SKU: BA.BA10175-67
ISBN 9790006491537. 32.5 x 25.5 cm inches.
Study score = TP 1175.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’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
SKU: BA.BA07599-67
ISBN 9790006521968. 32.5 x 25.5 cm inches.
SKU: PE.EP67560
ISBN 9790300741710.
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: PL.2002M
This unique collection is full of delights! Brown has selected twenty-two works from the sacred vocal repertoire and transcribed them for organ. They range from easy to moderately difficult and come from composers like Bach, Mendelssohn, Hassler, Telemann and others. Organists will find much useful material here for voluntaries as well as recital pieces.
SKU: MN.12-121
UPC: 688670121210.
Confluence was commissioned by the Organ Artist Series of Pittsburgh in celebration of its twentieth anniversary in 1999. Christa Rakich gave the premier at the closing concert of the season at Calvary Episcopal Church by in April of 1999. It has been performed frequently since that time. The title was given to honor the joining together or confluence of the three rivers of Pittsburgh: the Allegheny, the Monongalela, and the Ohio. Confluence is a curious hybrid related to both the sonata and rondo forms. It is of the ABABA design with the final A quite extended by polyphonic games and a very noisy and triumphant epilogue. The first idea is driving, rhythmic, nervous and agitated. The second is quiet, gentle and pastoral, that slowly moves in its mysterious ways, closing with a plaintive row of a dozen different pitches. The composer delights in the challenge of making tone rows as approachable and sing-able as possible. Both ideas make slightly varied restatements. At the end, fugal exploitation of the first idea is followed by that row, entering with stentorian grandeur in full pedal, heralding the triumphant close. This row, like the month of March is referred to frequently as coming in like a Iamb, going out like a lion.
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