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VIOLA
Orchestra
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Lute (10)
Matériel D'Orchestre (10)
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CD (10)
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Score (5)
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Lap Steel Guitar (5)
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Fake Book (3)
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Voice (3)
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John Field: Nocturnes and Related Pieces: Orchestra: Instrumental Album
Orchestra
Stainer and Bell
Edited by Robin LangleyAmongst the most widely-disseminated and influential pian...
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Edited by Robin LangleyAmongst the most widely-disseminated and influential piano music of the early 19th century the sixteen Nocturnes of John Field are here published together for the first time in an edition that through careful consideration of publishers' plate numbers Russian first editions and the composer's habits of revision reveals the number and chronology of the little-known Nocturne No. 10 and its relation to the unnumbered 'Troubadour' Nocturne H.55.First published in 1997.
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Gustav Holst: Invocation: Orchestra
Orchestra
Faber Music Limited
Invocation was composed in 1911 and first performed on May 2nd of that year in t...
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Invocation was composed in 1911 and first performed on May 2nd of that year in the Queen's Hall London by May Mukle with the New Symphony Orchestra conducted by Landon Ronald. The work received several performances with Piano accompaniment before 1914 but with the public success of The Planets it became one of many works that Holst never had time to revise or publish. A certain amount of editing of dynamics and phrasing has been necessary and the Piano reduction has occasionally been slightly adjusted to match the orchestral accompaniment more closely. The separate Cello part has been edited by Julian Lloyd Webber.
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Ludwig van Beethoven: Symphony No. 9 in D minor Op. 125 Facsimile Score:
Orchestra
[Facsimile]
Barenreiter
Symphony No. 9 in D minor Op. 125 Facsimile Score. With his ninth symphony, Beet...
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Symphony No. 9 in D minor Op. 125 Facsimile Score. With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller?s ?Ode to Joy? becomes a global aspiration, a declaration: ?Alle Menschen werden Brüder ! / All mankind becomes brothers.? In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven?s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer?s working process.,br>Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story. In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO?s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. The first edition (2010) was awarded with the German Music Edition Prize ?Best Edition? 2011.
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Carl Vine: Concerto for Orchestra: Orchestra: Score
Orchestra
Faber Music Limited
Carl Vineâ??s Concerto for Orchestra was premiered to critical acclaim by the W...
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Carl Vineâ??s Concerto for Orchestra was premiered to critical acclaim by the West Australian Symphony Orchestra in October 2014. Its composer describes the way the 20-minute work (like his recent Piano Trio The Village) â??evolves organically through a chain of episodes to create a web of melodies and harmonies that are related but not identical. This network of ideas is tied together by strong lateral bonds but remains fluid and flexible creating a series of fleeting glimpses what Prokofiev called visions fugitives abstract patterns glimpsed in the half-light or imagined behind clouds.â??
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Concert Suite From Sophie's Choice (MAW NICHOLAS)
Orchestra
[Sheet music]
Faber Music Limited
Par MAW NICHOLAS. The first performance of the opera Sophie's Choice was given a...
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Par MAW NICHOLAS. The first performance of the opera Sophie's Choice was given at the Royal Opera House, Covent Garden on 7 December 2002, conducted by Sir Simon Rattle, directed by Trevor Nunn. The Concert Suite from Sophie's Choice was written for the Peabody Institute. The first performance was given by the Peabody Symphony Orchestra with mezzo-soprano Elizabeth Healy, conducted by Hajime Teri Murai, at the Peabody Institute, Baltimore on 24 April 2004. The suite is a direct transcription by the composer from the orchestral music of the opera. The mezzo-soprano aria may be omitted. / Répertoire / Orchestre
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Ouvertures Per Il Teatro Di Shakespeare (CASTELNUOVO-TEDESCO MARIO)
Orchestra
[Score]
Ricordi
N. 5: Il Racconto D'Inverno - Per Orchestra. Par CASTELNUOVO-TEDESCO MARIO. N. 5...
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N. 5: Il Racconto D'Inverno - Per Orchestra. Par CASTELNUOVO-TEDESCO MARIO. N. 5: Il Racconto D'Inverno - Per Orchestra / Date parution : 1905-07-02/ Répertoire / Orchestre
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Hans Werner Henze: Sinfonia N. 6: Orchestra: Score
Orchestra
[Score]
Schott
New Version 1994-Symphony No. 6 was created in the late 1960s and was first per...
