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Sinfonias / Individual Instrumental Pieces (GLUCK CHRISTOPH WILLIBALD)
Orchestra
[Sheet music]
Barenreiter
Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willi...
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Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA. Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts. The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted. In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ Répertoire / Orchestre
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Antonín Dvo?ák: Sonata For Violin And Piano In F Op.57: Orchestra: Instrumental
Orchestra
Simrock
A Sonata for Violin and Piano by the great Czech composer. This is Dvorák's onl...
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A Sonata for Violin and Piano by the great Czech composer. This is Dvorák's only Violin Sonata and is a relaxed almost tranquil affair with the two instruments interlaced and complementing each other.
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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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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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Overtures (SCHUBERT FRANZ)
Orchestra
[Sheet music]
Barenreiter
New Edition of the Complete Works V/5. Par SCHUBERT FRANZ. In addition to his sy...
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New Edition of the Complete Works V/5. Par SCHUBERT FRANZ. In addition to his symphonies, Franz Schubert also wrote and handed down to posterity a total of eight finished concert overtures (two of them in two versions) between ca. 1811 and 1819. With the exception of the “Overture in D” (D 4) to the comedy “Der Teufel als Hydraulicus” (“The Devil as Engineer”) and the “Overture in D” (D 26), whose original title was cut out of the manuscript, they are all compositions which are associated neither with a drama nor a programme. They thus embody the type of the pure concert overture at an astonishingly early point in the history of music and are also in keeping with this terminologically by virtue of explicitly not having any other appellations whatsoever in the title: the epithet common for two works “in the Italian style” was only added posthumously. Our volume sees publication for the first time of the “Italian Overture in C” (D 591) in its two authentic versions, this being in contrast to the performance tradition based on a potpourri of the sources. The widely handed-down but corrupted musical course of the “Overture in D” (D 590) has likewise been rectified for the first time. Overshadowed by his symphonies, Schubert’s overtures have hitherto been largely undervalued both in their reception and in musical practice – including the “Overture in E minor” (D 648), which sees Schubert venturing into radically new spheres of expression to a greater extent than in virtually any other of his works./ Recueil / Orchestre
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Holberg Suite And Other Orchestral Works: Orchestra: Instrumental Album
Orchestra
Dover Publications
In Full Score-Lyrical transmutations of Norwegian folk songs enliven these 6 orc...
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In Full Score-Lyrical transmutations of Norwegian folk songs enliven these 6 orchestral works featured in Holberg Suite And Other Orchestral Works In Full Score.
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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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Antonín Dvo?ák: Songs My Mother Taught Me Op.55 No.4: Orchestra: Instrumental
Orchestra
Simrock
from Gipsy Song-Dvorak's Als Die Alte Mutter (Songs My Mother Taught Me) Op.55 N...
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from Gipsy Song-Dvorak's Als Die Alte Mutter (Songs My Mother Taught Me) Op.55 No.4 is an expressive and impassioned piece arranged for Violin with Piano Accompaniment by Fritz Kreisler. The piano accompaniment part is also included on a separate insert.
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Reza Vali: Segah: Double Concerto: Orchestra and Solo: Score
Orchestra
Lauren Keiser Music Publishing
Full Score-The Persian traditional music (called the Dastgah Segah) is based on ...
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Full Score-The Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segah has no interval in common with the European/ Western equal-temperament tuning. This lack of common intervalsbetween the Segah mode and the equal-temperament tuning will lead to a cognitive dissonance if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systemsand use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures. The piece consists of two Persian traditional instruments the Ney (Persian vertical bamboo flute) and the Kamanche (Persian spikefiddle) as the musical representatives of the Persian culture set against the Western orchestra as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp and string quintet accompanies thePersian instruments. The harp is tuned to the Segah intervals and the string quintet plays in the Segah mode. The orchestra is performing inthe Western equal- temperament tuning. From the very first bars of the main section of the piece confusionsand misunderstandings arise. The orchestra being unable to play in Segah or understand the mode becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musicalviolence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists efforts to express their musical thoughts. In the midst of all these confusions and cultural misunderstandings musical connections and attractionsstart to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each others musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing thegradual replacement of the clash of civilizations with the dialogue of civilizations. Segah was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15 2016.
