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CORNET
Orchestra
NARROW BY INSTRUMENTATION
NARROW BY INSTRUMENTATION
Piano, Vocal and Guitar (4247)
Piano solo (4197)
Choral SATB (3303)
Concert band (2571)
Guitar notes and tablatures (1506)
Guitar (1247)
Choral 3-part (1234)
String Quartet: 2 violins, vio… (967)
Piano, Voice (883)
Violin (782)
Marching band (763)
Choral 2-part (755)
Brass ensemble (649)
Orchestra (648)
String Orchestra (530)
Flute (506)
Organ (457)
Drums (457)
Violin and Piano (383)
Jazz Ensemble (376)
Clarinet (368)
Trumpet (356)
Alto Saxophone (334)
Ukulele (316)
Cello (307)
Soli, Mixted choir and accompa… (283)
Bass guitar (275)
Flute and Piano (269)
Lyrics and Chords (269)
Easy Piano (268)
Melody line, (Lyrics) and Chor… (247)
Keyboard (244)
Voice solo (239)
Musical course - Solfege (228)
Viola (208)
Saxophone (194)
Choral TTBB (182)
Trombone (181)
Tenor Saxophone (181)
1 Piano, 4 hands (179)
C Instruments (169)
Banjo (144)
Cello, Piano (143)
Mandolin (143)
Choral (133)
French horn (124)
Clarinet and Piano (124)
Piano Trio: piano, violin, cel… (121)
All Instruments (121)
Choral SSAA (118)
Harmonica (97)
Opera (94)
Bb Instruments (88)
Piano and Orchestra (84)
Recorder (79)
Music Theory (78)
Viola, Piano (77)
Orchestra, Violin (75)
Double Bass (75)
Harp (73)
Alto Saxophone and Piano (69)
Trumpet, Piano (69)
B Flat, E Flat, C and Bass cle… (68)
Oboe (67)
Choral Unison (63)
Accordion (63)
Percussion (62)
2 Violins (duet) (61)
Guitare (60)
Chamber Orchestra (60)
Medium voice, Piano (56)
Soprano voice, Piano (56)
Soli (SATB), Choeur Mixte (SAT… (52)
High voice, Piano (51)
Woodwind Quintet: flute, oboe,… (51)
Children choir (51)
School Ensemble (48)
Eb Instruments (46)
Divers (46)
Partition de Poche (45)
Flute and Guitar (45)
2 Pianos, 4 hands (44)
Band Scores (43)
Dulcimer (43)
2 Flutes (duet) (42)
Chant (41)
Voice, Guitar (40)
Tuba (39)
String Trio: violin, viola, ce… (39)
French Horn and Piano (39)
Bass Clef Instruments (39)
Baritone voice, Piano (39)
Tenor voice, Piano (38)
Mezzo-Soprano voice, Piano (38)
Bassoon (36)
2 Clarinets (duet) (35)
Trombone and Piano (34)
Brass Quintet: 2 trumpets, hor… (32)
Guitare Electrique (32)
Descant (Soprano) Recorder (32)
Oboe, Piano (duet) (32)
Biography (31)
ENS::Ensemble (31)
Musical Awakening (30)
Choral CD (30)
2 Guitars (duet) (30)
Piano Quintet: piano, 2 violin… (29)
Harpsichord (29)
Piano Accompaniment (27)
Low voice, Piano (27)
Soprano voice (27)
Big band (26)
2 Saxophones (duet) (26)
Cello, Orchestra (25)
Tenor voice (25)
Educatif (24)
Conducteur (24)
Double bass, Piano (duet) (24)
Wind ensemble (23)
Saxophone Quartet: 4 saxophone… (23)
Piano Quintet: piano, violin, … (23)
2 Recorders (duet) (22)
Autoharp (22)
2 Cellos (duet) (22)
Treble (Alto) Recorder (21)
Violon, Ensembles de Cordes et… (21)
Clavecin Et Instruments A Cord… (21)
Piano Quartet: piano, violin, … (21)
Concert Band/Harmonie (20)
Children choir, Piano (20)
Clarinet Quintet: Clarinet, St… (20)
B Flat, E Flat and C Instrumen… (20)
Soli (ATB), Choeur Mixte (SATB… (19)
Mezzo-Soprano voice (19)
Stationery (18)
Snare drums (18)
Choral SSAATTBB (18)
Low voice (17)
Bassoon, Piano (duet) (17)
Saxophone and Piano (17)
Flute, Orchestra (17)
2 Trumpets (duet) (17)
Violin, Cello (duet) (16)
Choral, Orchestra (16)
Solo SATB, Choeur SATB, Hautbo… (15)
Brass Quartet (15)
Percussion Ensemble (15)
Pennywhistle (15)
Dobro (15)
Gemischter Chor (SSATB/SSATB/S… (15)
3 Violons, Instruments à Cord… (14)
Tuba and Piano (14)
Flexible Instrumentation (14)
Flûte Traversière, Violon, I… (14)
Clarinet, Orchestra (14)
Cajon (14)
SATB, 4 Parties Mixtes, 2 Viol… (14)
Clarinet Quartet: 4 clarinets (13)
Harpsichord and Strings (13)
2 Trombones (duet) (13)
Medium Voice (13)
Recorder, Piano (12)
Solistes (SATB), Choeur Mixte … (12)
String quintet (12)
Trio à Cordes (12)
Euphonium (12)
Flute ensemble (12)
Oboe, Violin, Viola and Violon… (12)
Choral SSATB (12)
2 Violas (duet) (12)
Flûte Traversière, Violon et… (12)
High voice (12)
Lap Steel Guitar (12)
Soli (STB), Choeur Mixte (SSAT… (11)
