovsky's great generously melodious ballet scores. The second movement lingers over one of the composer's most poignant melodies and the third ? the Scherzo ? offers a delightful fantasy from this master orchestrator: the charming Pizzicato ostinato a unique moment in the entire orchestral literature.The symphony is reproduced here from the authoritative Breitkopf & Härtel edition with bar-numbered movements and ample margins at the bottom of each score page for notes and analysis. Ideal for study in the classroom at home or in the concert hall this affordable high quality conveniently sized volume will be the edition of choice for music students and music lovers alike.Reprint of the Breitkopf & Härtel edition.
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Joseph M. Martin: A Shadow Fell on Sharon's Rose: Orchestra: Parts
Orchestra
Shawnee Press
from Colors of Grace-When the Lenten cantata Colors of Grace was released it ca...
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from Colors of Grace-When the Lenten cantata Colors of Grace was released it caused a sensation with its innovative approach to the subject and its inspired musical content. Now available as an individual octavo is the memorable garden ofGethsemane choral “A Shadow Fell on Sharon's Rose.” Quoting the Lenten hymn “Go to Dark Gethsemane ” this Martin masterpiece is rich with the emotion of this pivotal moment in the life of our Savior.Touching!
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Asbjørn Schaathun: Les Cloches De Monsigneur Grieg: Orchestra: Score
Orchestra
Wilhelm Hansen
Les Cloches De Monsigneur Grieg (1993-99) for small Symphony Orchestra by Asbjø...
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Les Cloches De Monsigneur Grieg (1993-99) for small Symphony Orchestra by Asbjørn Schaathun.'Edvard Grieg's 'Bell Ringing' for Piano Op.54 No.6... seen through Monsigneur A. Schaathun's half shut eyes...'Commissioned by the The Norwegian Radio Orchestra.
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Charles Strouse: Tribute to Charles Strouse: Orchestra: Score & Parts
Orchestra
Hal Leonard
This year the entertainment world pays tribute to one of its very best honoring...
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This year the entertainment world pays tribute to one of its very best honoring the 80th birthday of composer Charles Strouse. Some of the most memorable songs from stage and film are included in this musical montage skillfullyarranged for orchestra by Ted Ricketts. Includes: Put on a Happy Face (Bye Bye Birdie) Once Upon a Time (All American) Tomorrow (Annie) Applause and Theme from Golden Boy. Dur: 5:00
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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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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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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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Om Lys Og Lethed
Orchestra
[Score]
Wilhelm Hansen
Par GLERUP RUNE. My violin concerto would never have been written if I had not m...
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Par GLERUP RUNE. My violin concerto would never have been written if I had not met Isabelle Faust. At a time when I had not written a single note for several months, doubting if I would ever write anything again, her interest and energy was the cause of new inspiration. Just as important was her special way of playing - with intellect, heart and a rare, delicate sensibility. Her personality and musicianship struck a chord in me, in my music, which gave my thoughts a new direction. The violin concerto marks a change in my music towards a simpler and lighter expression. An expression that also contains detached glimpses from my childhood's endless summers by the North Sea. Birds, high and slow on a blue sky, and the evening quietly descending. The special light, the distant sounds. But also the confusion, repetitions and dead ends of the world. An expression that, more than in my previous music, is 'About Light and Lightness.' - Rune Glerup, 2021 / Date parution : 2023-10-31/ Répertoire / Orchestre
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Johnson Oatman Jr. Michael Hurley: Higher Ground: Orchestra: Parts
Orchestra
Shawnee Press
Many of the old hymns have great sometimes stunning messages. Michael Hurley fe...
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Many of the old hymns have great sometimes stunning messages. Michael Hurley feels that sometimes the “antiquated” melody and/or harmony can get in the way of these important words. He has embarked upon an ongoingproject to create fresh new music for these grand expressions of faith. He has definitely accomplished that with this arrangement! Higher Ground is lively and upbeat with exciting harmonies and catchy syncopation.“Pressing on the upward way” is no problem with this uplifting choral. The melody soars as the mood of the text climbs higher adding a great high soprano descant on the final verse “I want to scale the utmostheight and catch a gleam of glory bright!” A wonderful orchestration or accompaniment CD is available taking this spirited octavo to new heights...to Higher Ground!