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Renga
Orchestra
Peters
Score (361 dessins de Thoreau parfois superposent) et 78 pièces (pour tout inst...
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Score (361 dessins de Thoreau parfois superposent) et 78 pièces (pour tout instrument et/ou voix): à jouer seul ou (comme une pièce occasionnelle) avec 1776 maison d'habitation ou certains autres musicircus (direct ou enregistré) approprié à une autre occasion que le bicentenaire des Etats-Unis, à l'occasion, par exemple, comme la naissance ou la mort d'une autre nation musicalement productive ou à, ou la naissance d'une société porte sur certains aspects de la création productive du son, par exemple. Oiseaux, animaux marins, changements météorologiques, tremblements de terre ou de plantes (équipés de cartouches et utilisés comme des instruments de percussion, comme dans l'enfant d'arbres et de BRANCHES, ou acoustiquement isolés et au moyen de la technologie appropriée fait audible) permettant des restrictions du droit d'auteur. / Grand Ensemble Contemporain Et Orchestre
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John Adams: Shaker Loops (revised): Orchestra: Score
Orchestra
Hal Leonard
Score-Although in its own way an example of 'continuous' music Shaker Loops dif...
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Score-Although in its own way an example of 'continuous' music Shaker Loops differs from most other works of its kind because it sees so much change within a relatively short amount of time. Also it avoids the formal and temporalpurity of much 'minimal' music by not adhering to a single unbending tempo throughout allowing for a freer movement from one level of energy to another.The 'loops' are melodic material assigned to the seven instruments each of a different length and which when heard together result in a constantly shifting play amongst the parts. The four sections although they meld together evenly are really quite distinct each being characterised by aparticular style of string playing. The outside movements are devoted to 'shaking' - fast tightly rhythmicised motion of the bow across the strings. The 'slews' of Part 2 are slow languid glissandi heard floating within analmost motionless pool of stationary sound whereas Part 3 is essentially melodic with cellos playing long lyrical lines (also loops) against a background of muted violins.
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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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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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Canons (SCHNEBEL DIETER)
Orchestra
[Study Score / Miniature]
Schott
Music Of Our Time. Par SCHNEBEL DIETER. In this work Schnebel attempts to apply ...
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Music Of Our Time. Par SCHNEBEL DIETER. In this work Schnebel attempts to apply the idea of the Baroque canon - as exemplified in Bach’s ‘Art of Fugue’ - to modern concepts of tonal colouring. The ‘Motu proprio’ of the 7 mixed groups of orchestral instruments intensifies within 28 short emotional sections to the Baroque ‘Motu contrario’. In ‘Diapason’, literally translated ‘in the octave’ but in the ancient Greek music tradition taken to mean ‘through or across everything’ among other things, the orchestra is arranged into 13 groups according to families of instruments and tonal colour. Schnebel alternately uses the term ‘fugue’ in the strict sense of the Baroque period and in its more general, purely architectonic meaning./ Répertoire / Orchestre
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Fraternité (HENZE HANS WERNER)
Orchestra
[Study Score / Miniature]
Schott
Air pour l'orchestre. Par HENZE HANS WERNER. In October of 1997, I received an i...
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Air pour l'orchestre. Par HENZE HANS WERNER. In October of 1997, I received an invitation from New York Philharmonic Music Director Kurt Masur asking me to contribute a musical message for the coming millennium. Maestro Masur's letter read 'My dream would be to have you provide us with a work lasting from 10 to 15 minutes that could both stand on its own or perhaps be combined with musical messages with other composers which we might compile for a full evening's concert.' I welcomed the opportunity to bring one of six unique perspectives to this collective exploration of the meanings of the new millennium, and it is my hope that the Multi-Arts Production Fund will chose to support the New York Philharmonic's 'Messages for the Millennium' project. My Millennium Message, Fraternité, Air for Orchestra, can best be described as a quiet and placid work in which all the instruments of the orchestra are as one ... and sing in praise of harmony and peace. - Hans Werner Henze/ Répertoire / Orchestre
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Per Nørgård: Voyage Into The Golden Screen: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Voyage Into the Golden Screen for Chamber Orchestra is a complex experimental w...
