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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
91.99 GBP - Sold by Musicroom UK
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Gustav Mahler: Symphony No.7 'Song Of The Night': Orchestra: Study Score
Orchestra
Dover Publications
Gustav Mahler's seventh symphony ranks among the composer's most popular and acc...
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Gustav Mahler's seventh symphony ranks among the composer's most popular and accessible works. Possessing neither a 'program' nor a folk-song theme it is a purely instrumental composition both hopeful and romantic in mood with a harmonic and stylistic structure that evokes the daily journey from dusk till dawn.This miniature score is reproduced from an authoritative edition complete with numbered movements for easy reference. Affordable and compact it is ideal for use in the classroom at home or in the concert hall.Reprint of Siebente Sinfonie von Gustav Mahler: Orchester-Partitur Ed. Bote & G. Bock Berlin 1909.
12.20 GBP - Sold by Musicroom UK
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Turning Point (MATTHEWS COLIN)
Orchestra
[Sheet music]
Faber Music Limited
Par MATTHEWS COLIN. Colin Matthews’s Turning Point (2006) represents a bold st...
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Par MATTHEWS COLIN. Colin Matthews’s Turning Point (2006) represents a bold stylistic breakthrough for its composer. Out of a whirring, motoric scherzo comes a jolting sea change: an austere, glacial string chorale of searing intensity that, with gritty resilience, gradually comes to overwhelm everything else. Commissioned by the Royal Concertgebouw Orchestra, this 25-minute journey from complex momentum to expressive simplicity displays all the ingenious craft we have come to expect from Matthews, together with a new-found emotional directness. / Scores / Répertoire / Orchestre
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Carlos Surinach: Sinfonia Chica (Small Symphony): Orchestra: Score
Orchestra
[Sheet music]
Associated
Score-Carlos Surinach's Sinfonia Chica for Orchestra. Full score.The title Sinfo...
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Score-Carlos Surinach's Sinfonia Chica for Orchestra. Full score.The title Sinfonia Chica is derived from the derogatory label 'genero chico' which was first given to Spanish folk musicby the Italian musicians and their Spanish adherents who dominated all art music in Spain during the first half of the 18th century.The work represents a fusion of the traditional rhythms and melodic patterns of the Spanishtonadillas (early zarzuelas) and the stylistic characteristics of 20th century harmony structure and instrumentation.Duration: 16 minutes
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Symphonic Extracts From The Conducting Score: Les Fêtes De L'Hymen Et De L'Amour
Orchestra
Barenreiter
Rameau's 'Les Fêtes de l'Hymen et de l'Amour? was long considered second-rate b...
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Rameau's 'Les Fêtes de l'Hymen et de l'Amour? was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as 'Zaïs?, 'Zoroastre? and 'Les Boréades?. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from 'Aruéris?, a scoring found nowhere else in his oeuvre.For the first time, this scholarly-critical edition of 'Les Fêtes de l'Hymen et de l'Amour? presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Académie Royale de Musique in 1748.- Milestone of French Baroque opera in performance practice orientated vocal score- With a brief foreword (Fr/Eng) containing salient information on the genesis of the work, the synopsis and the edition / Orchestre
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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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Allegro for Double Orchestra (VIVALDI ANTONIO / SIEVING ROBERT (Arr)
Orchestra
Hal Leonard
FROM THE RESPONSORY DOMINE AD ADJUVANDUM ME FESTINA. Par VIVALDI ANTONIO / SIEVI...
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FROM THE RESPONSORY DOMINE AD ADJUVANDUM ME FESTINA. Par VIVALDI ANTONIO / SIEVING ROBERT (Arr.). Robert Sieving\'s arrangement of Allegro for Double String Orchestra by Antonio Vivaldi, RV593, originally a motet featuring the vocal setting of Psalm 69 for soprano, 2 oboes, 2 SATB choirs, and double string orchestra, provides the opportunity for two orchestras to perform in opposition and have a musical conversation through fugal writing. Sieving has maintained Vivaldi\'s writing and sound, as the two orchestras battle it out to be the reigning orchestra. Each orchestra and section have interesting parts, with string crossings, minimal shifting, stylistic Baroque bow use, and call and response sections or echo sections. Invite a neighboring orchestra to perform this wonderful double string piece or divide your orchestra in two groups. Such a wonderful addition to our Vivaldi repertoire by Robert Sieving at Level 3. / Date parution : 2022-07-30/ Répertoire / Orchestre
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George Dyson: Symphony In G: Orchestra: Study Score
Orchestra
[Study Score / Miniature]
Novello & Co Ltd.
The Symphony In G for Full Orchestra was written in 1937 and first published in...
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The Symphony In G for Full Orchestra was written in 1937 and first published in 1940. Lasting around 43 minutes it is often compared to Moeran’s Symphony of the same year as the two works are stylistically very similar.George Dyson (1883-1964) was a British composer organist and music teacher. He studied at the Royal College of Music under Charles Stanford and became a teacher at various public schools. He later became the Director of the RCM ensuring it stayed open during the Second World War. He is probably best remembered nowadays for his Anglican church music especially his settings of the canticles but he alsowrote a substantial amount of instrumental and secular choral music.
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Elliott Carter: Concerto for Orchestra: Orchestra: Score
Orchestra
Associated
Study Score-The Concerto for Orchestra consists of four separate ensembles using...
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Study Score-The Concerto for Orchestra consists of four separate ensembles using four distinct styles of music. This work exploits the small scale tactics of the string quartets in a much larger and timbrally and texturally diverse ensemble adding an even more complex and intense aspect to Carter's stylistic traits.
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