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DIDGERIDOO
Orchestra
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Clavecin (107)
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Choeur de Femmes (78)
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Chant et Guitare (72)
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Musique de film et télévisio… (62)
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Dobro (60)
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Musique de chambre (46)
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Viola da Gamba (46)
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String quintet (43)
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Medium Voice (41)
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Piccolo (39)
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Cornet (38)
Cajon (38)
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Choeur d'Enfants (37)
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Ensembles de Cordes et Piano (36)
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Soliste, Double Choeur Mixte E… (35)
Quatuor A Cordes Et Orchestre … (35)
Lyrics only (35)
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Conga (35)
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3 Voix Egales (35)
Soprano, Piano (35)
Balalaika (34)
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Djembe (34)
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Concert Band ou Harmonie et Ba… (32)
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Orchestre D'Harmonie avec Soli… (32)
Pop music (32)
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Trio (2 Soli Avec Réduction D… (30)
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Choeur de Femmes (SMezA) (29)
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Book (29)
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2 Violons, Violoncelle Et Orch… (28)
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Bagpipe (28)
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Clavier Electronique et Ligne … (28)
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Guitare Tablatures Flatpick et… (28)
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Descant (Soprano) Recorder, Ba… (28)
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Xylophone (28)
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Petit Choeur SATB, Contrebasse… (26)
Baritone Ukulele (26)
String trio (26)
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Solistes STBar, Choeur SATB, 2… (26)
SATB, (4 InstrumentS Basse et … (26)
Violin, Viola and Orchestra (26)
Musique Légère (26)
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Saxophone Alto et Orchestre à… (26)
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2 Hautbois Et Orchestre (25)
Choeur SATB/SATB, (8 Instrumen… (25)
Choeur Mixte (SATTB/SATTB), So… (25)
Tout Instrument (25)
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Instruments à Vent (25)
Trompette, Cordes Et Basse Con… (25)
Choeur de Femmes (SSA) et Pian… (25)
Chorale d'Enfants et Piano (25)
Choeur Mixte (SSATBB) (25)
2 Clarinettes, 2 Violons, Orgu… (24)
Petit Choeur SATB, 2 ViolonSBa… (24)
Flûte Traversière Et Orchest… (24)
2 Hautbois, 2 Cors, 2 Clarinet… (24)
Clarinette et Quatuor à Corde… (24)
Quartette Pour Flûtes à Bec … (24)
Hautbois (Flûte), Violon, Alt… (24)
Quatuor à Cordes et Guitare (24)
Trompette, Instruments à Cord… (24)
Solistes SATBB, Choeur SATB, 2… (24)
Basson, 2 Violons, 2 Altos et … (24)
Solistes SATB, Choeur SATB, 2 … (24)
Quatuor à Cordes et Basse Con… (24)
Hautbois, Basson et Piano ou O… (24)
Flûte Traversière Violoncell… (24)
Flûte Traversière, Clarinett… (24)
Solistes SATTB, Choeur SSATTBB… (24)
String Trio: 2 violins, viola (24)
Bass Clarinet, Piano (24)
Marches de concert (24)
Soli (T (Evangelist), B (Jesus… (24)
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Choeur SATB et Orchestre (24)
CD only (24)
Guitar Tab, Voice, Bass, Drum (24)
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Instruments A Vent (24)
Orchestre Juniors (23)
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ENS::Ensemble d'cole (23)
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Le Livre Des Illusions (MANTOVANI BRUNO)
Français
Orchestra
[Sheet music]
Lemoine, Henry
Par MANTOVANI BRUNO. Lorsque Frank Madlener m'a proposé le projet de confronter...