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Voyage Into the Golden Screen for Chamber Orchestra is a complex experimental work by Danish composer Per Nørgård that has been of elemental important in the composer's work. In the 1960's Nørgård claims to have discovered rather than invented a series of notes he calls 'the infinity series' rather like a twelve-tone series but infinite generative fractal and without the rhythmic and other confines of the true serialists. In Voyage the instruments are microtonally and individually retuned to create an aural space between half-steps. Voyage was the first work in which Nørgård put the infinity series at the centre of the work. Voyage Into The Golden Screen is awork in two movements. The slow-moving layers create aural intensity in the first part while the second movement explores more minimalist textures. Together they create an elemental sound experiment just one element of this composer's monumental creativity and originality.
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Timbres Espaces Mouvements Ou 'La Nuit Etoilee' Partition Orchestre In 8 Ph307 (DUTILLEUX HENRI)
Orchestra
[Sheet music]
Heugel
Par DUTILLEUX HENRI. Composed in 1978 by Henri Dutilleux, Timbres, Espace, Mouve...
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Par DUTILLEUX HENRI. Composed in 1978 by Henri Dutilleux, Timbres, Espace, Mouvement Ou La Nuit Etoileé is a work for Orchestra, also named “The Starry Night” after the painting by Van Gogh. It was commissioned by Mstislav Rostropovich for the National Symphony Orchestraof Washington and is dedicated to Charles Münch. This work for Orchestra lasts approximately 20 minutes and depicts the content of the painting. It is scored for a full Orchestra without Violins or Violas. The Cellos serve to represent space, with swirling solos alongside calmer sections, while thelack of Violins and Violas epitomises for the quiet and motionless sections of the painting. The solo of the Wind instruments and Drums characterizes the clouds and the light of the moon and stars. It is divided into two parts: 1. Nébuleuse (Nebula) and 2. Constellations, which are divided by a Cello interlude. Composed in 1978 by Henri Dutilleux, Timbres, Espace, Mouvement Ou La Nuit Etoilee is a work for Orchestra, also named ; The Starry Night after the painting by Van Gogh. It was commissioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Munch. This work for Orchestra lasts approximately 20 minutes and depicts the content of the painting. It is scored for a full Orchestra without Violins or Violas. The Cellos serve to represent space, with swirling solos alongside calmer sections, while the lack of Violins and Violas epitomises for the quiet andmotionless sections of the painting. The solo of the Wind instruments and Drums characterizes the clouds and the light of the moon and stars. It is divided into two parts: 1. Nebuleuse (Nebula) and 2. Constellations, which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work, winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, among many others. His work also includes a Piano sonata, two symphonies, the Violin concerto 'L'Arbre Des Songes' (The Tree Of Dreams) and the Cello concerto 'Tout Un Monde Lointain' (A Whole Distant Word)./ Répertoire / Orchestre
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Esa-Pekka Salonen: Insomnia For Orchestra: Orchestra: Score
Orchestra
[Score]
Chester
In the words of the composer 'Insomnia was written between March and November 20...
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In the words of the composer 'Insomnia was written between March and November 2002. Technically speaking it is a set of variations based on a harmonic model separated by a Ritornello-like section which is essentially a pedalpoint on the note e. The sound of Insomnia is darker and deeper than that of some of my other orchestral works. I decided to add a quartet of Wagner Tubas to the brass section for the very particular sonority only these rare andweird instruments can produce.'