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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
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Symphony #3 (Pastoral) (Score) (VAUGHAN WILLIAMS RALPH)
Orchestra
[Sheet music]
Faber Music Limited
Par VAUGHAN WILLIAMS RALPH. A heartfelt and subtly beautiful tribute to the dead...
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Par VAUGHAN WILLIAMS RALPH. A heartfelt and subtly beautiful tribute to the dead of the First World War, Vaughan Williams' Third Symphony is amongst his most powerful works. Misunderstood at its premiere in 1922, the haunting 35-minute elegy is almost entirely quiet and contemplative, though beneath its tranquillity lies a deep sadness. In the second movement a lone trumpet calls over a bleak and desolate landscape whilst the fourth and final movement is framed by a wordless lament for solo soprano. Faber Music publishes this long-awaited hardback critical edition. 'His greatest and most original symphony'. Michael Kennedy/ Répertoire / Orchestre
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Peter Sculthorpe: Mangrove: Orchestra: Instrumental Work
Orchestra
Faber Music Limited
John Rockwell of The New York Times says 'Lush and pictorial it consisted of sh...
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John Rockwell of The New York Times says 'Lush and pictorial it consisted of sharply defined sections that courted the charge of mere exoticism - evocations of Oriental musics and sounds full of throbbing strings rapidly reiterated percussion and all manner of aural colour presumably inspired by alien cultures. But Mr Sculthorpe is no simple-minded purloiner of sonic artifacts; his piece coheres into a statement by a distinctive composer with something interesting and evocative to say.'10 June 1984
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Robert Simpson: Symphony No.9: Orchestra: Score
Orchestra
[Sheet music]
Faber Music Limited
Robert Simpson’s Symphony No.9 is a powerful experience. There is mystery...
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Robert Simpson’s Symphony No.9 is a powerful experience. There is mystery and a sense of concentrated intensity here carried in a single monumental movement driven by one basic pulse. Simpson composed this work for the Bournemouth Symphony Orchestra and it was first performed by them conducted by Vernon Handkley at Poole in Dorset On 8 April 1987. This item is the full conductor’s score containing full Orchestral score. 'There are few musical minds in the world capable of completing such a large and complex symphonic structure . . .' Paul Driver The Sunday Times 26 April 1987
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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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George Benjamin: At First Light: Orchestra: Score
Orchestra
-
Advanced
Faber Music Limited
. . .Benjamin revealed an incredible sense of timbre and a precise technique of ...
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. . .Benjamin revealed an incredible sense of timbre and a precise technique of instrumentation which is unrivalled among his fellow composers. His precedence in both spheres was highlighted most vividly in At First Light. . .a masterpiece which literally throws the whole concept of new music into complete confusion. . .Salzberger Nachrichten (Reinhurst Kannonier) 30 March 1991
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Carl Vine: Symphony No.7: Orchestra: Score and Parts
Orchestra
Faber Music Limited
Rich colourful and multi-layered Carl Vine’s Symphony No.7 (2008) is su...
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Rich colourful and multi-layered Carl Vine’s Symphony No.7 (2008) is subtitled ‘scenes from daily life’. The first two ‘scenes’ mirror the same idea from opposite sides: the first allowing competing energies to collide into uniformity the second moving from unison to plurality. The third and fifth are slow meditations on loss and beauty separated by a contrasting scene of skittish energy. The 24-minute works ends with an unnerving danse macabre.
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Franz Schubert: Symphony No.10 In D: Orchestra: Score
Orchestra
[Score]
Faber Music Limited
Dating from the Autumn of 1828 Schubert's 10th Symphony is arguably the compose...
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Dating from the Autumn of 1828 Schubert's 10th Symphony is arguably the composer's final creative endeavour. Using Schubert's extensive piano sketches - substantially complete for movements two and three and containing the principle material for the movement - the renowned Schubert scholar Brian Newbould has realised the work as Schubert himself might have done. The editor's judicious and sensitive realisation born out of a life-long study of the composer's workings has resulted in a fascinating and rewarding addition to the symphonic repertoire. The 10th Symphony offers a unique insight into the startling pioneering style of Schubert on the threshold of his fourthdecade.
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Jacques Offenbach: Les Contes D'Hoffmann In Full Score: Orchestra: Score
Orchestra
Dover Publications
This is the last of nearly 100 operettas created by French composer Jacques Offe...