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Par MANTOVANI BRUNO. Lorsque Frank Madlener m'a proposé le projet de confronter un orchestre symphonique avec la lutherie électronique, j'ai tout de suite accepté ce défi sachant qu'il me faudrait rapidement fixer des contraintes très fortes, tant le champ des possibles, qu'il soit instrumental ou électroacoustique, était infini. Mon idée initiale était d'utiliser pour la première fois des transformations en temps réel, afin d'assouplir les rapports de verticalité et d'utiliser l'informatique comme un moyen d'orchestration. Celle de Frank était de se demander comment l'électronique pouvait créer l'illusion d'un orchestre déployé dans l'espace, entourant le public, et créant des configurations acoustiques inouïes. Afin de travailler sur cette problématique, j'ai décidé d'utiliser une formation orchestrale défective, ou certains instruments (notamment ceux qui étaient les moins localisables à l'écoute, comme le basson ou le cor) seraient absents et 'remplacés' dans la texture générale par l'ordinateur. Qui dit 'illusion' dit aussi 'surprise', et j'avais besoin, pour élaborer la forme de l'oeuvre, de prendre comme point de départ une source qui ait à la fois une grande diversité interne (une succession d'instants pourraient être traduits musicalement par autant de configurations acoustiques) et une cohérence. Rapidement, il m'est apparu que mes recherches étaient finalement très similaires à celles de l'immense chef espagnol Ferran Adrià, dont la cuisine joue en permanence sur le conflit entre connu et inconnu, entre référence et invention abstraite, et dont les menus sont 'composés' avec un sens de la forme absolument saisissant. Très régulièrement, je tente d'établir des liens entre la musique et les arts de la bouche (gastronomie, oenologie), par l'improvisation au piano sur des vins ou des mets, et par l'écriture (notamment d'un duo pour alto et piano, Quelques effervescences, qui s'inspire de vins pétillants du monde). Les deux univers me semblent intimement liés, dans l'immédiateté de la réception, et dans le parallélisme entre les sensations éprouvées (de nombreux musiciens font appel à des métaphores gustatives pour parler de leur travail : un accord 'épicé', une sonorité 'grasse', une orchestration 'acide'...). Le menu que j'ai eu l'honneur de déguster en 2007 au restaurant 'El Bulli' s'articulait autour de 35 plats que j'ai utilisés chronologiquement, tant l'articulation entre le salé et le sucré, les mets marins et terriens, le végétal et l'animal était, en soi, une dramaturgie parfaite. L'illusion était présente dès le premier instant. Ainsi, 'l'olive sphérique' qui débutait ce repas jouait sur le contraste entre un objet visuellement identifiable (une olive) et son 'interprétation' surprenante (il s'agissait en fait d'une reconstruction visuelle de l'olive, mais qui n'était autre que de l'huile d'olive emprisonnée dans une fine couche gélatineuse verte : aspect et goût étaient en phase, mais la texture, elle, était inouïe). Musicalement, la traduction de ce plat était assez évidente : un impact reprenant l'explosion de cet met en bouche débute la pièce, et une texture plus continue vient évoquer le déploiement de l'huile dans la bouche. Certains plats sont assez unitaires, d'autres contiennent en eux un parcours que j'ai fidèlement reproduit (par exemple la 'framboise au wasabi', qui se déguste en trois temps successifs). J'ai aussi mis en relation certains plats entre eux, afin de créer des 'retours' qui permettent à la structure musicale de sortir d'une logique de catalogue (par exemple, une fleur de capucine, dégustée avant les desserts, renvoie gustativement, et donc musicalement, à une amande fraîche qui, elle, est présente dans le premier quart du repas). Ce 'livre' s'achève sur la texture aérienne d'un papier effervescent au cassis qui conclut de façon suspensive une pièce particulièrement animée, où les masses sonores s'opposent de façon frontale, et viennent occuper tout l'espace de la salle de concert. Commande de l'Orchestre de Paris et de l'Ircam, le Livre des illusions (hommage à Ferran Adrià) est dédié à Marie Linden et Grégoire Biasini. Cette oeuvre a été créée à la salle Pleyel le 11 juin 2009 sous la direction de Jean Deroyer. Bruno Mantovani Liste des plats au menu du restaurant 'El Bulli' de Ferran Adrià, illustrés dans l'oeuvre de Bruno Mantovani: - Olives sphériques - Gin Fizz - Chocolat sans chocolat #1 (pistache) - Snack doré - Mercedes - Frites d'ananas lyophilisé - Chocolat sans chocolat #2 (ananas) - Meringue de betterave au yaourt - Boule de cacao amer - Chocolat sans chocolat #3 (cassis) - G.P. - Galette curry/cacahuètes - Meringue à la pistache avec espuma de yaourt - Eponge de sésame - Dacquoise de pignons - Framboise au wasabi - Fleur de horchata - Amande fraîche et huile d'amande - Haricot géant à l'ail japonais - Meringue au Schweppes avec fraises lyophilisées - Anchois à la fleur de basilic - Assiette italienne - Risotto de pamplemousse - Gnocchi de polenta - Ravioles de graines de pimientos del Padron - Couteaux aux algues - Caviar d'escargots - Concombres de mer avec cannelloni d'algues - Anguille à la moelle/fleur de capucine/concombre - Barbe à papa, glace à la banane - Mûres à la liqueur de mûre - Dessert blanc - Fraises au vinaigre de Jerez - Sablés mandarine/thé vert/menthe - Papier effervescent au cassis / contemporain / Répertoire / Orchestre
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Created in 1851, 'Ride of the Valkyries' is the prelude to the third act of the music drama 'The Valkyrie'. The purely instrumental version soon found its way onto the concert stages and turned out to be a first-rate attraction. Apart from 'Treulich geführt', 'Ride of the Valkyries' probably is Wagner's most popular melody.More intimate insights, however, are given by 'Siegfried-Idyll'. In 1870, Richard Wagner came up with a rather special birthday present for his wife Cosima. He surprised her with a secretly composed orchestral work the dedication of which alludes to impressions or circumstances at the birth of their common son Siegfried. / Orchestre
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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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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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Time Et Again (MURAIL TRISTAN)
Français
Orchestra
[Sheet music]
Lemoine, Henry
Par MURAIL TRISTAN. Time and Again tente de rompre, partiellement, avec l'esthé...
