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Johann Sebastian Bach: St John Passion BWV 245: Orchestra: Study Score
Orchestra
[Study Score / Miniature]
-
Advanced
Barenreiter
Study Score Format 22.5 x 16.5cmThe St. John Passion was first performed in Leip...
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Study Score Format 22.5 x 16.5cmThe St. John Passion was first performed in Leipzig on Good Friday of 1724. Written three years before the St. Matthew Passion it was a work Bach revised during the rest of his life in fact he did not leave us a definitive version either in print or fair copy. The sources give evidence of four different versions used at four performances - 1724 1725 around 1730 and during the last years of Bach's life. They often contain two or more readings for the same passage or even different movements that on different occasions occupied the same place in the work.Our edition uses the final version IV asits basis with alternative movements and readings contained in the appendices. A comprehensive preface in the study score (German/English) TP197 gives full information.- Full score performance material (BA5037) vocal score (BA5037-90) and study score (TP197) available for sale.
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Concerto For Orchestra (BARTOK BELA)
Orchestra
G. Henle
With Critical Report. Par BARTOK BELA. The Béla Bartók Complete Critical Editi...
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With Critical Report. Par BARTOK BELA. The Béla Bartók Complete Critical Edition is a joint project of G. Henle Publishers, Munich and Edition Musica Budapest. The volume at hand was edited by Klára Móricz. By publishing Concerto for Orchestra the score for one of Bartók’s truly importantorchestra works is now available. The well readable introduction describes the genesis of this work that Bartók wrote during the last part of his life under special circumstances. The critical commentary contains documents the process of compositionin detail, and also transcriptions of the extensive sketches. / Móricz, Klára / Répertoire / Orchestre
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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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Eddie Pola George Wyle: It's the Most Wonderful Time of the Year: Orchestra:
Orchestra
Shawnee Press
From the dynamic opening measures this holiday classic calls its listeners to j...
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From the dynamic opening measures this holiday classic calls its listeners to join in the magic of the yuletide. Mark Hayes has breathed new life into this old standard with an engaging jazz waltz feel lush choral harmonies creative countermelodies and a sparkling orchestration. Melodies are traded back and forth between men and women and there is a “vocal jazz” section that will make any ensemble show choir or chorus shine. Althoughthere are some divisi sections much of the arrangement features accessible unison and two-or three-part writing. The piano part is especially fun to play.
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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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Karsten Fundal: Hush: Orchestra: Score
Orchestra
Wilhelm Hansen
Orchestration: 3(pic)(afl).2+ca.1+2bcl.2+cbn/4.3.3.1/timp.2perc/hp/pf/strParts a...
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Orchestration: 3(pic)(afl).2+ca.1+2bcl.2+cbn/4.3.3.1/timp.2perc/hp/pf/strParts are for hire: hire@ewh.dkProgramnote Hush er et studie i mørke og lys kold og varm lyd. Jeg har ogsÃ¥ i dette stykke forsøgt at introducere stærke følelsesmæssige udtryk ved brug af instrumentale farver og tonale virkemidler. Titlen Hush er forbundet med et slags â€indre digt†jeg har haft i tankerne medens jeg komponerede. Da jeg jo ikke er digter i ord er det ufuldstændigt og utilstrækkeligt i sin form men derfor alligevel meget godt beskrivende for stykkets væsen. Det lyder nogenlunde sÃ¥dan her i mit hoved:Hush little heart- hush.!!was time running too fast or did the hours sometimesseem long? Were your beats too many or were they too few in the end?Hush little heart- hushdid you see too little or did you sometimes see too much? was life too small or was it sometimes larger than life?was your thirst quenched or did you end up drained?hush hush little heart- hush!! Don't be afraid maybe you knew all the time:that one day you would have to be still-or maybe you didn't?Is that why you were beating so fast?hush hush little heart-hush - be comforted 'cause even as you feel so small Your very existence is strange and beautiful - so hush hush be comforted be still my beating heart.
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Peter Maxwell Davies: The Turn Of The Tide: Orchestra: Miniature Score
Orchestra
[Sheet music]
Chester
The task: to write a piece that could involve children as players singers and c...
