| The Way of the Cross Leads Home - Set of Parts Orchestra Lorenz Publishing Company
Orchestra SKU: LO.30-2743L Following the Path of Salvation Through Hym...(+)
Orchestra SKU: LO.30-2743L Following the Path of Salvation Through Hymns. Composed by Mary McDonald. Arranged by Jean Anne Shafferman. Choral, cantatas. Holy Week, Eastertide, Sacred. Instrumental parts. Lorenz Publishing Company #30/2743L. Published by Lorenz Publishing Company (LO.30-2743L). UPC: 000308130188. This product is the set of printed parts only for The Way of the Cross Leads Home, and it includes parts for 2 Flutes, 2 Clarinets, Horn, 2 Trumpets, Trombone, Tuba, 2 Percussion, Piano, 2 Violins, Viola, Cello, Bass, and Digital String Reduction. $249.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Way of the Cross Leads Home - Score and Parts plus CD with Printable Parts Orchestra [Score and Parts] Lorenz Publishing Company
Orchestra SKU: LO.30-2804L Following the Path of Salvation Through Hym...(+)
Orchestra SKU: LO.30-2804L Following the Path of Salvation Through Hymns. Composed by Mary McDonald. Arranged by Jean Anne Shafferman. Choral, cantatas. Holy Week, Eastertide, Sacred. Score and parts, plus CD with printable parts. Lorenz Publishing Company #30/2804L. Published by Lorenz Publishing Company (LO.30-2804L). UPC: 000308130942. This product includes the full orchestral score, printed parts, and digital parts (delivered on a CD) for The Way of the Cross Leads Home. The parts include 2 Flutes, 2 Clarinets, Horn, 2 Trumpets, Trombone, Tuba, 2 Percussion, Piano, 2 Violins, Viola, Cello, Bass, and Digital String Reduction. $399.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Way of the Cross Leads Home - CD with Printable Parts Orchestra Lorenz Publishing Company
Orchestra SKU: LO.30-2803L Following the Path of Salvation Through Hym...(+)
Orchestra SKU: LO.30-2803L Following the Path of Salvation Through Hymns. Composed by Mary McDonald. Arranged by Jean Anne Shafferman. Choral, cantatas. Holy Week, Eastertide, Sacred. CD with printable parts. Lorenz Publishing Company #30/2803L. Published by Lorenz Publishing Company (LO.30-2803L). UPC: 000308130935. This product is the set of digital parts only (delivered on a CD) for The Way of the Cross Leads Home, and it includes parts for 2 Flutes, 2 Clarinets, Horn, 2 Trumpets, Trombone, Tuba, 2 Percussion, Piano, 2 Violins, Viola, Cello, Bass, and Digital String Reduction. $249.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| One Day - Chamber Orchestra Score and CD with Printable Parts Lorenz Publishing Company
SKU: LO.30-2880L Composed by Mary McDonald. Arranged by Larry Shackley. C...(+)
SKU: LO.30-2880L Composed by Mary McDonald. Arranged by Larry Shackley. Choral. Sacred Anthem. Chamber orchestra score and CD with printable parts. Lorenz Publishing Company #30/2880L. Published by Lorenz Publishing Company (LO.30-2880L). UPC: 000308132724. This powerful anthem starts slowly and insistently as we consider Jesus, born to a world covered in the darkness of sin. This powerful anthem starts slowly and insistently as we consider Jesus, born to a world covered in the darkness of sin. Steadily rising through swelling dynamics, it builds in intensity as Jesus rises from the tomb and ascends to His glorious home in a triumphant finale. Chamber Orchestration by Larry Shackley for 2 FL, 2 Cl, HN, 2 Tpt, Tbn, Tuba, Perc, Pno, 2 Vln, Vla, Cello, Bass, Digital String Reduction. $69.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto For Oboe And Orchestra [Score] Theodore Presser Co.
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full score. Duration 24 minutes. Theodore Presser Company #116-41373S. Published by Theodore Presser Company (PR.11641373S). UPC: 680160680344. The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto For Oboe And Orchestra Theodore Presser Co.
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large ...(+)
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large Score. Duration 24 minutes. Theodore Presser Company #116-41373L. Published by Theodore Presser Company (PR.11641373L). UPC: 680160680337. The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra. $175.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dixit Dominus SSA Choral 3-part SSA Shawnee Press
Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawne...(+)
Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawnee Press.
$2.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fantasy on La Bamba Choral SATB SATB divisi, A Cappella [Octavo] Peters
Arranged by Matthew Harris. For SATB a cappella w/divisi. Mixed Chorus a cappell...(+)
Arranged by Matthew Harris. For SATB a cappella w/divisi. Mixed Chorus a cappella with divisi and solos -- Sitting in an outdoor cafe in Mexico a few years ago, I was intrigued when a strolling mariachi band played something str strange yet familiar. Here was 'La Bamba' the 'right way'!, I thought. But a little. Modern. Octavo. 22 pages. Duration circa 6 minutes
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto for Violin and Orchestra in E Minor, Op. 64 Violin and Piano Barenreiter
Violin-solo, piano (Violin solo, Piano) SKU: BA.BA09099-92 First Versi...(+)
Violin-solo, piano (Violin solo, Piano) SKU: BA.BA09099-92 First Version 1844. Composed by Felix Bartholdy Mendelssohn. Edited by R. Larry Todd. This edition: urtext edition. Stapled. Barenreiter Urtext. Early version 1844. Piano reduction, Part. Opus 64. Duration 12 hours. Baerenreiter Verlag #BA09099_92. Published by Baerenreiter Verlag (BA.BA09099-92). ISBN 9790006565733. 31 x 24.3 cm inches. Key: E minor. Preface: Larry R. Todd. Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.
As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.
The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.
The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.
It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany.
This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.
The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.
- New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger). About Barenreiter Urtext Orchestral Parts Why musicians love to play from B�¤renreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composerâ��s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$38.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Zatten Concerto for Trumpet & Piano Trumpet, Piano - Advanced Cherry Classics
Trumpet in C and piano - advanced SKU: CY.CC2871 Composed by Roger T. Pet...(+)
Trumpet in C and piano - advanced SKU: CY.CC2871 Composed by Roger T. Petrich. Contemporary. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2871). û¿Zatten was commissioned in 2005 by Trumpeter Paul Neebe during the composer's vacation to do ancestral research in the town of Zatten, currently part of Poland. Roger Petrich writes the following about his Zatten Concerto for Trumpet: The 'DNA' of this compostion tracks back to my great-grandfather and the tiny Plattdeutsch village where he was born. Zatten, [then] located in the eastern part of Berlin/Brandenburg is in an area of forest and small farms dating back to the 1600's. My grandfather R. T. Petrich, whose initials I bear, was six years old when he, along with his parents, sister, and older brother left Prussia to start a new life in the USA. My own childhood memories include many visits to the family homestead in Dakota Territory, where I used to play in the barn which hosted many summer dances. The Dakota sky was vast by day, and nights could become magical with the addition of the Northern Lights. Though not a professional musician, my father kept up his trumpet playing all his life. In a special way it was his voice - a sound that deeply imprinted all my growing up years. All of this is mixed together in my Zatten Concerto The Zatten Concerto is in three movements, the two outer movements faster and the middle is a Largo. This work is appropriate for advanced performers. The title Zatten (the name of the small village in Germany where his family was located before immigrating to the USA) is spelled out in Morse Code in the very opening eight bars of the work. The Concerto is originally written for Trumpet and String Orchestra, this version using a reduction for Piano. $37.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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