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René Clausen: All This Night: Orchestra: Parts
Orchestra
Shawnee Press
Always distinctive. Always unique. The music of René Clausen always leaves a la...
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Always distinctive. Always unique. The music of René Clausen always leaves a lasting impression upon those who listen and those who perform. “All This Night” pairs the contrasting poetry of William Austin(1587-1634) and Oliver Wendell Holmes (1809-1834) with contrasting musical styles. Both texts are poems of praise referring to the wonders of creation and the power of the Almighty. Clausen very cleverly sets the medieval textwith a contemporary feel-syncopation some dissonance modern harmonies – while the contemporary text is set in a more traditional chorale-like homophonic style.
69.99 GBP - Sold by Musicroom UK
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Pietro Yon: Gesu Bambino: Orchestra: Parts
Orchestra
Shawnee Press
The always-creative Mark Hayes brings us a fresh new arrangement of a holiday fa...
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The always-creative Mark Hayes brings us a fresh new arrangement of a holiday favorite. Gesu Bambino is always eagerly anticipated as a solo but here it has been beautifully harmonized for SATB choir. Your accompanist getsa chance to really shine as well or you may choose the fabulous orchestration or accompaniment/performance CD. A sparkling addition to your Christmas program or worship service.
64.99 GBP - Sold by Musicroom UK
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Per Nørgård: Symphony No. 6 'At The End Of Day': Orchestra: Score
Orchestra
Wilhelm Hansen
Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Pro...
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Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day” (New Testament 2 Peter 3:8) My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000. The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ... This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute). The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation. Without a break follows the third and last passage in a
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Bent Sørensen: Exit Music: Orchestra: Score
Orchestra
Wilhelm Hansen
Exit Music for Orchestra was composed by Bent Sørensen in 2006-07. Exit Music...
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Exit Music for Orchestra was composed by Bent Sørensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra and is dedicated to Per Nørgård on the occasion of his 75th birthday.Programme note It began with a dream as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door but in front of it - towards the landscape - I 'saw' my music disappearing. I stood looking for the music and started to hear it to remember it in time with its disappearance.The dream continued to recur as strange pictures in my daydreams and I continued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby which continues to reappear in fragments; a strange polyphonic pop song that refers to a section of my opera Under the Sky; and a passionate little love song which concludes the piece on the strings very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms which push the songs out of the room. (Bent Sørensen)
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Simon Holt: A Table Of Noises (Full Score): Orchestra: Score
Orchestra
[Sheet music]
Chester
Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchest...
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Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation which was devised by Colin Currie in conjunction with the composer. Soloists should attempt to match the timbres used but should not feel constrained by the exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the
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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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Poul Ruders: Listening Earth - A Symphonic Drama for Orchestra: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchest...
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Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical
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Michael Tippett: Ritual Dances: Orchestra: Miniature Score
Orchestra
Eulenburg
from the opera The Midsummer Marriage-Tippett's decision to extract the four Rit...
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from the opera The Midsummer Marriage-Tippett's decision to extract the four Ritual Dances from his opera 'The Midsummer Marriage' as a self-contained concert suite reflects the fact that the medium of dance was always present in his conception of the opera. From the start there was to be an interaction within the opera between the real world and the world of mythology partly Greek partly Celtic. This mythological element culminates in the finished opera in the 'Ritual Dances' of Acts 2 and 3. Tippett himself described his opera as a kind of elaborate 'L'après midi d'un faune; in which the 'Ritual Dances' display a powerful sexual energy though of a very different kind from Debussy's voluptuouslangour. Composition of The Midsummer Marriage occupied Tippett for six years from 1946 to 1952. The first performance of the Ritual Dances as a concert suite was given in Basel on 13 February 1953 by the Basel Kammerorchester conducted by Paul Sacher and preceded the premiere of the complete opera by two years. Today the Ritual Dances rival the Concerto for Double String Orchestra (ETP 1331) as Tippett's most widely-performed orchestral work.
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Magnus Lindberg: Marea: Orchestra: Score
Orchestra
Wilhelm Hansen
The harmonic model for this piece is based on a subdivision of pitches in primar...