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Par MURAIL TRISTAN. Time and Again tente de rompre, partiellement, avec l'esthétique qui domine dans mes oeuvres précédentes, une esthétique de la continuité où la forme est structurée par des processus se déroulant en un flot presque ininterrompu. Ici, la forme musicale cherche à créer une architecture du temps plus complexe, qui joue de flash-backs, prémonitions, boucles..., comme si l'on se trouvait dans une sorte de machine à remonter le temps. Pour néanmoins préserver une sorte de continuité sous-jacente, j'ai d'abord imaginé une structure 'linéaire' pour la pièce, comportant des évolutions progressives et logiques, et j'ai parfois réalisé des fragments de cette pièce virtuelle, puis, un peu comme un cinéaste, j'ai 'monté' la structure de la pièce, en coupant, dupliquant, insérant, collant. A peu près aux deux tiers de la pièce, le temps s'inverse et s'écoule deux fois plus vite - on repasse, plus symboliquement que textuellement, par toutes les étapes des deux premiers tiers, avec parfois des superpositions, des inserts ou des raccourcis. L'orchestration n'est pas tout à fait conventionnelle - les vents et la percussion sont en nombre habituel, mais les cordes sont réduites à environ la moitié de l'effectif normal. J'ai cherché ainsi une qualité particulière du son des cordes moins volumineux, mais plus intense. Les cordes jouent le plus souvent des parties individuelles. Leur emploi principal consiste à colorer ou distordre les sons joués par les autres instruments, ou à construire des spectres sonores complexes. L'orchestre est enrichi par un synthétiseur (un Yamaha DX7) qui a deux principales fonctions. Grâce à son aptitude à synthétiser des sons par modulation de fréquence, il peut émettre directement des spectres riches identiques à ceux que j'utilise dans mon écriture orchestrale. La composition de cette pièce a donc impliqué d'abord la programmation des sons sur le synthétiseur (un seul son peut produire une texture très riche et n'est souvent utilisé qu'une seule fois). Dans d'autres cas, je l'utilise comme un complément de la section des percussions et du piano, le synthétiseur ayant la tâche d'émettre les sons non tempérés. Time and Again est une commande du 'John Feeney Charitable Trust' pour le City of Birmigham Symphony Orchestra, et a été créé à Birmingham le 21 janvier 1986 par cet orchestre, sous la direction de Simon Rattle. La pièce était destinée à être jouée en première partie de la Turangalila Symphonie d'Olivier Messiaen, pour une série de concerts en Angleterre. Cela explique qu'un auditeur attentif trouvera peut-être quelques allusions à cette symphonie dans Time and Again... Tristan Murail Enregistrement: 1 CD Montaigne/Naïve, MN782175 Désintégrations - Gondwana - Time and again Ensemble L'Itinéraire, Orchestre National de France, Yves Prin (direction) - Orchestre Beethoven Halle de Bonn, Karl Anton Rickenbacher (direction) / contemporain / Date parution : 1985-01-01/ Répertoire / Orchestre
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Felix Mendelssohn Bartholdy: Konzert Für Violine und Orchestre: Orchestra: Score
Orchestra
Barenreiter
E-moll Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 1...
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E-moll Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and Hubert Léonard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)
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Hans Werner Henze: Sinfonia N. 6: Orchestra: Score
Orchestra
[Score]
Schott
New Version 1994-Symphony No. 6 was created in the late 1960s and was first per...
