Sinfonia In Tre Movimenti - Partitura. Par ZEBELJAN I.. Sinfonia In Tre Movimenti - Partitura / Musique contemporaine / Date parution : 1905-06-30/ Répertoire / Orchestre

Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

Jack Mason's showcase features six songs skillfully scored for school orchestra. This set from Bernstein's timeless West Side Story contains score and seperate parts for Flute I Flute II Piccolo Oboe I Oboe II English Horn Clarinet in B I Clarinet in B II Bassoon I Bassoon II Alto-Sax I Alto-Sax II Tenor-Sax. Baritone-Sax F-Horn I-IV Trompete I-III Posaune I-III Tuba 3 Timpani-Percussion Harp 8 Violin I 8 Violin II 4 Viola 4 Cello and 4 Double Bass.

Per Nørgård's Symphony No. 2 In One Movement - work for Orchestra dating from 1970. Programme Note: After the first performance of my chamber orchestra work VOYAGE INTO THE GOLDEN SCREEN (1969) I was very preoccupied with ‘voyaging on’ in the infinity series I had brought to fruition in the second movement of the work: instead of about 1000 notes of the series I wanted to use about 4000 in order to create the potential for further exploration of the many layers and interval combinations of the infinity series. Instead of the pristine progression of the notes and its orchestration in‘Voyage’ I now wanted to intervene: to create melodies lead up to climaxes darken enlighten etc. but all with respect for the continuous flow and the preservation of the special timeless objectivity characteristic of the infinity series. One can perhaps experience the many recurrences of motifs in tempo layers from fast to very slow as a successor to the fractal computer graphics of the eighties. At any rate this ‘Symphony no. 2 in one movement’ (which was the result) became the precursor of the other works of the seventies including my 50-minute long chorally integrated Third Symphony (from 1973-75) which is also based on the infinity series but in addition has incorporated the upper and lower harmonic series and rhythms with ‘Golden’ duration proportions. The Second Symphony lasts about 25 minutes and was given its first performance on13th April 1970 by the Aarhus City Orchestra conducted by Per Dreier. Per Nørgård August 1992

2005-Søren Nils Eichberg's Symphony No. 1 'Stürzten wir uns ins Feuer' for Orchestra (2005). DK Programnote Eichbergs 1. Symfoni er skrevet i 2005 og blev uropført året efter af Odense Symfoniorkester. Symfonien er i ét sammenhængende forløb og varer en halv time. Den har en undertitel: 'Stürzten wir uns ins Feuer' ('Styrtede vi os i flammerne'). Ordene er taget fra bogen 'Jesusevangeliet' skrevet i 1991 af den portugiske Nobelprismodtager José Saramago. Det fulde citat er en dommedagsvision der lyder sådan her: '… og var viligeså dumdristige eller vovemodige som sommerfuglene og natsværmerne og styrtede vi os i flammerne én og alle hele menneskeslægten - måske så en så kraftig brand en så skærende lue ville gennemtrænge Vorherres lukkede øjenlåg og vække ham fra hans træge blunden - for sent ganske vist til at nå at opfatte os men dog tidsnok til at mærke begyndelsen af det store intet nu da vi ikke længere var…' Visionen fascinerede Eichberg med det samme han læste bogen. 'Der er for mennesket noget direkte magisk tiltrækkende ved den kollektive selvdestruktion og katastrofen som sådan også selvom det egentlig synes ulogisk og gang på gang styrter vi os hovedkulds ind i ilden. Jeg vidste med det samme at jeg ville bruge citatet i musik på et tidspunkt.' Men når citatet står over Søren Nils Eichbergs Symfoni nr. 1 er det konkret også fordi han fandt at det udtrykte noget om situationen i begyndelsen af 2000-tallet. 'Europa førte igen angrebskrig ' forklarer han 'og de politiske strømninger der 60 år forinden lagde Europa i ruiner var på fremmarch igen. I Danmark lod man dem ligefrem få parlamentarisk indflydelse.

'I responded to this exciting but rather daunting commission by writing a very lively and I hope very accessible piece which I decided before I started composing should be full of tunes. I wrote it in memory of my dear friend Sheila MacCrindle who died in 1993... although this Partita is in her memory it never occurred to me to make it gloomy or dirge-like; that is not how I remember her.' Richard Rodney Bennett.Partita for Orchestra by Richard Rodney Bennett was commissioned by British Telecommunications plc in co-operation with the Association of British Orchestras to be performed byseventeen different orchestras between October 1995 and July 1996.Duration: c.17 mins.