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The harmonic model for this piece is based on a subdivision of pitches in primary and secondary notes in principle any chord can be viewed from it's structural qualities including interval content and symmetry but it might also be conceived from a more acoustical point of view.The parallel basis for this work is a sequence of 12-tone chords repeated as a chaconne every chord has it's Alter-Ego an overtone series the fundamentals of which together form a bass line. By articulating the cycle differently with always varied diagonal paths between two layers Lindberg has aimed to give the music some direction despite it's vague repetitive structure.Workfor Orchestra premiered at the Queen Elizabeth Hall London by the London Sinfonietta under the direction of Esa-Pekka Salonen April 1990.
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Edward Elgar: Serenade For Strings Op.20: String Ensemble: Score
Orchestra
[Score]
Barenreiter
With Christopher Hogwood’s new edition of Elgar’s much loved Seren...
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With Christopher Hogwood’s new edition of Elgar’s much loved Serenade a scholarly-critical edition of the work is now available for the first time. As with other Elgar works modern editions of the Serenade have always suffered from an enormous number of inconsistancies between the score and parts and unclear divisi and unison passages. The editor has clarified these discrepancies drawing on Elgar’s version of the work for Piano four hands (the original version) and the recently discovered autograph manuscript of the first movement. The edition also contains a facsimile showing the original ending of thethird movement as well as an informative foreword (Ger/Eng) and a critical commentary (Eng).The first scholarly-critical Urtext edition of this popular work for string orchestra.Foreword (Ger/Eng) and critical commentary (Eng).With facsimile pages.Full score and performance material (BA9041) available for sale.
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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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Jean Sibelius: Symphony No. 6 Op. 104: Orchestra: Study Score
Orchestra
[Sheet music]
-
Intermediate/advanced
Wilhelm Hansen
Jean Sibelius completed this work in February 1923 and conducted the premiere in...
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Jean Sibelius completed this work in February 1923 and conducted the premiere in Helsinki on February 19 of that same year. His first reference to the work in 1918 described it as 'wild and passionate in character. Dark with pastoral contrasts. Probably in 4 movements...intensifying in a dark orchestral swell [until] the main theme is drowned.' At the same time he cautioned that his plan could change — and how it did! — 'depending on the way my musical thinking develops. I am always a slave to my themes and obey their demands.'
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Lord Berners: A Wedding Bouquet (Full Score): Orchestra: Score
Orchestra
[Sheet music]
Chester
A Wedding Bouquet was the idea of Lord Berners who wanted Frederick Ashton to m...
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A Wedding Bouquet was the idea of Lord Berners who wanted Frederick Ashton to make a ballet pantomime out of one of Gertrude Stein's plays and who both wrote the music and designed the 'decor' and costumes. The name ofthe play was 'They must be Wedded to Their Wife' but this was thought too long for advertising and was changed to A Wedding Bouquet. Lord Berners went to visit Gertrude Stein in Bilignin and she liked the idea and he foundin her house a carpet which gave him the pattern for the backcloth for the ballet.The ballet was first spoken of as a choral ballet and the opera chorus did sing or chant the words at the early performances but it was entirelyunlike any other choral ballet before or since. The words explained the action introduced the characters made utterly irrelevant comments worked themselves into a frenzied rhythmical accompaniment or injected on occasional aptphrase that devastated dancers and audience alike. Not all of the words have ever been really intelligible but gradually the audience got to know certain phrases by heart and the ballet has a devoted public although inevitably ithas always been a rather special one and to this day there are people who detest the whole affair don't 'understand' it and think it an absurd waste of time and talent.
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Johannes Brahms: Symphonies No. 1-4: Orchestra: Miniature Score
Orchestra
Eulenburg
To Brahms Beethoven's legacy was a heavy burden: 'I will never compose a sympho...
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To Brahms Beethoven's legacy was a heavy burden: 'I will never compose a symphony! You have no idea what spirits come over someone in my position when he always hears such a giant (Beethoven) marching behind him.' Fortunately his statement never came true. Brahms's four symphonies are among the highlights of orchestral music and now available as package at an attractive price.