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The task: to write a piece that could involve children as players singers and composers alongside a professional symphony or chamber orchestra. The solution: a peace-cry for the biosphere in which the collaborative nature of theenterprise is a metaphor for a wished-for human enlightenment to the ways of the natural world. Davies provides five musical elements and five ways of development and uses these to illustrate five branches of life on earth:water-plants trees fish birds and mammals (including man). There is a space for answers from children's instrumental groups and then a larger space in which the children can develop the given ideas perhaps with members of theorchestra. Davies returns as composer to depict through an excess of development creation turned sour. Finally everyone comes together with a unison hymn with orchestra and instrumental groups celebrating the turn of thetide.This work for young instrumentalists children's chorus and orchestra was commissioned by the Association of British Orchestras as the centrepiece of an education project which coincided with the implementation of theNational Curriculum for music in schools in England and Wales echoing similar developments in Scotland and Northern Ireland.Score. Duration c. 25mins.
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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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Charles Fussell: Three Processionals: Orchestra: Study Score
Orchestra
[Sheet music]
Schirmer
Study Score No. 127-Charles Fussel's Three Processionals for Orchestra.Three Pro...
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Study Score No. 127-Charles Fussel's Three Processionals for Orchestra.Three Processionals is drawn from ideas contained in an earlier work by the composer Voyages based on the poetry of HartCrane.'In this work I was interested in connecting Hart Crane's use of sea images as a basic vocabulary for his cycle of love poems with Debussy's orchestral sea poem La Mer. The third processional concludes with adirect quote from Debussy. Hart Crane's poems in their profound concentrated language first warn the child that his beautiful and joyous seashore games touch a vast ocean whose depths are cruel And in the following poem loveitself is the great force which sweeps over and moves every aspect of life. To survive this 'tidal wedge' is a fearful and exhilarating struggle and we are frequently 'over-taken' by its power plus the knowledge of ourlimits'. - Charles Fussel
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Olivier Messiaen: Saint Francois d'Assise - Act II: Opera: Score
Français
Orchestra
[Sheet music]
Leduc, Alphonse
Saint Francois D'Assise is an opera in 3 acts by Olivier Messiaen. This volume ...
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Saint Francois 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 on each tableau. It is focused on the “Act II Tableau 4. L’Ange voyageur” which describes the appearance of the “Traveller Angel” to Saint Francis. This tableau is introduced by each of the themes of Brothers Leon Élie and Bernard and the theme of Philemon the bird. It opens as the Brothers are confronted to the Angel but don’t recognise him straight away except for BrotherBernard who reacts wisely. The Angel then requests to talk to Father Francis and the tableau finishes introducing the following part: “Act II Tableau 5. L’ange musicien”. Within this tableau 4 birdsong can be heard that is reminiscent of Messiaen's 'Bird Catalogue' collection. Based on the life of Saint Francis of Assisi this opera is set in Italy and is composed 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 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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Per Nørgård: Symphony No.1 'Sinfonia Austera' Op.13: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Per Nørgård's Symphony No.1 ' Sinfonia Austera ' Op.13 (1953-55) revised 1956...
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Per Nørgård's Symphony No.1 ' Sinfonia Austera ' Op.13 (1953-55) revised 1956 edition in full score. Programme Note: Although my first symphony plays for 30 minutes 2/3 of my third symphony the time for composing the work was the same: 3 years from 1953 to 1955 (Symphony No. 3: 1973-1975). One of the reasons probably was the challenge of a “symphonic work” for a 21 year old composer. And all the afterthoughts following every – more spontaneous sudden – bright idea in the long progress of forming thework. Important for the slow working process I remember that every section of the symphony came to me at strange moments in a ´complete vision´ like a sounding vision in time. The problem was in detail to analyze and notate my what I had actually had heard. For instance: with the polyphonic woodwind section in the first movement (with the “Tapiola”-birdcry a greeting to Jean Sibelius) I only knew in the beginning that it should be music in the high register and only for woodwinds. But of what they should play…I had no idea at all. The severe character of the symphony (sinfonia austere) is with no doubt very juvenile. But as many things in both life and music has elements of youthfulness I think that my serious young symphony should live and stay the way it was composed in 1953-1955. Per Nørgård
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No other people (BARRY GERALD)
Orchestra
[Study Score / Miniature]
Schott
for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Ray...