Solo A, Choeur SATB/SATB, 2 Or… (11)
1 Piano, 6 hands (11)
Clavier Electronique et Ligne … (11)
Descent (Soprano) Recorder, Pi… (11)
Gemischter Chor (SSAATBB) und … (11)
Flute, Basso continuo (11)
Solistes SATB, Choeur SATB, 2 … (10)
Solistes (STB), Choeur Mixte (… (10)
Solistes SST, Choeur SSAATB, 2… (10)
Baritone voice (10)
Violin, Basso continuo (10)
String Trio: 2 violins, cello (10)
Solistes SB, Choeur SATB, 2 Ha… (10)
Solistes SAB, Choeur SATB, 4 F… (10)
Organ, Piano (duet) (10)
Paroisse, Choeur SATB, 2 Tromp… (10)
Orgue, 2 Violons, 2 Altos, 2 V… (10)
Solistes SATB, Choeur SATB, 2 … (10)
String Quintet: 2 violins, 2 v… (10)
Saxophone (band part) (10)
Marimba (10)
Clavecin (10)
Solistes SST, Choeur SATB/SATB… (9)
Gemischter Chor (SATB) und Orc… (9)
2 Violons Solo, 2 Violons, Alt… (9)
Solistes SATB, Choeur SATB, Fl… (9)
Solistes SATB, Choeur SATB, Ha… (9)
Solistes SATB, Choeur SATB, Fl… (9)
Children choir, Instruments (9)
Clarinet, Cello, Piano (trio) (9)
Solo instrument and Organ (9)
Piano, Guitar (Chords) (9)
Solistes SAB, Choeur SATB, 3 F… (9)
Solistes SATB, Choeur SATB, Fl… (9)
Choeur d'Enfants à 2 Parties … (9)
Violon, Ensembles de Cordes et… (9)
Flute Quartet: 4 flutes (9)
Orchestre: Choeur SSA, Flûte … (9)
Conga (9)
Soli (T (Evangelist), B (Jesus… (9)
Lyrics only (9)
Xylophone (9)
:: (9)
Solistes SS, 2 Altos, 2 Violon… (8)
Voice and Orchestra (8)
Piano, Violin, Bandoneon, Guit… (8)
Piano, Bass, Drums (trio) (8)
Solistes SATB, 2 Cors, 2 Violo… (8)
Piano, Guitar (duet) (8)
Ensembles de Cordes et Piano (8)
Solistes SATB, Choeur SATB, 2 … (8)
Harp, Flute (duet) (8)
Soli (SATB, Soprano Aussi Chor… (8)
Solistes SSA, Choeur SATB, 2 F… (8)
String Trio: 2 violins, viola (8)
Choeur SSA, 2 Flûtes Traversi… (8)
Petit Orchestre: Récitant, So… (8)
Ensemble (8)
Clarinet Ensemble (8)
Quintette avec Piano (8)
Violin, Horn and Piano (8)
Recorder Ensemble (8)
Bagpipe (8)
Brass ensemble, Organ (8)
Vocal duet, Piano (8)
Solistes SSATB, Choeur SSATB, … (7)
Piano, Voice, Guitar tablature… (7)
Flute, Violin, Violoncello and… (7)
Quatuor de Cuivres, Orgue et V… (7)
Clarinette, Basson, Cor, 2 Vio… (7)
Violoncello, Basso continuo (7)
Soli (STB), Gemischter Chor (S… (7)
Flute Trio: 3 flutes (7)
Electric bass, Drums (7)
2 Choeurs Mixtes (SATB Et SATB… (7)
Flute, Piano Trio (bass, drum,… (7)
Choeur SSATB, 2 Flûtes Traver… (7)
Soli (STB), Choeur Mixte (SATB… (7)
Saxophone Ténor et Piano (7)
Tenor Saxophone and Piano (7)
Violon 1, Violon 2, Alto, Viol… (7)
Soprano, Piano (7)
Big Note Piano (7)
Chamber Music (7)
Horn and String Quartet (Quint… (7)
Chorale (7)
Flute, Clarinet, Piano (trio) (6)
Soli (SATB), Chor (SATB) und K… (6)
Oboe and Orchestra (6)
Klavier und Orchester (6)
4 Parties Mixtes Et Orchestre (6)
Saxhorn en Sib (6)
Flute, Viola and harp (6)
Orchester (6)
Soli (SATB), Choeur Mixte (SAT… (6)
Solo S, Choeur SATB, 2 Violons… (6)
Trombone or Euphonium (6)
Euphonium or Saxhorn and Piano… (6)
Guitar, Flute, Clarinet (6)
Orgue, 2 Hautbois, Cor Anglais… (6)
Saxhorn en Sib en Clé de Sol (6)
Solistes SATB, Choeur SATB, Pa… (6)
Saxhorn en Sib Basse Continue (6)
Set de Cordes (6)
Violine und Orchester (6)
Lute (6)
Solistes SATB, Choeur SATB, 4 … (6)
Solistes SS, Choeur SATB, 2 Vi… (6)
Cello, String Bass (duet) (6)
Bass Clarinet (6)
Trombone (band part) (6)
Soprano voice, Orchestra (6)
Violin, Viola and Orchestra (6)
Piccolo, 2 Flûtes Traversièr… (6)
Hohe Stimme, Melodie-Instrume… (6)
Baryton ou Tuba et Fanfare (6)
Choeur SATB, 2 Violons, Violon… (6)
Petit Choeur SATB et Choeur SA… (6)
Fake Book (6)
Orchestre et Piano (6)
Vibraphone (6)
Violin, Guitar (duet) (6)
Guitar Tab, Voice, Bass, Drum (6)
Guitare Fingerpicking (6)
Ensemble Mixte (6)
Viola, Cello (duet) (6)
Djembe (6)
Trompette en Sib (5)
Concert Band ou Harmonie et Cl… (5)
Cello Ensemble (5)
Ensemble d'Instruments à Vent… (5)
Choeur Mixte (SATB), Orchestre… (5)
Trio avec Piano (5)
2 Flûtes Traversières, Instr… (5)
Bodhran (5)
English horn, Piano (5)
Clavecin, 2 Flûtes A Bec Et I… (5)
Violon, Viole Et Orchestre (5)
CD (5)