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Franz Joseph Haydn: Symphony No. 100 In G: Orchestra: Miniature Score
Orchestra
Eulenburg
London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his secon...
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London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his second trip to England in 1794. This work is one of the still popular from the series of the so-called '12 London Symphonies' (Hob. 1/93 - Hob. 104).The work characterized by musical finesse and various sonic stimuli has the following four movements: I. Adagio - Allegro - II. Allegretto (C major) - III. Menuet: Moderato - IV. Presto. The somewhat unusual epithet 'military symphony' refers essentially to the second and the fourth movement ('Allegretto' and 'Presto') in which the instrumentation is enriched by timpani triangle cymbals and bass drum and thereby the evokes the impression of amilitary band. A 'trumpet signal' especially set in the second movement led to such a characterization. On the value and importance of this G major Symphony the following article from the Allgemeine Musikalische Zeitung of April 1799 reveals: 'It is a little less learned and easier to grasp than some of the other's newest works but new ones Ideas just as rich as they. Perhaps the surprise in music can not be furthered than it is here by the sudden collapse of full Janissary music in the minor of the second movement-since until then one has no suspicion that these Turkish instruments are attached to the symphony. But here too not only the inventive but also the prudent artist shows. Nevertheless the Andante is nevertheless a whole: for in all the pleasing and easy things that the composer in order to infer from the idea of his coup deceitfully brought it into the first part of it it is nevertheless arranged and worked in a march.' The 'Military Symphony' was premiered on March 31 1799 in London.
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Diverse: Celtic: Flexible Band: Score
Orchestra
[Sheet music + CD]
Universal Edition
Leichte Ensembleliteratur Für Den Unterricht-Martin Tourish is an accordionist ...
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Leichte Ensembleliteratur Für Den Unterricht-Martin Tourish is an accordionist composer and musicologist from Co. Donegal now based in Dublin. Celtic music is in his blood for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments.?World Music Celtic? presents material from the Irish Scottish Welsh Cornish and Breton traditions. It makes no great technical demands on the players but Tourish points out that notation of this music is often ?skeletal? hence it is important to gain a knowledge ofthe individual traditions in question and naturally he offers plenty of information on performance practice.The collection spans three centuries from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings festivals and the very communities whence this music comes. ?World Music Celtic? is available in four formats each with complete recordings and backing tracks on CD: as solo versions for violin flute or saxophone (with piano) and in an ensemble version for two melodic instruments (C Bb or Eb) piano guitar bass and bodhrán.
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Henri Dutilleux: Timbres Espaces Mouvements Ou: Orchestra: Score
Orchestra
[Score]
Heugel
Composed in 1978 by Henri Dutilleux Timbres Espace Mouvement Ou La Nuit Etoil...
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Composed in 1978 by Henri Dutilleux Timbres Espace Mouvement Ou La Nuit Etoileé is a work for Orchestra also named ?The Starry Night? after the painting by Van Gogh. It was commissioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Münch. This work for Orchestra lasts approximately 20 minutes and depicts the content of the painting. It is scored for a full Orchestra without Violins or Violas. The Cellos serve to represent space with swirling solos alongside calmer sections while the lack of Violins and Violas epitomises for the quiet andmotionless sections of the painting. The solo of the Wind instruments and Drums characterizes the clouds and the light of the moon and stars. It is divided into two parts: 1. Nébuleuse (Nebula) and 2.Constellations which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers among many others. His work also includes a Piano sonata two symphonies the Violin concerto 'L'Arbre Des Songes' (The Tree Of Dreams) and the Cello concerto 'Tout Un Monde Lointain' (A Whole Distant Word).
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Wolfgang Amadeus Mozart: Serenade In B-Flat Major K.361 - Gran Partita:
Orchestra
Barenreiter
Serenade für 13 Instrumente-An announcement in the Wiener-Zeitung read: ?Concer...