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This is the last of nearly 100 operettas created by French composer Jacques Offenbach a native of Germany whose works were most prominent in the latter half of the nineteenth century. His three-act drama Les Contes d'Hoffmann (The Tales of Hoffmann) which includes a prologue and epilogue recounts dramatic stories of passion murder and revenge. Left incomplete at the composer's death the operetta debuted in 1881 and remains popular to this day for its many memorable melodies.A masterpiece of French Romanticism Les Contes d'Hoffmann embodies Offenbach's wish to transcend the limitations of his popularoperettas and achieve success among the lofty heights of grand Opera. This imaginative score presents an artful blend of fantasy emotion and the supernatural as well as elements of satire and the grotesque. Hoffmann the narrator and protagonist relates three stories to his drinking companions. The tales concern Olympia who is revealed as a mechanical doll; Antonia a gifted vocalist in danger of singing herself to death; and Giulietta a Venetian courtesan who uses a magic mirror to purloin others' reflections. Reproduced from an authoritative score this edition offers musicians and music lovers a modestly priced edition of Offenbach's enduring work.
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Wallingford Riegger: Dance Rhythms for Band Op. 58: Orchestra: Score & Parts
Orchestra
[Score and Parts]
Associated
Acclaimed American composer Wallingford Riegger wrote Dance Rhythms in 1954 ori...
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Acclaimed American composer Wallingford Riegger wrote Dance Rhythms in 1954 originally for orchestra but then adapted it himself for band. Noted for its light-hearted mood and energy it is an impressive study in rhythm andorchestration. This important work for band is available now again.
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Joseph M. Martin: Let Christ Be Lifted Up: Orchestra: Parts
Orchestra
Shawnee Press
Praise and jubilation are the main ingredients in this sparkling anthem. Combini...
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Praise and jubilation are the main ingredients in this sparkling anthem. Combining elements of classic hymnody and “Lift High the Cross of Christ” with a contemporary refrain this piece is perfect for services ofblended worship. Bold majestic accompaniment supports a memorable chorus-style melody that could easily be taught to the congregation. “Let Christ Be Lifted Up” is joyful and exciting and a must for continuing thefestive celebration of Easter.
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Rued Langgaard: Heltedød: Orchestra: Score
Orchestra
[Partitions]
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Intermediate/advanced
Wilhelm Hansen
Heltedød. Instrumentation: 3.3.3.3/4.3.3.2/timp/2 perc/2 hp/str. BVN24
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Nico Muhly: It Remains To Be Seen: Orchestra: Score
Orchestra
St Rose Music Publishing
Nico Muhly's It Remains To Be Seen was written in 2006 for for full Orchestra an...
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Nico Muhly's It Remains To Be Seen was written in 2006 for for full Orchestra and has a duration of approximately 11 minutes. Composers Note: It Remains to be Seen was written for the Boston University Tanglewood Institute’s 40th Anniversary Gala in July 2006. The piece begins with a chord identical to the one at the end of Stravinsky’s Firebird suite and proceeds into a series of charged nocturnal episodes. I wanted to treat the feeling of having just heard music and being expected to make one’s own – referencing the experience of leaving a BSO concert at the shed walking back to BUTI on a curvy back road arguing about music in pairs and threes and at the sign of bright headlights from behind reorganizing in single file as a car filled with happy concert-goers speeds by. The piece is a nine-minute navigation of an excited occasionally illuminated dark road filled with arguing cars fragments of remembered music and a constant propulsive pulse. Nico Muhly
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Georg Friedrich Händel: Te Deum In A Major (Edited by Donald Burrows):
Orchestra
[Sheet music]
Novello & Co Ltd.
Te Deum In A Major (Edited by Donald Burrows)
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Beethoven L.v. - Mass C Major Op.86 - Vocal Score
Orchestra
[Vocal Score]
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Advanced
Barenreiter
Beethoven’s sacred works include two settings of the Mass. The “Mass in C ma...
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Beethoven’s sacred works include two settings of the Mass. The “Mass in C major”, completed and premiered in 1807, has been unjustly described as a preliminary step towards the great “Missa solemnis”. Yet it is a self-contained and, for its time, decidedly modern piece of church music. Drawing on the rich body of sources, Beethoven specialist Barry Cooper suggests practical solutions to the work’s musical and interpretative problems. His deep study of the sources convinced him to include a fully realized organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. Rounding off this Urtext edition are a Foreword on the work’s genesis and a detailed Critical Commentary. • Score with realization of the organ part • Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) • Idiomatic piano reduction
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Luigi Nono: Prometeo: Orchestra: Score
Orchestra
[Score]
Ricordi
Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Lu...