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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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Eulenburg Audio+Scores - Boxed Set
Orchestra
[Study Score / Miniature + CD]
Eulenburg
The 'Eulenburg Audio Score' series contains the orchestral world's greatest musi...
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The 'Eulenburg Audio Score' series contains the orchestral world's greatest musical treasures from the baroque, classical and romantic repertoire. Each volume is clearly-presented with authoritative scores, informative prefaces detailing the biographical and creative background- - CDs of great performances of each work in full length, from orchestras including the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, and the Philharmonia Orchestra.NEW: This box-set of 25 masterpieces in a handy slipcase containing volumes 51-75 in the series is amazing value: almost 50% cheaper than buying each volume separately!This is the perfect gift for any music-lover. 'Eulenburg Audio Score' is the new way to hear, read and understand music. Eulenburg is the 130 year-old world-famous publishing brand, renowned for its top-quality, reliable study scores at reasonable prices. Focusing on the fields of opera, orchestral music, chamber music and vocal music, it is the favoured by conductors, orchestral musicians, soloists, students, teachers and music-lovers generally. The more you read, the more you hear! / Tout Instrument
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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...
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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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Variations On A Theme Of Corelli Op. 42
Orchestra
Boosey and Hawkes
Rachmaninoff's set of variations, originally composed in 1931 for piano solo, ar...
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Rachmaninoff's set of variations, originally composed in 1931 for piano solo, are here arranged by the Rumanian conductor Corneliu Dumbraveanu for chamber orchestra. This arrangement has been programmed regularly by Neeme Järvi, including in 2012 with the London Philharmonic Orchestra in an all-Rachmaninoff programme, and can be heard on his 1994 Chandos recording with the Detroit Symphony Orchestra. Performances have also been given by Kazushi Ono and Kristjan Järvi in 2013. / 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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Patrick Hawes: A King's Ransom: Orchestra: Vocal Score
Orchestra
Hawes Music
Vocal Production Score-A children’s opera that reimagines the story of Ro...
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Vocal Production Score-A children’s opera that reimagines the story of Robin Hood exploring what happens when Robin is unable to save the day and the forest community must look to itself for solutions.
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Patrick Hawes: A King's Ransom: Orchestra: Vocal Score
Orchestra
Hawes Music
Vocal Score-A children’s opera that reimagines the story of Robin Hood e...
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Vocal Score-A children’s opera that reimagines the story of Robin Hood exploring what happens when Robin is unable to save the day and the forest community must look to itself for solutions.
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Patrick Hawes: A King's Ransom: Orchestra: Libretto
Orchestra
Hawes Music
Libretto Booklet-A children’s opera that reimagines the story of Robin Ho...
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Libretto Booklet-A children’s opera that reimagines the story of Robin Hood exploring what happens when Robin is unable to save the day and the forest community must look to itself for solutions.
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Britta Byström: Ten Secret Doors - Suite For Orchestra: Orchestra: Score
Orchestra
Wilhelm Hansen
Ten Secret Doors - Suite For Orchestra was composed by Swedish composer Britta B...
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Ten Secret Doors - Suite For Orchestra was composed by Swedish composer Britta Byström in 2010. Commissioned by Västerås Sinfonietta and premiered by VS conducted by Johannes Gustavsson on April 14 2011. Programme note: Each of the ten movements in the orchestral suite Ten Secret Doors contains a transformation a stage-change in sound meant to give a feeling that the music 'slips away'. In the first movement this transformation is achieved by a sudden orchestral sound change from tutti to solo. There follow changes from muted sound to open sound from wind section to string section from bow play to pizzicato play. In the last movement there is a trumpet solo that is first played on stage then off stage - a transformation from close to distant. I pictured the ending of every movement as the opening rather than the closing of a door.In this work there is also a small musical quotation from 'Von fremden Ländern und Menschen' (from Robert Schumann's famous Kinderszenen). This phrase snuck into music as a greeting from another suite characterized by many short movements of flightiness and lightness.(Britta Byström)
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Copland, Aaron : Appalachian Spring - Ballet of Martha
Orchestra
[Sheet music]
Schott
?Appalachian Spring? was composed in 1943-44 as a ballet for Miss Martha Graham ...