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New Version 1994-Symphony No. 6 was created in the late 1960s and was first performed in Havana on 26. November 1969 by the Cuban National Orchestra under my direction. This symphony reflects not only the excited atmosphere of awakening during those years but also my efforts to include in the composition the large number of new human and artistic stimuli that I experienced at that time. So the banjo starts to play a Vietnamese song of freedom (Stars in the Night) later the first bars of Mikis Theodorakis hymn of freedom is heard.The second movement is based on the poem Fe de erratas (errata sheet) by Miguel Barnet. In the original version the three parts of the symphony merge withoutinterruption. In the revised version I separated them to make it easier for the audience to register the caesuras which are also internal caesuras as regards content. Apart from strengthening the string sound the most significant alternation in comparison to the first version is that I fully composed all of the aleatoric passages and pitches which originally were to be freely improvised as was the fashion at that time. Thus I wanted to free them the realm of chance and indeterminacy and to bring them back into my artistic control.- Hans Werner Henze
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Henryk Mikolaj Górecki: Symphony No.1 '1959': Orchestra: Study Score
Orchestra
[Study Score / Miniature]
Chester
Henryk Mikolaj Gorecki's career spans more than 40 years dating from the post-S...
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Henryk Mikolaj Gorecki's career spans more than 40 years dating from the post-Stalinist era of the mid 1950s and embracing a catalogue of more than 70 acknowledged works. It was not however until the phenomenal success of histhird symphony Symphony of Sorrowful Songs Op 36 which brought the composer world-wide renown through its numerous performances and recordings that his music reached an extended audience outside his native Poland. Since thenthe directness and emotional impact of his music have established him as one of the major figures of contemporary music.
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Britta Byström: Invisible Cities: Orchestra: Score
Orchestra
-
Intermediate/advanced
Wilhelm Hansen
Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Prog...
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Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Programme note: Invisible Cities is an orchestral piece inspired by the Italian writer Italo Calvino's novel 'Le città invisible' (1972). The novel consists of many short poetical descriptions of wondrous cities. This is what the explorer Marco Polo reports to Kublai Khan of what he has seen during his travels. Gradually though Kublai Khan begins to suspect that Marco Polo all the time describes one and the same city but in many different ways: Marco Polo's own hometownVenice. This was also my musical idea: to present the same motif in many different ways. The piece has eleven movements just as the novel consists of eleven different kinds of cities. Before every new musical 'city' there is a 'walk' – a little piano line which takes the listener from one city to another. This piano line is a quotation from Witold Lutoslawski'sVenetian Games. There are also other music connected to Venice hidden in my piece: the well-known Barcarolle by Offenbach and some fragments from Carnival in Venice. These references are the 'invisible cities' of my piece the material hidden under the music's surface. Marco Polo explains to Kublai Khan: 'To distinguish the other cities' qualities I must speak of a first city that remains implicit. For me it is Venice.' (c) Britta Byström Britta Byström’s careful ear for musical qualities such as timbre and resonance has resulted in an idiom that could almost be labeled impressionistic. She began composing already as a teenager and later studied composition at Musikhögskolan in Stockholm with Pär Lindgren and Bent Sørensen.
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Georg Friedrich Händel: Four Coronation Anthems: Orchestra: Score
Orchestra
Oxford University Press
These four splendid anthems were composed for the coronation of George II in Oct...
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These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the Priest has been performed at all subsequent coronations and Handel's other contributions to the royal occasion - Let thy hand be strengthened The King shall rejoice and My heart is inditing - have the same majestic grandeur with affecting contrasts between different sections of the sacred texts. The editor Clifford Bartlett has corrected various inconsistencies in Handel's score and completedetails of sources and editorial method additional performance notes and a critical commentary are included.
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Thea Musgrave: Points Of View: Chamber Ensemble: Score
Orchestra
[Sheet music]
Novello & Co Ltd.
For Chamber Orchestra (Flute Oboe Cor Anglais Basson Horn in F Trumpet in C...