2 Flûtes Traversières, Instr… (5)
Tout Instrument (5)
Solistes (SATB), Choeur Mixte … (5)
Soli (SATB), Chor (SATB) und O… (5)
Soli (AB), Choeur Mixte (SATB)… (5)
Choral SSAATBB, Organ (5)
Solistes SATB, Choeur SATB, 2 … (5)
Voix, Flûte à Bec et Percuss… (5)
Percussions Diverses (5)
Saxophone Baryton (5)
Pocket, Study conductor (5)
Hautbois, Clarinette, 4 Violon… (5)
Viola da Gamba (5)
Tenor Banjo (5)
Treble (Alto) Recorder, Piano (5)
Timpani (5)
2 Violons, Instruments à Cord… (4)
S, A, A, T, B, Choeur Mixte A … (4)
Ensemble A Vent (4)
Violon Ou Flûte, Violoncelle … (4)
Flûte Traversière, Clarinett… (4)
Flûte Traversière Clarinette… (4)
Flûte Traversière, Hautbois,… (4)
Chœur Mixte [SATB] et Orchest… (4)
Organ, Percussion (4)
Quintette de Cuivres (4)
Flûte et Mandoline (4)
Clarinette, Violoncelle, Percu… (4)
2 Violons, Instruments A Corde… (4)
Basse, Choeur Mixte (SATB), Ha… (4)
Violon, Alto, Violoncelle et C… (4)
Clarinet, Violin, Cello, Piano… (4)
Piccolo, Piano (4)
Violon, Piano, Guitare Basse e… (4)
Saxophone, Band scores (4)
Voix Mixtes SAB et Piano (4)
3 Clarinets (trio) (4)
Clarinet (band part) (4)
Violoncelle, Contrebasse, Bass… (4)
Septuor et Dispositif Electroa… (4)
String Quartet (4)
Choeur Mixteor (SATB), Orchest… (4)
Quatuor à Cordes et Enregistr… (4)
2 Violons, Alto, Hautbois, Cor… (4)
Sextuor (4)
Guitar, String Quartet (4)
2 Oboes and English horn (4)
Flute, Violoncello (4)
Soli [AT] et Orchestre (4)
Solistes SATB, Choeur SATB, 2 … (4)
Flûte Traversière, Violon, A… (4)
Guitar and String Quintet (4)
Flûte, Clarinette, Piano, Vio… (4)
Trumpet (band part) (4)
Quatuor à Cordes et Electroni… (4)
Recorder Quartet (4)
Handbells (4)
Quatuor à Cordes (Piano ad li… (4)
Xylophone or Marimba or Vibrap… (4)
Flûte Traversière Basson et … (4)
Solo à (B), 2 Cors et Orgue (4)
Concert Band / Harmonie (4)
Flûte Traversière hautbois o… (4)
Quintette à vent (4)
Flûte Traversière (Ensemble … (4)
Matériel D'Orchestre (4)
2 Flutes, Piano (4)
Trumpet, Trombone (duet) (4)
Violon, Alto, Violoncelle et H… (4)
Baritone Ukulele (4)
Flute, Violin, Viola (4)
Cornet et Brass Band (4)
Quatuor (4)
Trio ou Quatuor à Cordes (4)
Flûte Traversière, Clarinett… (4)
5 Instruments à Vent (4)
Hautbois, Basson et Piano (4)
2 Violons Hautbois et Orchestr… (4)
2 Violins, Guitar (trio) (4)
Tous instruments (4)
String trio (4)
Guitar, Violin, Piano (4)
Soli (T (Evangelist), B (Jesus… (4)
Clarinette, Violoncelle et Pia… (4)
Choeur Mixte (SSATB) Et Instru… (4)
Hautbois et Cordes (4)
Choeur SATB et Orchestre (4)
Violon, Alto ou Violoncelle (4)
Chant et Guitare (4)
Percussions et Concert Band ou… (4)
Voix et Orchestre (4)
Scores (4)
Violin, Organ (4)
Harmonie (4)
Brass Quartet: 4 trombones (4)
Concert Band ou Harmonie et 3 … (4)
Flûte Traversière, Hautbois … (4)
Flûte Traversière Cordes et … (4)
Accessoire (4)
Trombone 2 (4)
Trompette ou Bugle et Piano (4)
Piano Quartet: piano, 2 violin… (4)
Guitar and Bass Tablatures, Ch… (4)
Oboe, Flute (4)
Choeur et Orchestre (4)
Violon 1 (4)
Fiddle (4)
Melody line, Piano (4)
Soprano Saxophone (4)
String Trio: 3 violins (3)
Saxophone Ténor ou Ensemble … (3)
Violin, Viola (duet) (3)
Cello, Organ (3)
Voix Hautes (3)
Piano, Guitar, Bass (3)
Choral Unison, Piano (3)
Lyrics & Chords (3)
Flute, Oboe, Piano (trio) (3)
Tuba or Euphonium or Saxhorn (3)
Ensemble Flexible à 5 Parties… (3)
Voice Soprano, Cello (3)
Voice, Clarinet, Piano (3)
Guitar Ensemble (3)
Choeur Mixte (SSATB) et Instru… (3)
Violin, Clarinet, Piano (trio)… (3)
Guitare et Voix (3)
Voix Mixtes (3)
Symphonic Band (3)
Piano, Violon et Cor ou Alto o… (3)
Flute, Cello, Piano (trio) (3)
Concert Band ou Harmonie et Ba… (3)
Clarinet, Horn, Piano (3)
Tuba Ténor et Piano (3)
Woodwind Quintet (3)
CHAM::Chamber Group (3)
Flute, Clarinet (duet) (3)
Piano, Oboe and Bassoon (3)
Travaux Pour Choeurs (3)
Basse (3)
Libretto (3)
Solo à (B), Violon et Basse C… (3)
Bongos (3)
Baritone Saxophone (3)
2 Violins and Basso (3)
Accordion ensemble (3)
Oboe, Guitar (duet) (3)
Trompette 3 (3)
Organ and Brass Quartet (3)
3 Guitars (trio) (3)
