| The Stradivarius Code [Flash Cards & Games] Heritage Music Press
By Barbara Meeks; Geoffrey R Lorenz. For Games. General music. Published by Heri...(+)
By Barbara Meeks; Geoffrey R Lorenz. For Games. General music. Published by Heritage Music Press. (30/2195H)
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Flute En Suite Flute And Piano Reducation Schott
Flute and orchestra (FLUTE PIANO) - difficult SKU: HL.49044665 For flu...(+)
Flute and orchestra (FLUTE PIANO) - difficult SKU: HL.49044665 For flute and orchestral groups. Composed by Jorg Widmann. This edition: Saddle stitching. Sheet music. Woodwind Solo. This 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface,. Softcover. Composed 2011. 80 pages. Duration 22'. Schott Music #FTR225. Published by Schott Music (HL.49044665). ISBN 9790001200103. UPC: 841886022928. 9.0x12.0x0.213 inches. This 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights - acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flute en suite. Jorg Widmann
This 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flute en suite. Jorg Widmann
3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) * 3 (2. auch Ob. d'am., 3. auch Engl. Hr.) * 0 * 3 (3. auch Kfg.) - 4 * 4 * 3 * 1 - S. (Glsp. * Vibr. * 3 hg. Beck. [h./m./t.] * chin. Beck. * 4 Gongs * 4 Buckelgongs * 2 Tamt. [m./t.] * Wassertamt. * gr. Tr. * Metal Chimes * Peitsche) (2 Spieler) - Hfe. * Cel. (auch Cemb.) - Str. (10 * 8 * 6 * 4 * 3). $74.00 - See more - Buy online | | |
| Dark Passenger 3 Percussions [Score and Parts] - Advanced Tapspace Publications
For percussion trio. Composed by Andy Harnsberger. Score and parts on CD-...(+)
For percussion trio. Composed by Andy Harnsberger. Score and parts on CD-Rom. 26 pages. Duration 8 minutes, 20 seconds. Published by Tapspace Publications (TA.TSPCE15-008).
$40.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Contextures: Riots - Decade '60 Orchestra Theodore Presser Co.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867L. Published by Theodore Presser Company (PR.11641867L). UPC: 680160683215. Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death. $105.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Contextures: Riots - Decade '60 Orchestra [Score] Theodore Presser Co.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S). UPC: 680160683208. Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death. $43.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Epicentre Percussion [Score] Breitkopf & Härtel
Percussion solo SKU: BR.EB-9380 Seismic Construction in 3 Parts. C...(+)
Percussion solo SKU: BR.EB-9380 Seismic Construction in 3 Parts. Composed by Johannes Maria Staud. Solo instruments; stapled. Edition Breitkopf. World premiere: Vienna, October 17, 2020 Commissioned by KolnMusik GmbH as a part of the Non Beethoven project of the Kolner Philharmonie for 2020, Wiener Konzerthaus and Martin Grubinger / Percussive Planet. New music (post-2000); Music post-1945. Score. Composed 2019/20. 52 pages. Duration 16'. Breitkopf and Haertel #EB 9380. Published by Breitkopf and Haertel (BR.EB-9380). ISBN 9790004188507. 10.5 x 14 inches. ,,Trau er nur dem holzernen Freund nicht. Er ist manchmal ein lederner (aus den Beethoven-Konversationsheften) Dieses Schlagzeugtrio, das in enger Zusammenarbeit mit den Widmungstragern entstanden ist, besteht aus drei Teilen. Es wird durch die schiere Freude am dramaturgisch gebundelten Konstruieren entlang seismischer Bruchlinien gepragt. Die drei Percussion-Spieler wechseln wahrend des Werkes zwischen drei Setups an verschiedenen Spielpositionen - vom Buhnenhintergrund, uber die Mitte der Buhne bis vorne an der Buhnenrampe. Dabei wird jeweils ein anderes Klangmaterial, im ersten Teil (Part I) das Fell, im zweiten Teil (Part II) das Metall und im dritten Teil (Part III) das Holz in den Mittelpunkt gestellt. Part I (5'30'') ist mit drei O-Daikos besetzt, die mit Fingern, Handen, Fausten, Superballs und Holzstaben gespielt werden. Part II (6'00'') ist um drei Glockenspiele, drei Vibraphone und drei Sixxen gruppiert und integriert auch Metallinstrumente wie Chinese Opera Gongs, Mini-Tam-Tams und Metalltonnen, die mit Fussmaschine gespielt werden. In Part III (4'00'') spielen alle drei Musiker mit Rundstaben, Handen und Rohrenglockenhammern das mit sieben massiven Balken aus Eschenholz besetzte baskische Nationalinstrument Txalaparta, das auch seine ganz eigene Geschichte im Widerstand gegen die Franco-Diktatur hat. Reizvoll war fur mich sowohl, dass man zu dritt auf diesem archaischen Instrument wirklich aberwitzig schnelle Rhythmen spielen kann, als auch, dass dieses Instrument auf Konzertpodien klanglich wie optisch noch vollig neu ist - und dies, trotz aller Schlichtheit, bei einem unglaublichen Reichtum an Klangmoglichkeiten. Kleine rhythmische Zellen, die sich immer wieder zu vielfaltigen neuen Texturen - bis zur klanglichen Entfesselung - zusammenballen und eine feine Differenzierung und Dynamisierung der Anschlagsmoglichkeiten bestimmen dieses Werk. Auch, wenn nur Part II durch den Einsatz bestimmter Tonhohen gepragt ist (durch die Verwendung der von Yannis Xenakis erfundenen Sixxen durchaus mikrotonal), so gibt es doch unuberhorbar abschnittsubergreifende Kontinuitaten in Rhythmik und Motivik, die das ganze Werk bestimmen und es dabei wie feine seismische Adern durchziehen. (Johannes Maria Staud, 2020)
World premiere: Vienna, October 17, 2020 Commissioned by KolnMusik GmbH as a part of the Non Beethoven project of the Kolner Philharmonie for 2020, Wiener Konzerthaus and Martin Grubinger / Percussive Planet. $78.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphony 3 Study Score Orchestra [Score] Schott
Large orchestra (Score) SKU: HL.49006476 (Menschen-Los). Composed ...(+)
Large orchestra (Score) SKU: HL.49006476 (Menschen-Los). Composed by Wilhelm Killmayer. Sheet music. Edition Schott. Classical. Conductor's/study score. Composed 1972-1973/1988. 56 pages. Duration 23'. Schott Music #ED 6606. Published by Schott Music (HL.49006476). ISBN 9790001070317. 4 (3. u. 4. auch Picc. * 4. auch Altfl.) * 3 (3. auch Engl. Hr.) * 4 (4. auch Klar. in Es und Bassklar.) * 3 * Kontrafag. - 6 * 4 (4. auch Basstr.) * 3 (1. auch Altpos.) * 1 (auch Kbtb.) - P. S. (kl. Tr. * Conga * Bong. * Ruhrtr. * gr. Tr. * Kuhgl. * Beck. * 3 Gongs * Tamt. * 3 Messklingeln * Glspl. * Holztr. * Rute * Guiro * Hyoshigi * Flexaton * Xyl. * Marimb. * Vibr.) - 2 Hfn. * Cel. * 2 Klav. * Org. * Mand. * Zither - Str. $36.00 - See more - Buy online | | |
| Fantasy Orchestra Subito Music
Orchestra (3 flutes (piccolo), 2 oboes, 2 clarinets, 2 bassoons; 4horn, 3 trumpe...(+)
Orchestra (3 flutes (piccolo), 2 oboes, 2 clarinets, 2 bassoons; 4horn, 3 trumpets, 3trombone(bass), tuba; timpani, 4 percussion, piano; strings) SKU: SU.90810130 For Orchestra. Composed by Nancy Galbraith. Orchestra. Study Score. Composed 2003. Duration 7'. Subito Music Corporation #90810130. Published by Subito Music Corporation (SU.90810130). Instrumentation: 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 3tbn(bs), tba; timp, 4perc, pno; strings Duration: 7' Full Score & Parts: available on rental Composed: 2003 Published by: Subito Music Publishing Composer's Note: Maintaining a persistent beat throughout, Fantasy for Orchestra begins with a dramatic and highly energetic theme stated immediately in the violins. The range of expression is wide, moving from dance-like rhythms -- making use of irregular meters -- to rather dreamy textures. Throughout much of the work, even in the softer, more fantasy-like middle section, the use of percussion -- gongs, cowbells, and various drums -- is prevalent. --N.G. $36.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
1 ... 121 151 181 |