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For Chamber Orchestra (Flute Oboe Cor Anglais Basson Horn in F Trumpet in C Strings: [5.4.3.2.1])Composer's Programme Note:Points of View is a work about the different musical elements which arepersonified by soloists from the orchestra all unifying at the end in a passionateclimax.The first section ‘Mysterious’ features a solo horn and also establishes tonality [Bflat] texture and harmony. The harmonies are often chordal 6-note clusters andthey are an important binding articulating and textual element throughout thework.A solo trumpet joins the solo horn and as the chordal clusters disappearintothe stratosphere initiates the rhythm of a light-hearted scherzo ‘Lively’. Thetrumpet’s rhythmic figure is echoed and developed by the winds.The solo oboe and cor anglais now introduce a very lyrical melody in fallingthirds ‘Sensuous’. The chordal clusters as well as the trumpet’s rhythmic figureeventually reappear to accompany this melodic theme and then the violinspassionately respond by taking it over ‘Passionato’. All the elements thusunifying to culminate in the coda.These elements could also perhaps be described in non-musical terms as‘imagination’ [solo horn] ‘action’ [solo trumpet] ‘emotion’ [solo oboe and coranglais] which eventually combine in the climax [violins].
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Hans Werner Henze: Ouverture Zu Einem Theater: Orchestra: Score
Orchestra
Chester
Hans Werner Henze’s Ouverture zu einem Theater was commissioned by the De...
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Hans Werner Henze’s Ouverture zu einem Theater was commissioned by the Deutsche Oper Berlin with funding from the Ernst von Siemens Musikstiftung. The world premiere took place on 20 October 2012 at the galaanniversary concert ‘100 years of the Deutsche Oper Berlin’ at Deutsche Oper Berlin with Orchester der Deutschen Oper Berlin conducted by Donald Runnicles.
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Om Lys Og Lethed
Orchestra
[Score]
Wilhelm Hansen
Par GLERUP RUNE. My violin concerto would never have been written if I had not m...
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Par GLERUP RUNE. My violin concerto would never have been written if I had not met Isabelle Faust. At a time when I had not written a single note for several months, doubting if I would ever write anything again, her interest and energy was the cause of new inspiration. Just as important was her special way of playing - with intellect, heart and a rare, delicate sensibility. Her personality and musicianship struck a chord in me, in my music, which gave my thoughts a new direction. The violin concerto marks a change in my music towards a simpler and lighter expression. An expression that also contains detached glimpses from my childhood's endless summers by the North Sea. Birds, high and slow on a blue sky, and the evening quietly descending. The special light, the distant sounds. But also the confusion, repetitions and dead ends of the world. An expression that, more than in my previous music, is 'About Light and Lightness.' - Rune Glerup, 2021 / Date parution : 2023-10-31/ Répertoire / Orchestre
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Berlioz, Hector : Symphonie Fantastique
Orchestra
[Study Score / Miniature + CD]
Schott
The more you read, the more you hear!
The Eulenburg Audio Sco...
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The more you read, the more you hear!
The Eulenburg Audio Score Series contains the orchestral world's treasures from the baroque, classical and romantic repertoire. Each of the 50 volumes consists of a clearly-presented and authoritative score, an informative preface detailing the biographical and creative background, and a Naxos CD containing the work in full length.
Eulenburg Audio Score is the new way to hear, read and understand music. / Partition CD /
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Sieben frühe Lieder (BERG ALBAN)
Orchestra
[Score]
Universal Edition
Par BERG ALBAN. Composed by a young Berg, while studying with Schoenberg, these ...
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Par BERG ALBAN. Composed by a young Berg, while studying with Schoenberg, these Seven Early Songs would be revisited and reworked ten years later, and then again ten years after that. Perhaps influenced by Mahler, Berg created orchestral settings of these songs, in addition to the voice and piano versions./ Répertoire / Voix Haute et Orchestre
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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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Schlemihl (MANTOVANI BRUNO)
Français
Orchestra
[Sheet music]
Lemoine, Henry
Par MANTOVANI BRUNO. This piece is indeed a tone poem with allusions to Strauss ...
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Par MANTOVANI BRUNO. This piece is indeed a tone poem with allusions to Strauss (the orchestral composition Ein Heldenleben), and the theme found in Chamisso's book: Peter Schlemihl's Miraculous Story. The narration is not linear, but rather, metaphorical (in this sense, the model leans more towards Hamlet by Franz Liszt). In fact, the discourse vacillates between luxuriance (symbolising the infinite wealth of Chamisso's hero) and rarefaction, aridity (the growing psychological vacuum of this same hero). Though the language is modern, there are several references in this homage to Strauss (the use of the horns, for example) and above all, a dramaturgy based on contrast. Strauss is a composer who has always obsessed me, in particular for his orchestral hedonism. He greatly influenced Edgar Varèse, who, for me, is a constant reference. It is this composer's sonic opulence, that was, in part, my inspiration for Schlemihl./ Répertoire / Orchestre
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Helen Grime: A Cold Spring: Orchestra: Score
Orchestra
Chester
A Cold Spring by Helen Grime for Chamber Ensemble of Ten Players.Commissioned by...