Incontri for Orchestra (2010) by Pelle Gudmundsen-Holmgreen. Commissioned by The Danish National Symhony Orchestra / DR. Parts are for hire: hire@ewh.dk Preface / Programme Note INCONTRI is a kind of orchestral prelude presenting some of the orchestra’s timbral possibilities. The timbres of the instrument groups emerge either clear on their ownor in various blends. There are no doublings between the three main groups – winds strings and percussion – each group maintains its own individual character evenduring the encounters; as in a forest where different kinds of birds continuetheirterritorial song without yielding or altering their signals.The joint musical project is not unlike a Baroque concerto grosso not only in theway the form plays the groups off against each other but also in the musical language itself. I have previously written a concerto grosso which I called ”Jungle Baroque” becauseof its savage and wild sounds. The same thing can be said about INCONTRI – bydegrees. Pelle Gudmundsen-Holmgreen

New Version 1994-Symphony No. 6 was created in the late 1960s and was first performed in Havana on 26. November 1969 by the Cuban National Orchestra under my direction. This symphony reflects not only the excited atmosphere of awakening during those years but also my efforts to include in the composition the large number of new human and artistic stimuli that I experienced at that time. So the banjo starts to play a Vietnamese song of freedom (Stars in the Night) later the first bars of Mikis Theodorakis hymn of freedom is heard.The second movement is based on the poem Fe de erratas (errata sheet) by Miguel Barnet. In the original version the three parts of the symphony merge withoutinterruption. In the revised version I separated them to make it easier for the audience to register the caesuras which are also internal caesuras as regards content. Apart from strengthening the string sound the most significant alternation in comparison to the first version is that I fully composed all of the aleatoric passages and pitches which originally were to be freely improvised as was the fashion at that time. Thus I wanted to free them the realm of chance and indeterminacy and to bring them back into my artistic control.- Hans Werner Henze

Score-Morton Gould's Minute Plus Waltz Rag for Orchestra.In honour of their 75th anniversary the Baltimore Symphony Orchestra commissioned a number of composers who had written major works for themin the past to write short musical 'postcards'.'My postcard is called Minute Plus Waltz Rag; it's a slight take-off on The Minute Waltz but with the 'plus' that it's longer than a minute and combines awaltz with a rag pattern in 5/8 time. I wasn't conciously thinking of 1916 when I wrote it but it does actually reflect a flavour of the music of that period' - Morton GouldThe first performance ofthis work took place on October 25 1990 by The Baltimore Symphony with David Zinman as Conductor.

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   

German composer and violinist Johann Pfeiffer (1697 - 1761) was born in Nuremberg and made a career as concertmaster in various orchestras throughout southern Germany. Much of his life was spent in Bayreuth working for the court of Wilhelmine of Prussia Margravine of Bayreuth teaching her composition and violin. During his lifetime he composed a variety of orchestra and chamber music including this Concerto in B-flat Major in three movements: Allegro ma non troppo Andante and Allegretto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set areparts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass German composer and violinist Johann Pfeiffer (1697 - 1761) was born in Nuremberg and made a career as concertmaster in various orchestras throughout southern Germany. Much of his life was spent in Bayreuth working for the court of Wilhelmine of Prussia Margravine of Bayreuth teaching her composition and violin. During his lifetime he composed a variety of orchestra and chamber music including this Concerto in B-flat Major in three movements: Allegro ma non troppo Andante and Allegretto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set areparts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass

Air pour l'orchestre. Par HENZE HANS WERNER. In October of 1997, I received an invitation from New York Philharmonic Music Director Kurt Masur asking me to contribute a musical message for the coming millennium. Maestro Masur's letter read 'My dream would be to have you provide us with a work lasting from 10 to 15 minutes that could both stand on its own or perhaps be combined with musical messages with other composers which we might compile for a full evening's concert.' I welcomed the opportunity to bring one of six unique perspectives to this collective exploration of the meanings of the new millennium, and it is my hope that the Multi-Arts Production Fund will chose to support the New York Philharmonic's 'Messages for the Millennium' project. My Millennium Message, Fraternité, Air for Orchestra, can best be described as a quiet and placid work in which all the instruments of the orchestra are as one ... and sing in praise of harmony and peace. - Hans Werner Henze/ Répertoire / Orchestre

I Én Sats For Violin og Orkester-Koncert (i én sats) for violin og orkester / Concerto (in one movement) for Violin and Orchestra (1943-44) BVN 289. Violin solo part: WH32410D Parts are available on hire: hire@ewh.dk Manuskopi / Manuscript copy

movements: I. Brisk Driving II. Warmly III. Slow Mysterious. (2012) ca. 23'-Commissioned by the Pittsburgh Symphony Orchestra Manfred Honeck Music Director. In 3 movements: I. Brisk Driving II. Warmly III. Slow Mysterious. (2012) ca. 23'