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Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Luigi Nono?s Prometeo serves a twofold objective. First, it proposes to document the musical text as defined through the experience of the performances in which Nono took part. Second, it aims to provide performers and scholars with the necessary information relating to the performance practice of the voices, instruments, and electronics (data, programming schemes, instructions for the implementation of sonic treatments). The technical and performance-related material is preceded by an essay which illustrates the philosophical background of the work, as closely linked to its formal aspects. The edition avails itself of the text of the second, final version of Prometeo, performed for the first time in Milan at the Stabilimento Ansaldo (September-October 1985) and reprised in Frankfurt (Alte Oper, August 1987), Paris (Théâtre National de Chaillot, October 1987) and Berlin (Kammermusiksaal of the Philharmonie, August 1988), with Nono at the Sound Direction. While the purpose of the edition is eminently practical, the specific nature of the work, combined with Nono?s own compositional approach, has made it necessary for the editors to access a number of sources, in order to accurately define the musical text. These include the autograph score supplied to the publisher and the printed copy that Nono used in all of the performances he took part in, the scores and parts used by the performers who worked with the composer, the work protocols of the Experimentalstudio of Freiburg (where Nono realized the live electronics part for Prometeo), the radio broadcast recordings of the performances in which Nono was directly involved. The concept of the edition owes much to André Richard?s extended experience realizing Prometeo, from the premieres of Venice (1984) and Milan (1985) up until 2015. He assumed a variety of roles in his plurennial involvement, from preparing the chorus and vocal soloists to leading the Sound Direction, to the design of the sonic space. As to the notation for the electronics of Prometeo, particular attention was devoted to solving the problem posed by the absence of a reference standard, as well as of specific indications in the autograph score. Based on the work protocols of the Experimentalstudio of Freiburg, the editors have developed a semiographic code that is coherent and expressive enough to avert stylistic ambiguities and, at the same time, open and flexible enough to allow for the exercise of interpretative freedom in a constantly evolving technological context.
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Stephen Schwartz: Highlights from Wicked: Orchestra: Score & Parts
Orchestra
[Sheet music]
Hal Leonard
Broadway's powerful new hit is filed with engaging music and an intriguing story...
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Broadway's powerful new hit is filed with engaging music and an intriguing story line based on the infamous Wicked Witch Of The West.Veteran Broadway writer Stephen Schwartz's music has received critical acclaim and is skillfully adapted in this orchestra showcase by Ted Ricketts. Includes No One Mourns The Wicked The Wizard And I Dancing Through Life Popular and Defying Gravity.
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Magnus Lindberg: Corrente No.2: Orchestra: Score
Orchestra
[Score]
Chester
Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orche...
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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
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Kaija Saariaho: Trois Rivieres: Orchestra: Score
Orchestra
[Score and Parts]
Chester
Commissioned by the French Government and Musica Strasbourg.As the title suggest...
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Commissioned by the French Government and Musica Strasbourg.As the title suggests Trois rivières is divided into three separate sections. The first part introduces all the instrumental colours used in the piece. The rhythmicaspect is here nearly eliminated giving room for the timbral scales colours resonances attacks and textures to come to the fore. The instruments come from all members of the percussion family but unpitched instruments aregiven a primary role.The second part adds a rhythmic aspect to the nuances of colour and texture as an ostinato is developed in markedly varying directions.The last part is an epilogue recalling components of the twopreceding parts. Here earlier aspects of the material are reorganised and placed in different relationships to each other.The voices of the percussionists act together as an extension of the instruments being used to createeither rhythmically free textures or strictly notated rhythms. They are treated instrumentally combining to create rhythms and timbres. The poem 'La nuit de lune sur le fleuve' (Moonlit night on the river) by the Chinese poet LiPo (701-762) constitutes the material for the voices which are amplified and further enhanced throughout.
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Francis Poulenc: Mouvements Perpétuels: Orchestra: Score
Orchestra
[Score]
Chester
The Mouvements Perpetuels is a short three-movement suite originally composed fo...