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A Cold Spring by Helen Grime for Chamber Ensemble of Ten Players.Commissioned by Aldeburgh Music with funds provided by the Sue Knussen Composers Fund and the following individuals through BirminghamContemporary Music Group’s Sound Investment scheme.First performed by Birmingham Contemporary Music Group conducted by Oliver Knussen on 20 June 2009 at Snape Maltings Concert Hall.
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Lorenzo De Reizabal M. - La Direction D'orchestre + Dvd
Français
Orchestra
[Sheet music + DVD]
Lemoine, Henry
DVD inclus La Direction d?orchestre est un ouvrage qui aborde les bases techniq...
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DVD inclus La Direction d?orchestre est un ouvrage qui aborde les bases techniques musicales et artistiques essentielles pour une solide formation de chef d?orchestre, mais aussi une formation vocale ou instrumentale. Le chef d?orchestre en devenir trouvera dans ce manuel toutes les clés théoriques et pratiques nécessaires au développement de ses connaissances qui lui permettront de conduire l?orchestre avec aisance et passion : - Technique de base - Etude et préparation du répertoire - Les répétitions - Le concert - Sur le podium : cas pratique - Glossaire Traduction française par Aude Ameille de l?ouvrage En el podio paru aux Editions Boileau. Presse Cet ouvrage, éminemment pratique, n'en néglige pas, pour autant, tout l'aspect culturel de la direction. Si il est orienté prioritairement vers la conduite d'un orchestre, il s'attache aussi à la direction spécifique d'une harmonie, ou, encore plus spécifique, d'un choeur. Cet aspect a d'ailleurs été longtemps négligé et tous les chefs de choeur ou choriste ont connu ces chefs d'orchestre qui ne savait pas comment se conduire vis-à-vis d'un choeur lorsqu'ils dirigeaient une pièce pour choeur et orchestre. Bref, l'ouvrage est très complet. Il comporte cinq parties plus l'indispensable glossaire. La première partie est consacrée aux techniques de base correspondant à tout l'aspect corporel, de la tenue aux différentes battues. La deuxième partie est consacrée à l'étude et la préparation du répertoire, exposées très en détail. La troisième est consacrée aux répétitions, la quatrième au concert. La cinquième partie fait en quelque sorte la synthèse en proposant d'appliquer l'ensemble à l'Alléluia du Messie de Haendel. L'ouvrage comporte aussi une copieuse et judicieuse bibliographie. Quant au DVD, il suit pas à pas l'exposé et ne comporte pas moins de trente-quatre chapitres divisés eux-mêmes en plusieurs sections. Il s'agit donc d'un outil de travail tout à fait remarquable et l'auteur explique en détail comment l'utiliser. Cette réalisation est donc une somme que le professionnel aussi bien que l'amateur éclairé pourra lire avec un grand intérêt et un grand profit. L'Education Musicale, n°94 (Juillet 2015)
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Dufourt Hugues - Le Mani Del Violinista D'apres Giacomo Balla - Conducteur
Orchestra
[Score]
Lemoine, Henry
Création 26/08/2015 - Sion (Suisse) - Finale du Concours International de violo...