Clavecin et Instruments à Cor… (3)
Baryton (3)
Bass Flute (3)
Mariachi (3)
Concert Band ou Harmonie et Ba… (3)
Violon II (3)
Saxophone Alto 2 (3)
Solistes SATB, Choeur SATB, 2 … (3)
Ligne Mélodique, Paroles Et A… (3)
Hautbois et Cor Anglais (3)
Organ, Trumpet (duet) (3)
Piano Trio: mixed chamber inst… (3)
Piccolo (3)
2 Cellos, Piano (3)
Piano, Clavier ou Orgue (3)
Trombone 3 (3)
Soprano Saxophone and Piano (3)
Cello, Doublebass, Piano (trio… (3)
Clarinette, Quatuor Pour Instr… (3)
Cor en Fa (3)
Concert band, Choral (3)
Tuba et Hélicon (3)
Cello, Guitar (duet) (3)
2 Clarinets, Piano (3)
Conducteur De Poche (3)
Choeur SA Et Piano (3)
Harp, Cello (duet) (3)
Trompette et Concert Band ou H… (3)
Guitare (Fingerpick) (3)
DVD concert (3)
Choeur d'Enfants et Piano (3)
Chanson (3)
Clarinet, Bass Clarinet, Violi… (2)
Flûte traversière (2)
Piano Trio: Violin, Viola, Pia… (2)
Trombone en Sib ou Mib ou Tuba… (2)
Harpsychord (2)
Saxophone ensemble (2)
Clarinet, Harp (duet) (2)
Flute (band part) (2)
Trombone ou Tuba et Piano (2)
Bass Trombone (2)
Mallet Percussions (2)
Clarinet, Trumpet (duet) (2)
Trombone 1 (2)
Carte Postale (2)
Oboe, Cello (2)
4 Percussions (2)
Solo Et 3 Partie(s) Voix Aigue… (2)
SOP/BAR/ENS::Soprano, Baritone… (2)
Soli, Gemischter Chor 1 & 2, … (2)
Choeur SSA Et Percussions (2)
2 Parties Mixtes Et Piano (2)
Accordion, Flute (2)
Viola da Gamba, Basso continuo… (2)
Brass Quartet: 4 horns (2)
Xylophone et Concert Band ou H… (2)
2 Snare Drums (duet) (2)
Trumpet and String Quartet (2)
Orgue Sans Pédale (2)
Section Rythmique (Piano, Guit… (2)
Voix Moyenne(s), 3 Clarinettes… (2)
Parties Supplémentaires (2)
Guitare Tablatures Classique e… (2)
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Ngu Hang II (TIET TON-THAT)
Orchestra
[Sheet music]
Jobert
Par TIET TON-THAT. / contemporain / Répertoire / Orchestre
47.90 EUR - Sold by LMI-partitions
(Seller in french langage)
Pre-shipment lead time:
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Kongen Af Himmelby - Demo: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopia...
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Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopiaville-Demo is commissioned by Finn Schumacker for The Odense Symphony Orchestra. Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied up in a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focus is on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to me to start making orchestral excerpts from my operas that are meant to be played before the premiere (and after please); I call them 'operatrailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and more appetizer-ish. The Utopiaville-Demo is a fast-and-furious cinemascope 3D THX-demo for my chamber opera 'The King ofUtopiaville' which is sort of a mix between a reversed revolutionary opera (reversed because it's about a revolutionthat flops) and a rhythm'n blues theatre concert. The opera takes place on the remote tropical island of Honga-Tonga where a mayor form Europe is taking a much needed holiday as far away as possible from his home town Utopiaville. The mayor desperately needs to get away:He has overstepped his authority blatantly and broken every rule of law he felt like in order to create a modern liberalistic society where sanitation medicare hospitals schools the police and all other public institutions are sold to private investors and then leased back by the public - that way noone will ever have to pay taxes because everything finances itself the mayor says and in order to keep reality at a safe distance he drinks massive amounts of insanely expensive french claret all in the best interest of the inhabitants of Utopiaville of course.Honga Tonga can't get any further away from Waikiki Beach: It looks something like the 1933 version of
34.99 GBP - Sold by Musicroom UK
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Michael Nyman: Symphony No. 2: Orchestra: Score
Orchestra
Chester
Full Score-Symphony No. 2 began its life as Pozcatek a 'Michael Nyman Band' 'so...