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Serenade für 13 Instrumente-An announcement in the Wiener-Zeitung read: ?Concert. Today [23 March 1784] Herr [Anton] Stadler Sr. presently in the service of His Majesty the Emperor will hold a concert for his own benefit at the Royal Imperial National Court Theatre in which among other select pieces he will present a grand work for wind-band of a quite special character composed by Herr Mozart.? That this was almost certainly four movements from the present Serenade in B-flat major K.361 is suggested by an account of the occasion published some months later which states ?Today I heard a composition by Herr Mozart in 4 movements for wind ensemble . . . comprising 13 instruments: 4 horns 2oboes 2 bassoons 2 clarinetts 2 basset horns and a contrabass viol. . . .?Much music of the serenade-divertimento-cassation-Nachtmusik type was written in a light style and intended for social occasions rather than formal concerts. In such a context K.361 is striking for its seriousness of artistic content its length (seven movements lasting nearly an hour) and its extended instrumentation (most wind-band music of the period calls for five to eight or nine players not thirteen). If the work was not conceived in the first instance as a concert work its potential as such must have been recognized early on by Mozart or Stadler.- Urtext of the New Mozart Edition- Parts (BA5331-22) and study score format 22.5 x 16.5cm (TP312) available for sale
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Johann Friedrich Fasch: Concerto in D Minor: Orchestra: Score and Parts
Orchestra
[Score and Parts]
Metropolis Music Publishers
Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a vari...
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Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a variety of cantatas concertos symphonies and other chamber music. Although none of the music was published during his lifetime much of his instrumental music was later published and is still frequently performed today. The only known composition of his for lute is this Concerto in D Minor in three movements: Allegro moderato Andante and Un poco allegro. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lutetablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a variety of cantatas concertos symphonies and other chamber music. Although none of the music was published during his lifetime much of his instrumental music was later published and is still frequently performed today. The only known composition of his for lute is this Concerto in D Minor in three movements: Allegro moderato Andante and Un poco allegro. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lutetablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass
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Johann Friedrich Fasch: Concerto in D Minor: Orchestra: Score and Parts
Orchestra
[Score and Parts]
Metropolis Music Publishers
Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a vari...
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Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a variety of cantatas concertos symphonies and other chamber music. Although none of the music was published during his lifetime much of his instrumental music was later published and is still frequently performed today. The only known composition of his for lute is this Concerto in D Minor in three movements: Allegro moderato Andante and Un poco allegro. 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). Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a variety of cantatas concertos symphonies and other chamber music. Although none of the music was published during his lifetime much of his instrumental music was later published and is still frequently performed today. The only known composition of his for lute is this Concerto in D Minor in three movements: Allegro moderato Andante and Un poco allegro. 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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Roy Wilkinson: ABC of Harmony Band A: Theory
Orchestra
[Sheet music]
Boosey and Hawkes
Roy Wilkinson: ABC Of Harmony - Book A (Second Edition) is the first in this tre...
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Roy Wilkinson: ABC Of Harmony - Book A (Second Edition) is the first in this tremendous set of three Theory books for all instruments. The ABC Of Harmony series is an all new series of harmony textbooks with a simple and concise approach for all teachers and students. Roy Wilkinson: ABC Of Harmony - Book A (Second Edition) is perfect for a systematic study of harmony for the general musician as well as for requirements of the ABRSM AMEB and other examining bodies.
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Peter Maxwell Davies: Strathclyde Concerto No. 9: String Orchestra: Score and
Orchestra
[Sheet music]
Chester
The solo group consists of a sextet of the woodwind instruments which are normal...
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The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers now brought to the fore are piccolo alto flute cor anglais clarinet inEb bass clarinet in Bb and contrabassoon. They make a motley group diverse in colour as in register and one of the tasks of the piece sets itself is to have them blend and cohere both together as an ensemble and in partnershipwith the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo recitativesfor the alto flute a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slowinterventions including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement or sequence of short slow movements followed by a dancing finale with its own slowepisodes. Altogether this is music of songs and dances heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe having six chanters and a drone of variegated string texture.