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Johannes Brahms: Academic Festival Overture Tragic Overture: Orchestra:
Orchestra
Eulenburg
It is uncertain whether the chorale theme of 'Haydn Variations' is actually by H...
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It is uncertain whether the chorale theme of 'Haydn Variations' is actually by Haydn. It is certain however that the Variations are characteristic of Brahms' mature orchestral style and his strict sense of form.With 'Academic Ouverture' the composer expressed his thanks to the University of Breslau for giving him an honorary doctorate. Although the 'brooding' 'Tragic Ouverture' which had originally been intended for this purpose seemed no longer appropriate to Brahms for that occasion it has always been a resounding success since its world premiere.
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Michael Daugherty: Ufo: Orchestra and Solo: Part
Orchestra
Peermusic Classical
(2000) Arranged for band by the composer UFO is inspired by the unidentified fl...
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(2000) Arranged for band by the composer UFO is inspired by the unidentified flying objects that have become an obsession in American popular culture. Written for and first performed and recorded by world-renowned percussionist Dame Evelyn Glennie this dramatic and colorful work is popular among professional and student percussionists and is always a hit with audiences. Duration - ca. 40:00
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Jean Sibelius: Symphony No.6 Op.104: Orchestra: Score
Orchestra
[Sheet music]
-
Intermediate/advanced
Wilhelm Hansen
Sibelius completed this work in February 1923 and conducted the premiere at Hels...
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Sibelius completed this work in February 1923 and conducted the premiere at Helsinki on February 19 of that same year. His first reference to the work in 1918 described it as wild and passionate in character. Dark with pastoral contrasts. Probably in 4 movements...intensifying in a dark orchestral swell [until] the main theme is drowned. At the same time he cautioned that his plan could change — and how it did! — depending on the way my musical thinking develops. I am always a slave to my themes and obey their demands.
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Per Nørgård: Symphony No. 4: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Per Nørgård's Symphony No. 4 (1981) - Indischer Roosengaarten und Chineesische...
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Per Nørgård's Symphony No. 4 (1981) - Indischer Roosengaarten und Chineesischer Hexensee (Indian Rose Garden and Chinese Witch See). Programme Note: This symphony in two movements entitles “Indischer Roosen-Gaarten und Chineesischer Hexensee” was inspired by Adolf Wölfli’s works - consisting of 20.000 pages of prose poetry and pictures -. An English translation of the title would read: “Symphony no. 4 - Indian Rose Garden and Chinese Witch See; after an idea by Adolf Wölfli (1864-1930) and dedicated to him.” Wölfli was from 1895 (31 yearsold) until his death in 1930 confined to the mental hospital at Waldau near Bern Switzerland. Although he had no technical knowledge of music he considered himself to be a great composer and his paintings were almost always covered with long festoons of six-lined (!) music staffs. In 1912 Wölfli ordered paints and paper for a planned ´Musikbüchlein´ which was to be published in 1920 under the title “Indischer Roosen-Gaarten und Chineesischer Hexensee”. (Wölfi uses his characteristic illustrative phonetic spellings with double vowels). The work was never completed and I took it upon myself to realize Wölfli’s idea according to his vision but of course within my own preconditions. The double and suggestive title is typical of Wölfli´s polarized conception of the world which shifts between idyll and catastrophe. This polarization is of almost Chinese nature in that no idyll exists without catastrophic disturbances just as there is a black “spot” in the white “fish” and vice versa in the famous Yin/Yang symbol. One might explain this idea with a quote by the Norwegian author Knut Hamsun: “A prisoner on his tumbrel is wheeled to the scaffold. A nail chafes at his behind; he moves over and feels more
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George Benjamin: Sudden Time: Orchestra: Score
Orchestra
Faber Music Limited
Michael White writing in the Independent On Sunday newspaper says '. . .perhaps...