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Full Score-Symphony No. 2 began its life as Pozcatek a 'Michael Nyman Band' 'soundtrack' that was written for the Michael Nyman Band to accompany a selection of sequences from post-war Polish films thatNyman selected and edited in 2009. That work has already been networked a Pozcatek for piano trio (recorded by the Fidelio Trio for MN Records) and a song cycle 'Ex Votos Songs' with texts transcribed from Mexican ExVotos hence the possibly subtitle for this symphony: Ex Photos. The symphony which was completed in 2013 consists of four interconnected movements and is Arranged for orchestra. Duration of approximately: 28 minutes.
49.99 GBP - Sold by Musicroom UK
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Geoffrey Burgon: A Vision (7 Songs): Orchestra: Score
Orchestra
[Score]
Chester
A Vision was written for the tenor Anthony Rolfe Johnson and commissioned by the...
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A Vision was written for the tenor Anthony Rolfe Johnson and commissioned by the London Mozart Players. The first performance was at the Gregynog Festival in June 1991. Geoffrey Burgon has set 7 poems of John Clare (1793-1846)and the poems that Burgon has chosen were all written whilst Clare was in Northampton Asylum. The work is scored for tenor and string orchestra. There is a prominent part for solo violin which reflects Clare’s love of thatinstrument and upon which he would play folk tunes and dances.
28.99 GBP - Sold by Musicroom UK
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Joseph Haydn: Symphony in E-flat major Hob. I:76: Orchestra: Score
Orchestra
[Score]
Barenreiter
Haydn composed his Symphony no. 76 at the same time as his Symphonies nos. 77 an...
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Haydn composed his Symphony no. 76 at the same time as his Symphonies nos. 77 and 78 for a planned trip to England that never took place. Nonetheless, H. C. Robbins Landon calls these works the ?English symphonies? as they arestylistically closely linked to the ?London Bach?, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ?Leicht und nicht vil Concertirend?, meaningthat they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form. Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn?s large-scalechoral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the ?Works of Joseph Haydn?. The Bärenreiter catalogue now includes the complete performance material for several ?Sturm und Drang?symphonies as well as all the London and Paris symphonies.
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In The Shadow Of The Bat: Orchestra: Score
Orchestra
Wilhelm Hansen
In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels M...
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In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels Marthinsen (2009). Programme note: In the Shadow of the Bat is a triple concerto for three trombones and orchestra inspired by Batman and his enemies The Joker Two-Face and The Penguin. A central idea of modern versions of the Batman myth is that the batman is created by the fantastic villains that he fights and they are created by him - and that Batman is driven by revenge and hate barely held in check by an intense sense of justice. Batman represents 'the dark side' while the villains are hyper-imaginative colourful creative caracters who happen to be completely insane. The rivalry between soloists and orchestra is anything but friendly: The three soloists represent one villain each the orchestra 'is' the batman - and while the villains take centre stage during most of the concerto they are eventually overwhelmed by the sheer power of the orchestra and sent where they belong: The lunatic's asylum. The concerto begins with the creation of the batman: An eight year old boy persuades his parents to leave an opera performance before it is over; outside in an alley they are shot and killed by a criminal while the boy watches. And he decides that all criminals must be punished! Then follows the Villaineuos Fugue: a multi-part fugue-like exposition of villain motives and stylistic environments. It is the exposition of the joker (alto trombone) two-face (tenor trombone) and the penguin (bass trombone). And after a brief and very slow interlude where the three criminals form an alliance and make their plans the Toccata of Crime begins: Bright fast moving highly energetic expansive and colourful music still dominated by the soloists. But later the orchestra moves to centre stage with slow omnious swooping bat-music that climaxes as the soloists are defeated by the orchestra. In the Shadow of the Bat is commissioned
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Schumann R. - Great Works For Piano And Orchestra
Orchestra
[Sheet music]
Dover Publications
Clara Wieck’s sincerest wish was that her future husband, Robert Schumann, tur...
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Clara Wieck’s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.
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Helen Grime: Everyone Sang: Orchestra: Score
Orchestra
[Partitions]
Chester
Everyone Sang was composed by Scottish composer Helen Grime in 2010. It was comm...
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Everyone Sang was composed by Scottish composer Helen Grime in 2010. It was commissioned by BBC Radio 3 for the 75th anniversary of the BBC Scottish Symphony Orchestra. It was first performed at CityHall Candleriggs Glasgow in December 2010 and is arranged for Orchestra. When composing this piece Grime states that she imagined the Orchestra as many individual voices that were capableof producing a unified melody but also breaking off into separate strands of song. Since it was composed as a commemoration for the BBC Scottish Symphony Orchestra Grime wished to emphasise the Orchestra as a grand unified whole as well as their individual sections and sounds. The piece unifies the orchestra with a sense of celebration and elation as well as a sense of melancholy making it apt that the pieceis named after a poem by Siegfried Sassoon.
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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: 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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Olivier Messiaen: Saint Francois d'Assise -Act III 7. Les stigmates: Opera:
Français
Orchestra
[Sheet music]
Leduc, Alphonse
Saint François D'Assise is an opera in 3 acts by Olivier Messiaen. This volume...
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Saint François D'Assise is an opera in 3 acts by Olivier Messiaen. This volume is part of the edition that includes the books with the full Orchestra scores as well as the explanations analysis and comments of each tableau. It is focused on the “Act 3 Tableau 7. Les stigmates” which tells of the moment when Saint Francis receives the stigmata which proves that God approves his status of Saint. This tableau is happening when Saint Francis is alone in a cave in Verna. The music with a choir depicts a feeling of anxiety until the Choir interprets the voice of the Christ. Saint Francis is then hit by some lightfrom a cross that appeared to him in the exact same places where the Christ was hit by the Stigmata. The Orchestra is really strong on that tableau and depicts one of the most important moments of the opera Based on the life of Saint Francis of Assisi this opera is set in Italy and is divided as per below: Act I: 1. La croix 2. Les laudes 3. Le baiser au lépreux Act II 4. L’ange voyageur 5. L’ange musicien 6. Le prêche aux oiseaux Act II 7. Les stigmates 8. La mort et la nouvelle vie This opera was first played at the Paris Opera in 1983. Olivier Messiaen (1908-1992) was a French Organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music he had a very special way of composing and his work can be identified by its complexity its diatonic aspect its harmony with limited transposition its colour and its additive rhythms. He composed many works related to ornithology and birdsong including the Bird Catalogue in 7 volumes and the Treatise on rhythm colour and ornithology in 7 volumes.