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Theodor Grigoriu: Mélodie Infinie: Orchestra: Score
Orchestra
[Sheet music]
Editions Musicales Transatlantiques
The piece for string orchestra Infinite Melody is dedicated to the great shadows...
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The piece for string orchestra Infinite Melody is dedicated to the great shadows in Bayreuth Wagner and Liszt. An evocative miniature like a style study it was requested by youth ensembles participating in the artistic festival in this city. A polyphonic technique involving immanent sounds is used which was also used in The Modal Column. The passage of the melodic relief from one group of instruments to another induces a feeling of perpetual quest. From Wagner and Liszt’s infinite melody a few external characteristic aspects are employed: 1. the grupetto which tends to amplify the importance of a sound and 2. the Auftakt fromthe beginning of each phrase as in Tristan and Isolde At the climax of the piece an impact with a few authentic themes takes place cited from Wagner (Siegfried-Idylle) and Liszt respectively (Faust-Symphonie).
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Bohuslav Martinu: La Revue De Cuisine - Suite pour Orchestre: Orchestra: Score
Orchestra
[Sheet music]
Leduc, Alphonse
Composed by the Czech composer Bohuslav Martinü in 1927 La Revue De Cuisine ...
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Composed by the Czech composer Bohuslav Martinü in 1927 La Revue De Cuisine is a ballet initially created for a sextet. This score was reviewed and tailored for an Orchestra. This ballet talking about the life of kitchen utensils is divided in ten sections: 1. Prologue (Allegretto) 2. Introduction (Tempo de marche) 3. Danse du moulinet autour du caudron (Poco meno) 4. Danse du chaudron et du couvercle (Allegro) 5. Tango (Danse d'amour. Lento) 6. Duel (Poco a poco allegro. Tempo di Charleston) 7. Entracte (Lamentation du chaudron. Allegro moderato) 8. Marche funèbre(Adagio) 9. Danse radieuse (Tempo di marche) 10. Fin du drame (Allegretto) The story focuses on the marriage of the Pot and Lid which is put at risk by the Twirling Stick and the music features some strong jazz influences. Bohuslav Martinü(1890-1959) also wrote 13 other ballets 15 operas and 6 symphonies and some orchestral and chamber music. Instrumentation: Clarinet Bassoon Trumpet Violin Cello Piano.
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Thunder And Lightning Polka Op.324: Orchestra: Score and Parts
Orchestra
Bosworth
This Orchestral score and instrumental parts have been arranged by Frank Naylor ...
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This Orchestral score and instrumental parts have been arranged by Frank Naylor for school and amateur Orchestras. This set includes a conductor’s score and instrumental parts as well as Piano accompaniment elementary Violin Alto and Tenor Saxophone and 3rd Violin. With the composition of the Thunder and Lightning Polka Johann Strauss completed the elevation of the polka from an Eastern European peasant romp to a dance form embraced by Vienna’s most fashionable circles. The ‘Waltz King’ was also a prolific composer other dance music: gallops and polkas marches and quadrilles. His sparkling dazzling Thunder and Lightning quick polka has become such a favourite in therepertoire that it is played every year along with The Blue Danube in the Vienna Philharmonic’s New Year’s Day Concert. The programmatic scoring evokes elemental weather events through the extensive use of timpani and the clashing of cymbals szforzandi and dramatic accents. The piece ends with as much excitement and energy as it begins not flagging for a second.
42.50 GBP - Sold by Musicroom UK
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Mike Harland Niles Borop: Sing Your Praise to God: Orchestra: Parts
Orchestra
PraiseSong
Your choir will enjoy the upbeat syncopation of this new praise anthem! The musi...
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Your choir will enjoy the upbeat syncopation of this new praise anthem! The music is filled with energy and the optional a cappella section adds to the excitement. Easter Sunday or even other times during the year is a greatchoice to use this celebrative anthem. Available: SATB Instrumental Pak ChoirTrax CD.
69.99 GBP - Sold by Musicroom UK
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