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for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods. In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original. I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings. There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo. They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing. Something of this is in the music.' Gerald Barry, 2009/ Répertoire / Orchestre
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Symphony No.40: Orchestra: Score and Parts
Orchestra
Bosworth
This sheet music for Mozart’s G minor Symphony No 40 First Movement inc...
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This sheet music for Mozart’s G minor Symphony No 40 First Movement includes the instrumental parts and Piano accompaniment with parts for Violin 3 clarinets Alto and Tenor Saxophone. It has been slightly modified to accommodate the abilities of student or amateur Orchestras by K. W. Rokes. One of the touchstones of the classical repertoire Mozart’s Symphony No 40 in G minor was written over a very few weeks in Vienna in 1788 at the end of the composer’s tragically short life. Having turned away from composition in the symphonic form for some years Mozart returned to it with a creative fury that summer composing the three great and eternal symphonies Nos 39 40and 41 in a white heat of creative outpouring. Symphony No 40 is the only one of the three in a minor key allowing its classical elegance and beauty to be interwoven with drama and emotion.
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Edward Elgar: Chanson De Matin (Full Score): Orchestra: Score
Orchestra
[Sheet music]
Novello & Co Ltd.
Elgar published the Chanson de Matin and its partner Chanson de Nuit at the...
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Elgar published the Chanson de Matin and its partner Chanson de Nuit at the time of his life when he was also creating the Enigma Variations and The Dream of Gerontius. This work was originally created as a Violin and Piano duet but Elgar then Orchestrated the work and it was presented at the Proms. Since then other arrangements have been created.Although published in 1897 scholars suggest that these two works may have been written in the 1880’s. The contrast of the two melodies which Elgar then intertwines yields a satisfying short work especially with the composer’s fine Orchestration.
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Edward Elgar: Chanson De Nuit (Full Score): Orchestra: Score
Orchestra
[Sheet music]
Novello & Co Ltd.
The Chanson de Nuit was originally entitled Evensong though it is difficult to ...
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The Chanson de Nuit was originally entitled Evensong though it is difficult to discern any religiosity in the work. And although published in 1897 scholars suggest that these works may have been written in the 1880’s. The contrast of the two melodies which Elgar then intertwines yield a satisfying short work especially with the composer’s fine Orchestration.Elgar published the Chanson de Nuit and its partner Chanson de Matin at the time of his life when he was also creating the Enigma Variations and The Dream of Gerontius. This work was originally created as a Violin and Piano duet but Elgar then Orchestrated the work and it was presented at the Proms. Sincethen other arrangements have been created.
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Gustav Mahler: Symphony No. 9: Orchestra: Score
Orchestra
Dover Publications
In this great work first published in 1912 Mahler experimented with the four-m...
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In this great work first published in 1912 Mahler experimented with the four-movement symphonic form producing a masterpiece of musical innovation satiric writing and poetic drama expressed in purely instrumental terms. Now the full orchestral score of the Ninth Symphony is available in this inexpensive high-quality edition reprinted from an authoritative Viennese score. Music lovers and admirers of Mahler's work will find in these pages abundant evidence of the fresh and formidable thinking the composer brought to this monumental composition.One of the last composers of the great Romantic tradition Mahler possessed a strong sense ofthe dramatic in life. He chose to record that drama in nine magnificent symphonies all works of vivid orchestration innovative symphonic structure and rich emotional expression.
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American Folk Songs For Beginning String Orch.: Orchestra: Score & Parts
Orchestra
[Score and Parts]
Hal Leonard
Delight audiences with these Strings Charts arrangements that celebrate America'...
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Delight audiences with these Strings Charts arrangements that celebrate America's diverse musical heritage. “Sally Goodin'” has been recorded by artists steeped in a number of American styles and this arrangement drawsfrom old-time Texas-style and bluegrass influences. Be ready to brush up on your chopping and chord-comping techniques to bring this lively tune to life. “Wayfaring Stranger” is a traditional American spiritual withan easygoing vibe. Bill Monroe enthusiasts will feel his influence in this arrangement as well as a subtle jazz flavor inspired by guitarist Tony Rice.