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Charles E. Ives: Postlude In F Orchestra Sc&Ptcritical Edition: Orchestra: Score
Orchestra
[Sheet music]
Schirmer
Score and Parts-Charles Ives' Postlude In F for Orchestra. Score and parts.The P...
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Score and Parts-Charles Ives' Postlude In F for Orchestra. Score and parts.The Postlude in F composed in 1895 is Charles Ives' earliest known work for large Orchestra. It is based on anearlier Organ piece which Ives performed at the Baptist Church in Danbury Conneticut on May 11 1890 (at the age of fifteen; on the cover page of the full score Ives mistakenly gave 1892 for the year of the Organcomposition). The version for Orchestra was probably produced as an orchestration assignment for a class of Horatio Parker Ives' teacher at Yale College. Ives recalled that the 'New Haven Orchestra' - that is the New Haven Symphony Orchestra organised by Parker in 1895- read through the work in 1896. The Postlude in F which was also preperation for work on the First Symphony (its first movement also completed in1895) contains some suprisingly mature and beautiful writing especially in the magical closing pages. - Kenneth D. Singleton.
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Gustav Mahler: Symphony No 8: Mixed Choir: Vocal Score
Orchestra
[Sheet music]
Universal Edition
Symphonie der Tausend-Gustav Mahler's Symphony No. 8 is a work of exceptions. Se...
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Symphonie der Tausend-Gustav Mahler's Symphony No. 8 is a work of exceptions. Seen from the outside this is true of the forces that are used: with its three choirs eight soloists and an orchestra of far more than one hundred musicians there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony' which - as Mahler put it - 'is sung from beginning to end'. In turn the texts that are sung influence the structure of the whole replacing as it were the usual four movements of a symphony with twostrongly divergent 'parts'. And finally as if to emphasize this divergence the texts used - the hymn Veni creator spiritus in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes and a work of contradiction. It seems however that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his Symphony No. 8 was 'the greatest' work 'that I have composed'. It is an understandable coincidence that he thus raised Symphony No. 8 to the same rank within his oeuvre as Goethe who claimed that the drama was his 'Hauptgeschäft' [main work] did with Faust. Even after composing his late works Mahler retained his belief that Symphony No. 8 was his 'opus summum'. (Christian Wildhagen)
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Tidsrum / Spaces Of Time: Orchestra: Score
Orchestra
Wilhelm Hansen
Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dati...
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Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dating from 1991. Programme Note Spaces of time is a 20-minute long one-movement orchestral piece “with piano” signifying that the piano not only as in my other orchestra works is part of the ensemble but also in a major passage attracts almost all attention. This passage is only one of the ´spaces of time´- spaces which give the work its title and represent individual musical perspectives. Relations of tempo and scale characterize such a space (besides the mentioned“piano-concerto” or other intrumental features) and in this way associate with say a small room - with close-ups of the musical objects - or perhaps to an infinitely great space - a cosmic one where all is far away and vibrating. One motive marked mainly by ascending stepwise movement unifies the spaces but the very varied scales may let the outines of the motive change between say 1/4-tone steps 1/2-tone steps diatonic and other scale steps up to such ambient steps that each one comprises almost a third of the total orchestral range. Very often 2 scales are woven together in a way that lets the “hidden tone” inside a major step in one of the scaels become a part of the other scale. By dynamic means one scale may be highlighted as a “figure” the other one as a “ground” in one passage - and vice versa. In this way a 12-tone chromatic scale may as well contain a Japanese 5-tone scale as a European 7-tone scale. In the final “space” the tones literally take leave of the listeners - by streaming down - as water sucked down into the ground by gravity - into the bass octaves and - into silence. Spaces of time was comissioned by “Suntory Hall” in 1990-91 (artistic director Toro Takemitsu) in October 1991 with Aki Takahashi (piano)
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John Adams: The Chairman Dances: Orchestra: Score
Orchestra
Associated
Score-John Adams emerged in the last decades of the twentieth century as one of ...
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Score-John Adams emerged in the last decades of the twentieth century as one of the most influential and widely performed American composers since Copland. 'The Chairman Dances' is a 'foxtrot for orchestra' that emerged as an offshootof the composer's 1986 political opera 'Nixon in China'. It has become one of the composer's most popular works. In this piece from the third act of the Opera protocol and ceremony are forgotten as the audience is ledinto the apparent privacy of the characters' bedrooms to hear their intimate discussions. Each sings of his or her current personal concerns while at some level the couples (Dick and Pat Chairman and Madam Mao) connect with eachother on the emotional plane of nostalgia. The Nixons reminisce about their early pre-public married lives. The Maos look back to their youthful idealism and budding romance and foxtrot together to the wistful tune that formsthe basis of this composition. The chugging and coloristic flashes that begin the work give way to the dance theme proper in the strings. The work 'runs out' instead of ending in imitation of the hand-wound gramophone which hadaccompanied the dancing of the Maos in earlier happier times.First performed in January 1986 by the Milwaukee Smphony Orchestra the piece was commissioned by the National Endowment For The Arts.