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Michael White writing in the Independent On Sunday newspaper says '. . .perhaps the most impressive motivated handling of orchestral forces in an output which has always demonstrated an extraordinary control of large forms. And the most telling of its time-tricks is that it compacts such a fecundity of ideas into a duration that you are astonished to discover barely exceeds 15 minutes. It feels twice as long; and I don't say that as criticism. Merely as a tribute to the substance depth and technical accomplishment of an outstanding score'.The Independent on Sunday 25th July 1993
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Wonderful Songs of Grace: Orchestra: Parts
Orchestra
Shawnee Press
Uses: General RevivalScripture: Romans 5:20; Romans 16:20; John 9:25Some of the...
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Uses: General RevivalScripture: Romans 5:20; Romans 16:20; John 9:25Some of the most famous gospel hymns are wedded in this pleasing package of praise. Celebrating the gift of grace these“evergreens” always top the list of beloved hymns. From the bouncy brightness of At the Cross and Wonderful Grace of Jesus to the sweeping confidence of Grace Greater Than Our Sin and AmazingGrace this medley has everything needed for a revival of spirit and faith.
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Joseph M. Martin: Song of Unity: Orchestra: Parts
Orchestra
Shawnee Press
There is always a need for anthems that are an encouragement to race relations. ...
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There is always a need for anthems that are an encouragement to race relations. This anthem is an inspiring reminder that we are all part of the family of God by celebrating our community in Christ. The effective use of “InChrist There Is No East or West” makes this a useful introit or special anthem for World Communion Sunday. Important!
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John Harbison: Rubies (After Thelonious Monk's Ruby My Dear): Concert Band:
Orchestra
[Score and Parts]
Schirmer
G. Schirmer Autograph Edition-Composer John Harbison writes: 'Rubies is a versio...
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G. Schirmer Autograph Edition-Composer John Harbison writes: 'Rubies is a version of Thelonious Monk's 'Ruby My Dear' which he composed while still in his teens. When I was invited by the Seattle Symphony to make a short piecereflecting my first musical passions my thoughts were of Bach and Monk. Since I had recently made some Bach-like chorale preludes I chose to make a version of Monk's tune first in a chamber-musical contrapuntal manner then inthe grand orchestral style I had always heard lurking there.' Dur: 5:30 (Recorded live by the Rutgers Symphony Band - Peter Stanley Martin guest conductor).
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Gloria In Excelsis Deo (BACH JOHANN SEBASTIAN)
Orchestra
[Sheet music]
Carus Verlag
Kantate zum Weihnachtsfest. Par BACH JOHANN SEBASTIAN. The Christmas cantata Glo...
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Kantate zum Weihnachtsfest. Par BACH JOHANN SEBASTIAN. The Christmas cantata Gloria in excelsis Deo BWV 191, which has always presented researchers with many challenging problems, is among the few works to Latin words set by Johann Sebastian Bach. It consists of three sections - a finely-woven duet flanked by two festive choral movements - which we are to encounter again almost note for note in the world-famous Mass in B minor./ Répertoire / Orchestre
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Schlemihl (MANTOVANI BRUNO)
Français
Orchestra
[Sheet music]
Lemoine, Henry
Par MANTOVANI BRUNO. This piece is indeed a tone poem with allusions to Strauss ...
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Par MANTOVANI BRUNO. This piece is indeed a tone poem with allusions to Strauss (the orchestral composition Ein Heldenleben), and the theme found in Chamisso's book: Peter Schlemihl's Miraculous Story. The narration is not linear, but rather, metaphorical (in this sense, the model leans more towards Hamlet by Franz Liszt). In fact, the discourse vacillates between luxuriance (symbolising the infinite wealth of Chamisso's hero) and rarefaction, aridity (the growing psychological vacuum of this same hero). Though the language is modern, there are several references in this homage to Strauss (the use of the horns, for example) and above all, a dramaturgy based on contrast. Strauss is a composer who has always obsessed me, in particular for his orchestral hedonism. He greatly influenced Edgar Varèse, who, for me, is a constant reference. It is this composer's sonic opulence, that was, in part, my inspiration for Schlemihl./ Répertoire / Orchestre
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