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Création 26/08/2015 - Sion (Suisse) - Finale du Concours International de violon Tibor Varga - Orchestre de Chambre de Lausanne Commanditaire Concours International de violon Tibor Varga Notice Le futurisme italien fut, au début du XXe siècle, le premier véritable mouvement d'avant-garde qui, en Europe, refusa l'art dans sa totalité, décréta l'abolition du passé et prétendit rénover tous les aspects de la vie humaine en cherchant à exprimer la nature et les problèmes du monde moderne. Le mouvement fut inauguré par Marinetti en 1909, suivi un an plus tard du manifeste de la peinture futuriste signé par Giacomo Balla, Carlo Carrà, Umberto Boccioni et Luigi Russolo. La bataille futuriste, qui mobilisa le vif de l'art italien de 1910 à 1916, naquit d'une violente polémique contre la tradition figurative et la conception de l'image-spectacle. La philosophie futuriste, nourrie d'élan vital, d'utopie machiniste et d'ardeur dionysiaque entendait dynamiter la culture antiquaire de l'Italie officielle. Marinetti exalte la vitesse, le mouvement, le bruit, la guerre. Mais aussi la pulsion, la déraison, la transgression, le débridement des ambitions et des désirs humains. Le caractère novateur et visionnaire du futurisme italien fut toutefois passablement terni par ses imprécations et ses fourvoiements politiques. Laissant de côté l'orientation réactionnaire du mouvement et son esprit de clocher extrémiste, on retiendra, parmi les traits les plus originaux du futurisme pictural, la recherche de la représentation du mouvement, avant l'invention du cinéma et avant l'art cinétique. S'inspirant des séquences photographiques d'Eadward Muybridge et de la chronophotographie d'Etienne-Jules Marey, les futuristes italiens sont parvenus à un incontestable degré de réussite dans le domaine proprement plastique. Le processus du devenir est représenté comme tel, et se déploie selon des lignes de force et des formes en croissance. La couleur est également saisie dans son dynamisme, avec ses foyers et ses aires de diffusion. Dans Le mani del violinista, une huile sur toile de 1912 aujourd'hui à Londres, Giacomo Balla s'est également livré à un exercice de synesthésie, cherchant à transposer en images un processus qui fait appel à d'autres modalités sensorielles. Le geste du violoniste, le placement de l'instrument à hauteur d'épaule, les mouvements combinés de la main et du bras, l'écartement et l'échelle d'appui des doigts de la main gauche, la mise en vibration des cordes, l'élan et le rebondissement de l'archet, sa vivacité et son exactitude, tous ces facteurs qui d'ordinaire demeurent imperceptibles et indissociables sont ainsi décomposés, puis réunis et rendus en une impression unique. Les mouvements successifs de la main et les morsures d'archet se séparent selon des procédés pointillistes, puis s'assemblent en une séquence accélérée et se lient dans le même fondu qui restitue l'unité et les inflexions de la tension musculaire. Ce qui est donné à voir n'est pas une illustration réaliste ni une nomenclature des possibilités instrumentales mais un condensé des allures de l'exécution transcendante, montrant les réflexes d'une main rompue au mécanisme de son instrument. Ma propre version musicale de la toile de Giacomo Balla s'inspire des caractères de cette vision futuriste de l'art. La virtuosité même de l'instrumentiste, son habileté d'exécutant, est ici expressément représentée comme un art de l'art. La partition porte une attention aigüe à la technique spécifique de l'effet sonore, à la justesse du geste instrumental dans la dépense de l'archet et la souplesse des déplacements. La grande école des violonistes consistait à faire disparaître le manteau rugueux des aspérités naturelles de l'instrument sous une surface lisse et parfaite de sonorités épurées. Ce grand art évolue aujourd'hui sous la pression d'une esthétique contemporaine plus sensible au grain, aux effets de texture voire aux effets raboteux de l'archet. Un autre type de virtuosité se fait jour, qui intègre les coups d'archets, les accents, les sons dénaturés, dans une sorte de formalisme instrumental pris au second degré. Les interférences entre les différents modes de jeu importent plus désormais que leur intégration dans une sonorité optimale. Cet art insatiable ne recherche plus la magnificence mais l'épreuve. La partition se divise en trois grandes parties. La première est une cadence confiée au soliste, centrée sur les accords, la rythmique et les enjambements d'une articulation qui ne se plie pas aux divisions métriques de la mesure. La seconde partie est l'enfer des violonistes et met aux prises, parmi toutes les cordes de l'orchestre, des figures contrapuntiques hachées, heurtées et contrastées. La troisième partie est davantage tournée vers des études d'équilibre de sonorités, dont la cohérence est délicate à obtenir car les notes se situent dans des registres extrêmes ou paradoxaux. Le soliste est confronté à un type nouveau de virtuosité, celui des sons harmoniques - groupes d'harmoniques naturels ou artificiels. Commande du Concours International de Violon Tibor Varga Sion Valais, la partition est écrite pour l'Edition 2015 de ce Concours. L'oeuvre est dédiée à Enzo Restagno. Hugues Dufourt
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Magnus Lindberg: Arena For Orchestra: Orchestra: Score
Orchestra
[Score]
Chester
Commissioned by the first Sibelius Conductor's Competition held in Helsinki in M...