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The Mouvements Perpetuels is a short three-movement suite originally composed for solo Piano by the French composer Francis Poulenc premiered in Paris in December 1918 when Poulenc was only19. The suite was an immediate success with public and performers and it remains one of the composer's most popular works.Each of the three pieces in the suite ends inconclusively leaving the music unresolved to lingerin our ears and minds. The suite takes about five minutes in performance. The light-hearted miniature is adapted here for an ensemble of 9 instruments Flute Oboe Clarinet Bassoon Horn Violin Viola Cello C Bass whichgives it more dimension and makes it even more interesting.Francis Poulenc was a French composer and pianist. In his early works Poulenc became known for his high spirits and irreverence. During the 1930sa much more serious side to his nature emerged particularly in the religious music he composed from 1936 onwards which he alternated with his more light-hearted works.
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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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Sicilianischer Jahrgang (TELEMANN GEORG PHILIPP)
Orchestra
[Sheet music]
Barenreiter
Zwölf Kirchenmusiken Vom 7. Bis Zum 18. Sonntag Nach Trinitatis Und Michaelis. ...
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Zwölf Kirchenmusiken Vom 7. Bis Zum 18. Sonntag Nach Trinitatis Und Michaelis. Par TELEMANN GEORG PHILIPP. Following the principles of the edition, the volume contains a segment of 12 contiguous pieces of church music from a single cycle. They are excerpted from the so-called 'Sicilian Cycle” and consist of the compositions for the 7th - 18th Sundays after Trinity (except the 11th Sunday), the music for which is no longer extant) plus the feast of Michaelmas. The pieces in the cycle reveal elements attributed to the music of southern Italy, which occur in at least one movement of each work. Among these elements are pastoral instrumentation, with oboes and occasionally recorders, and the melodious writing of the arias, all embedded in a translucent texture. The cycle was written for the ducal court in Eisenach, where Telemann was titular chapel-master. It cannot be precisely dated, but the period of composition can be narrowed down between 1717 and 1721. The underlying words, printed as an annual cycle in 1720, stem from the singer, instrumentalist and later Eisenach court secretary Johann Friedrich Helbig. A Foreword and Critical Commentary provide information on the genesis, sources and reception of this very widely disseminated cycle. Also included are facsimiles from the musical and textual sources and an edition of the underlying texts./ Répertoire / Orchestre
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Johann Pfeiffer: Concerto in B-flat Major: Orchestra: Score and Parts
Orchestra
[Score and Parts]
Metropolis Music Publishers
German composer and violinist Johann Pfeiffer (1697 - 1761) was born in Nurember...
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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. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute(the part has been adapted from lute tablature to modern notation) and guitar (capotasto). 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. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute(the part has been adapted from lute tablature to modern notation) and guitar (capotasto).
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Cythère Assiégée (GLUCK CHRISTOPH WILLIBALD)
Orchestra
[Score]
Barenreiter
Couverture Rigide. Par GLUCK CHRISTOPH WILLIBALD. For his Paris 'Cythère assié...
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Couverture Rigide. Par GLUCK CHRISTOPH WILLIBALD. For his Paris 'Cythère assiégée?, Gluck drew on his eponymous opéra comique from 1759, transforming it into an opéra-ballet. The libretto which was expanded by Charles Simon Favart was adapted: Gluck added recitative passages, reworked individual sections and also added his own compositions, modifying them in parts. By March 1775, the compositional work had progressed sufficiently for Gluck to leave behind a copy of the score as he departed from Paris. However, he was unable to supervise rehearsals or be present at the premiere (1 August 1775) or any of the subsequent 21 performances. Due to these particular circumstances, three versions of the work are to be distinguished: the original version, the performed version and the printed version. This edition of 'Cythère assiégée? contains the original version of the main part and is printed here for the first time. The reconstruction which was necessary in order to determine the original form of this opera draws on all orchestral parts, the printed score and with regard to a large gap in Act III, pages were taken from the score copy. The four-part appendix includes the changes made to this score copy, sections that deviate from the printed score as well as the final version of Act III, also from the printed score. The last part of the appendix also presents a Divertissement in six movements by Berton, which is only available as a rare contemporary set of printed parts. The Foreword offers detailed information regarding the work's genesis, subject matter, preparations for performance and print, premiere, reception, and this edition. Selected pages from significant musical sources, the libretto of the premiere performance, and images illuminating the performance context, have been added as facsimiles./ Répertoire / Conducteur
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