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Karsten Fundal: Entropia: Orchestra: Score
Orchestra
Wilhelm Hansen
Karsten Fundal's Entropia for Large Orchestra Soprano and Baritone soli Large ...
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Karsten Fundal's Entropia for Large Orchestra Soprano and Baritone soli Large Choir and Chamber Choir (SATB) and prerecorded sound (1997-2001). Commissioned by the Danish National Symphony Orchestra and Choir / DR. Parts are available on hire: hire@ewh.dk About Entropia: This orchestral work is chiefly an attempt to make a musical investigation into the complex question of the nature of time. The viewpoint taken on a philosophical level is chiefly inspired by the brilliant thinker and philosopher of time J.F. Fraser. The main conclusion of his investigation of the subject is in very short that the onlyadequate view to take of time as a phenomenon with all the knowledge that we have today is that time must be seen as a conflict or at least an interference between many different “temporal levels” (...) Karsten Fundal
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Kaija Saariaho: Verblendungen: Orchestra: Score
Orchestra
Wilhelm Hansen
The Full Score of Saariaho's Verblendungen for Orchestra and Tape. The piece is ...
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The Full Score of Saariaho's Verblendungen for Orchestra and Tape. The piece is dedicated to Esa-Pekka Salonen who conducted the premiere performance in Helsinki Finland with the Finnish Radio Symphony Orchestra in April 1984. With both orchestra and tape working in opposite directions of the tonal spectrum this is a fantastic and expressive work that balances the contrast the two elements. Despite these tonal differences the tape and orchestra join together in an inseparable sound world and form a breath-taking orchestral piece that moves through jagged grainy sounds to smoother more reflective moods.
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Concerto Giocondo E Severo Op. 132: Orchestra: Score
Orchestra
Wilhelm Hansen
Concerto giocondo e severo (Cheerful and Serious Concerto) Op. 132 for Orchestra...
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Concerto giocondo e severo (Cheerful and Serious Concerto) Op. 132 for Orchestra by Vagn Holmobe (1977). Programme note Concerto giocondo e severo was composed in 1977 and first performed in the following year on 18th April by the Aarhus Symphony Orchestra during a vist to Gothenburg with Jorma Panula conducting. This work is scored for a much larger orchestra than the other conertos (including a large percussion section) but the orchestration is relatively transparent. It is only occasionally that everybody is on the pitch at the same time. The concerto is in onemovement but is divided into a succession of different tempi and sections that contrast with each other in character. A fortissimo chord from the whole orchestra starts the the slow somewhat tentative introduction. But another fortissimo outbreak is required before strings and the woodwinds together prononunce the beginning of the first rapid section. Knud Ketting
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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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Rolf Wallin: Act: Orchestra: Score
Orchestra
[Sheet music]
-
Intermediate/advanced
Chester
ACT has been described as both a musical onslaught and also a playful tour de fo...
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ACT has been described as both a musical onslaught and also a playful tour de force an impressive and skilful work for full Orchestra. When Wallin’s Clarinet Concerto was performed by the ClevelandOrchestra in 2002 the composer was so buoyed by the warm reaction of audience and musicians that he was inspired to create this work for Orchestra to summon all its forces as one entity in forward motion together. Of the genesisof this piece Wallin wrote that ‘The foundation of mankind’s success is our ability to cooperate. For me one of the most amazing examples of human collaboration is the symphony Orchestra'. RolfWallin is a renowned Nordic composer whose work encompasses elements of classical training jazz early music and avant garde rock while incorporating a wide range of techniques and expressions.
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Witold Lutoslawski: Trois Poemes D'henri Michaux: Orchestra: Instrumental Work
Orchestra
[Sheet music]
Chester
Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first perfo...
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Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choirand an orchestra similar to that of the Symphony of Psalms though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first and only then did he choose the threepoems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat with its onomatopoeic invented words dates form the 1920s; the other two texts which are more philosophic than pictorial form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will bemore useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony which brass sforzandi punctuate with increasing frequency frames the beginning and end of Pens?es. Afterthe choir?s first unaccompanied passage the woodwind have a staccato section over which the female voices singing downward glissandi are superimposed (?Ombre de mondes infimes??). Then the woodwind and both pianos join in alapping ostinato which illustrates the text of the next forte choir entry ?Pens?es la nage merveilleuse?? The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of agamelan-like ensemble of vibraphone c?leste harp and pianos.
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John Luther Adams: Become Ocean: Orchestra: Score
Orchestra
Chester
Full Score-John Luther Adams' Become Ocean for Orchestra (Full score) 'Become O...
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Full Score-John Luther Adams' Become Ocean for Orchestra (Full score) 'Become OceanOver the years my orchestral music has become simpler and more expansive. Clouds of Forgetting Clouds of Unknowing (1991-95) contains four different musical textures. In the WhiteSilence (1998) has three. For Lou Harrison (2002) reduces this to just two. In Dark Waves (2007) I finally got to one. When Ifirst heard that piece I began to wonder if I could sustain asimilar sound for a longer span of time. The result is Become Ocean a meditation on the vast deep and mysterious tides of existence.Thetitle is borrowed from a mesostic verse that John Cage wrote in honor of Lou Harrison's birthday. Likening Harrison's music to a river in delta Cage writes: LiStening to it we becOme oceaN. Lifeon this earth first emerged from the sea. And as the polar ice melts and sea level rises we humans find ourselves facing the prospect that once again we may quite literally become ocean.' – John Luther Adams
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Britta Byström: Invisible Cities: Orchestra: Score
Orchestra
-
Intermediate/advanced
Wilhelm Hansen
Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Prog...