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?Appalachian Spring? was composed in 1943-44 as a ballet for Miss Martha Graham on a commission from the Elisabeth Sprague Coolidge Foundation. It was first performed by Miss Graham and her company at the Coolidge Festival in the Libarary of Congress, Washington, D.C., on October 30, 1994.
The original scoring called for a chamber ensemble of thirteen instruments. The present arrangement for symphony orchestra was made by the composer in the spring of 1945. It is a condensed version of the ballet, retaining all essential features but omitting those sections in which the interest is primarily choreographic.
In 1945 ?Appalachian Spring? received the Pulitzer Prize for music as well as the award of the Music Critics Circle of New York for the outstanding theatrical work of the season. / Partition /
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Tidsrum / Spaces Of Time: Orchestra: Score
Orchestra
Wilhelm Hansen
Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dati...
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Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dating from 1991. Programme Note Spaces of time is a 20-minute long one-movement orchestral piece “with piano” signifying that the piano not only as in my other orchestra works is part of the ensemble but also in a major passage attracts almost all attention. This passage is only one of the ´spaces of time´- spaces which give the work its title and represent individual musical perspectives. Relations of tempo and scale characterize such a space (besides the mentioned“piano-concerto” or other intrumental features) and in this way associate with say a small room - with close-ups of the musical objects - or perhaps to an infinitely great space - a cosmic one where all is far away and vibrating. One motive marked mainly by ascending stepwise movement unifies the spaces but the very varied scales may let the outines of the motive change between say 1/4-tone steps 1/2-tone steps diatonic and other scale steps up to such ambient steps that each one comprises almost a third of the total orchestral range. Very often 2 scales are woven together in a way that lets the “hidden tone” inside a major step in one of the scaels become a part of the other scale. By dynamic means one scale may be highlighted as a “figure” the other one as a “ground” in one passage - and vice versa. In this way a 12-tone chromatic scale may as well contain a Japanese 5-tone scale as a European 7-tone scale. In the final “space” the tones literally take leave of the listeners - by streaming down - as water sucked down into the ground by gravity - into the bass octaves and - into silence. Spaces of time was comissioned by “Suntory Hall” in 1990-91 (artistic director Toro Takemitsu) in October 1991 with Aki Takahashi (piano)
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Orchanics 1: Orchestra: Score and Parts
Orchestra
Goodmusic Publishing
Three new collections of varied pieces for orchestra for players from beginner t...
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Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 1 contains:-Playing Tag (Richard Ling); Eastern March (Richard Ling); Autumn from Four Seasons (Vivaldi); Entertainer (Joplin); St.Anthony Chorale (Brahms/Haydn); Jazz Train (Richard Ling); Caribbean Carnival (Richard Ling); Hark the herald angels sing.
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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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John Williams: Sayuri's Theme (from Memoirs of a Geisha): Orchestra: Score &
Orchestra
[Score and Parts]
Hal Leonard
Sayuri's Theme (from Memoirs of a Geisha)
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Britta Byström: Symphony In Yellow: Orchestra: Score and Parts
Orchestra
Wilhelm Hansen
Symphony In Yellow for Violin Cello and Piano by Britta Byström (2002). Progra...
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Symphony In Yellow for Violin Cello and Piano by Britta Byström (2002). Programme Note Leggiero Dolce Energico Symphony in Yellow for Piano Trio is structured as a “miniature symphony” in three movements. The slow middle movement is surrounded by two faster ones. The title is taken from a poem by Oscar Wilde in which various images that are all characterized by something yellow float by: a yellow bus yellow hay yellow leaves… During the composition of the work I searched for a certain mood or color of sound something “yellow” that shouldremain unchanged while different musical events in the work’s structure took place. I perceived my challenge to be akin to an artist painting different subjects using only one color. Britta Byström Oscar Wilde: Symphony in Yellow An omnibus across the bridge Crawls like a yellow butterfly And here and there a passer-by Shows like a little restless midge. Bib barges full of yellow hay Are moored against the shadowy wharf And like yellow silken scarf The thick fog hangs along the quay. The yellow leaves begin to fade And flutter from the Temple elms And at my feet the pale green Thames Lies like a rod of rippled jade.
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