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Hector Berlioz: Te Deum Op.22: Vocal: Score
Orchestra
Barenreiter
Hymne-The Te Deum was composed in Paris in 1849 following Berlioz’s first...
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Hymne-The Te Deum was composed in Paris in 1849 following Berlioz’s first visit to England at a period when political unrest in France had made the future for artists and musicians seem very uncertain. He had no particular occasion in mind but hoped for some years that it would be available for some grand ceremonial occasion. Once Napoleon III had seized power such an occasion seemed more likely but in the end Berlioz had to wait until 1855 for an opportunity to perform the work. This took place for the opening of the Exposition Universelle on 30 April 1855 in the church of St.-Eustache Paris. It was the only time in his life that Berlioz performed it with theexception of certain extracts in later concerts. The score was published in 1855 with a dedication to Prince Albert consort of Queen Victoria. Urtext of the New Berlioz Edition Full score (BA5450) vocal score (BA5782-90) available for sale Performance material (BA5782-72) available for hire
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Georg Friedrich Händel: Messiah HWV 56: Score
Orchestra
Barenreiter
Facsimile of the autograph score in the British Library London-The first perfor...
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Facsimile of the autograph score in the British Library London-The first performance of George Frideric Handel???s oratorio ???Messiah??? on 13 April 1742 in Dublin aroused unqualified rapture. A newspaper report a few days later declared that it combined ???the Sublime the Grand and the Tender???. Its success has remained undiminished ever since and the ???Messiah??? has taken its place in musical life.In 2009 to mark the 250th anniversary of Handel???s death the British Library and B?renreiter joined forces and made the autograph score of the ???Messiah??? available to the public in a meticulously reproduced lavishly published facsimile.The renowned Handel scholar Donald Burrows introduces the characteristics of Handel???smanuscript describes the history of the work???s composition and explains the differences between later versions of the ???Messiah??? as reflected in the conducting scores. A two-page sketch from the Fitzwilliam Museum Cambridge completes the publication.Facsimile of the autograph in the British Library. 282 2 pages of facsimile and 55 pages of introduction (English/German/Japanese) half-linen hardback
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Hector Berlioz: Symphonie Fantastique Op. 14: Facsimile
Orchestra
[Facsimile]
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Advanced
Barenreiter
Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France-Facsi...
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Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France-Facsimile of the autograph score held in the Bibliothèque nationale de FranceDocumenta musicologica II/532920 pp. of facsimile and 12 pp. of Commentary (Eng/Ger/French)Half-leather binding Love and insanity tenderness and vulgarity bordering on the grotesque: Hector Berlioz never avoided extremes neither in his life nor in his oeuvre. His entire Symphonie fantastique is pervaded by a musical ?idée fixe? representing a woman he adored. The symphony brought about his breakthrough and has remained popular ever since. The impact of his masterly approach to composition especially in the treatment of theorchestration could still be felt in the 20th century. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score which was also used for performances by pasting strips of paper over the bars or parts in question. This facsimile edition in high-quality four-colour reproduction presents the manuscript as it is today ? with strips of paper that can be folded out making both versions visible. Hugh Macdonald General Editor of the New Berlioz Edition explains the work?s genesis and presents particular passages from each movement.
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Zack Snyders Justice League (ROSZELL PATRICK (Arr)
Orchestra
[Score and Parts]
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Intermediate
Alfred Publishing
Par ROSZELL PATRICK (Arr.). From the blockbuster film Zack Snyder's Justice Leag...
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Par ROSZELL PATRICK (Arr.). From the blockbuster film Zack Snyder's Justice League comes this intense arrangement of themes that are both dramatic and ominous. Featuring dark sonorities and driving rhythms, this work brings all the thrilling action to life. This stunning arrangement by Patrick Roszell features a reduced number of wind parts, making it even more accessible. (5:30) / Date parution : 2022-10-12/ Répertoire / Orchestre
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