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Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Programme note: Invisible Cities is an orchestral piece inspired by the Italian writer Italo Calvino's novel 'Le città invisible' (1972). The novel consists of many short poetical descriptions of wondrous cities. This is what the explorer Marco Polo reports to Kublai Khan of what he has seen during his travels. Gradually though Kublai Khan begins to suspect that Marco Polo all the time describes one and the same city but in many different ways: Marco Polo's own hometownVenice. This was also my musical idea: to present the same motif in many different ways. The piece has eleven movements just as the novel consists of eleven different kinds of cities. Before every new musical 'city' there is a 'walk' – a little piano line which takes the listener from one city to another. This piano line is a quotation from Witold Lutoslawski'sVenetian Games. There are also other music connected to Venice hidden in my piece: the well-known Barcarolle by Offenbach and some fragments from Carnival in Venice. These references are the 'invisible cities' of my piece the material hidden under the music's surface. Marco Polo explains to Kublai Khan: 'To distinguish the other cities' qualities I must speak of a first city that remains implicit. For me it is Venice.' (c) Britta Byström Britta Byström’s careful ear for musical qualities such as timbre and resonance has resulted in an idiom that could almost be labeled impressionistic. She began composing already as a teenager and later studied composition at Musikhögskolan in Stockholm with Pär Lindgren and Bent Sørensen.
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Silvestre Revueltas: Sensemay? (1938): Orchestra: Score
Orchestra
Schirmer
Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for cham...
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Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for chamber orchestra; one year later the composer transcribed it for a huge orchestra of twenty-seven wind instruments fourteen percussion instruments and strings. The rhythms are laid out precisely and have considerable visceral impact very much in a manner that recalls Igor Stravinsky's The Rite of Spring. However Revueltas' masterful orchestration and ability to evoke the ancient Maya civilization with decidedly modern music are uniquely his own. It is a unique orchestral spectacle something only Revueltas could have written and in its way it is one of the most brutal works of its time. The workbegins with a low note in the bassoon as the percussion plays the sinuous syncopated rhythm that drives the work. Soon a solo horn enters playing the first of this work's two major themes a muscular ominous motif. Other horns join the first one to play the theme growing louder and more emphatic but rigorously yoked to the underlying rhythm. Eventually the horns blast as loudly as they can with obsessive trills on the bassoon far underneath and the violins enter with the slashing second theme. The horns take up this new theme and bring it to a climax after which the music returns to its opening texture. This recapitulation brings with it a mood of foreboding. The rhythm becomes even more obsessive and finally the music reaches a massive climax during which both themes are played overlapping sometimes in part and sometimes in whole by woodwinds brass and violins in what sounds like a musical riot. The coda feels like the final dropping of a knife.
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Minute Plus Waltz Rag Full Score: Orchestra: Score
Orchestra
[Sheet music]
Schirmer
Score-Morton Gould's Minute Plus Waltz Rag for Orchestra.In honour of their 75th...
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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.
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Per Nørgård: Symphony No.3: Orchestra: Score
Orchestra
Wilhelm Hansen
Symphony No. 3 (1972-1975) by Per Nørgård. Per Nørgård's third symphony ...
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Symphony No. 3 (1972-1975) by Per Nørgård. Per Nørgård's third symphony commissioned by The Danish Radio Symphony Orchestra (conductor Herbert Blomstedt) was premiered in Copenhagen in 1976 and received wide attention. The work gives comprehensive expression to a new realm of musical experience which the composer began to explore toward the end of the 1960s. While the first period in Nørgårds production in the 1050s represents his personal interpretation of the Nordic music tradition – evidenced for example in his “Piano Sonata No. 2” (1957) and“Constellations” for chamber orchestra (1958) – and the second period in the 1960s saw him working with serial techniques musical collage and a new sound-palette - especially in the orchestral works “Iris” (196-67) and “Luna” (1967) – with “Voyage into the Golden Screen” (1968) Nørgård arrived at a new compositional technique based on the use of a special form of a so-called “infinity series” a principle of musical motion to be applied to all kinds of scales (chromatic diatonic et cetera). It is characteristic that that Nørgård in the 1970s chose to cultivate diatonic infinity series already evident in the mythological opera “Gilgamesh” (1971-72). Thus the Symphony No. 3 begun directly after the opera combines the infinity series major and minor scales the partial series of natural harmonics and “sub-harmonics” (Nørgårds terminology) with rhythmic patterns based on the Golden Section (the Golden Mean) in a nexus of synchronous yet disparate elements which serve the composers vision of musical coherence.. The works which followed the symphony – the operas “Siddharta” (1975-79) and “The Divine Circus” (1981-82) and Symphony No. 4 (1981) – usher a new
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Judith Weir: Music Untangled: Orchestra: Score
Orchestra
[Sheet music]
Chester
The music for this piece was inspired by a short extract from a traditional melo...
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The music for this piece was inspired by a short extract from a traditional melody sung by women cloth-workers in Barra in the Western Isles of Scotland. The Scottish folk music tradition is one that Weir has frequently drawn onin the past both in shorter works such as the songs of Scotch Minstrelsy and in her second opera The Vanishing Bridegroom and it is one she has completely assimilated into her technique. The modal feel of this piece however is as much a result of Weir's intuitive and idiomatic harmonic sense as of the original inspiration. Overture for Orchestra commissioned by the Boston Symphony Orchestra in honour of the 50th anniversary of the Tanglewood MusicCentre in 1991; it received its first performance there on 3 August that year.
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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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Symphonie Nr. 9 (MAHLER GUSTAV)
Orchestra
[Study Score / Miniature]
Universal Edition
Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. Th...
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Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre
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