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Commissioned by the first Sibelius Conductor's Competition held in Helsinki in May 1995 as an obligatory piece to be rehearsed by all the competitors Arena was performed in its totality at the annual Avanti! Chamber Orchestra'sfestival in Porvoo (Finland). Thematic thinking has never been a main feature in Lindberg's music but here horizontal lines (one would not yet dare to call them melodies) gain some independence for example in ornamental figuresand in the intense cello solo around the middle of the piece. Arena also reveals some clearly new material - Lindberg has talked about Beethoven-like formal thinking referring to a passage where the sense of movement seems toaccelerate to an extreme so that finally one perceives only a motionless surface. Another new element - which was already used to some extent at the warmly hovering ending of Aura - is the almost romantic sound world and thesuspension of the harmonies in the final climax which can make one think of Mahler and Berg or Lindberg's grand predecessor and compatriot Sibelius.This is the Score published by Chester Music; the duration of thepieces is approximately 16 minutes.
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Tune My Heart: Orchestra: Score & Parts
Orchestra
[Score and Parts]
Fred Bock Music Company
Stop and take notice of this novel arrangement of “Come Thou Fount of Ever...
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Stop and take notice of this novel arrangement of “Come Thou Fount of Every Blessing.” It isn't like any you have heard before. Glenn Picket's accompaniment grabs your attention first but the vocal lines follow suitquickly. His playful reharmonization should satisfy but then he launches into a quasi-counterpoint that is simply heavenly. The rhythmic return brings us home with joy in our hearts.
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Peter Maxwell Davies: Time And The Raven Concert Overture: Orchestra: Miniature
Orchestra
[Sheet music]
Chester
Commissioned to write a piece for the 50th anniversary of the United Nations Da...
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Commissioned to write a piece for the 50th anniversary of the United Nations Davies provided a musical General Assembly of his own: a bright overture based on an Australian aboriginal song which gives rise to 'national anthems'of various kinds and instrumental colourings. Finally the 'anthems' are combined 'if not triumphantly' Davies says 'at least in a manner whereby they get along together'.The first performance took place in June 1995 inNottingham. It was given by the Royal Philharmonic Orchestra conducted by Peter Maxwell Davies.Score (miniature). Duration c. 14mins.
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Johnson Oatman Jr. Michael Hurley: Higher Ground: Orchestra: Parts
Orchestra
Shawnee Press
Many of the old hymns have great sometimes stunning messages. Michael Hurley fe...
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Many of the old hymns have great sometimes stunning messages. Michael Hurley feels that sometimes the “antiquated” melody and/or harmony can get in the way of these important words. He has embarked upon an ongoingproject to create fresh new music for these grand expressions of faith. He has definitely accomplished that with this arrangement! Higher Ground is lively and upbeat with exciting harmonies and catchy syncopation.“Pressing on the upward way” is no problem with this uplifting choral. The melody soars as the mood of the text climbs higher adding a great high soprano descant on the final verse “I want to scale the utmostheight and catch a gleam of glory bright!” A wonderful orchestration or accompaniment CD is available taking this spirited octavo to new heights...to Higher Ground!
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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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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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Liszt F. - Les Preludes And Other Symphonic Poems - Conducteur
Orchestra
[Study Score / Miniature]
Dover Publications
This authoritative edition presents full-score reproductions of three of Liszt...
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This authoritative edition presents full-score reproductions of three of Liszt’s best-known symphonic poems. Les Preludes (Symphonic Poem No.3) grew out of the composer’s unpublished choral setting of Joseph Autran’s poem “The Four Elements”, blending stirring martial music and lovely pastoral themes to make this work the most popular of the symphonic poems. Mazeppa (Symphonic Poem No.6) evokes Victor Hugo’s portrayal of the Cossack leader and the symbolic triumph that comes only after defeat: “He runs, he flies, he falls, and he stands up king!” Heroide Funebre (Symphonic Poem No.8) is the last vestige of the monumental Revolutionary Symphony, planned but never completed, suggesting universal brotherhood: a fine, heroic, dignified funeral march. In these richly sonorous works, Liszt explored the concept of the one-movement “transformation of themes,” an approach to composition that Wagner would carry forward in his development of the leitmotif. Liszt’s expanding chromaticism would be no less influential, anticipating the twentieth century’s embrace of atonality. Frequently performed favourites of audiences around the world, these three works are reprinted from the original Breitkopf & Härtel edition.
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The Creation, Hob. XXI:2
Français
Orchestra
G. Henle
/ Orchestre
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Overture no. 2 for the opera "Leonore" (1805) (BEETHOVEN LUDWIG VAN)
Orchestra
G. Henle
Par BEETHOVEN LUDWIG VAN. / Répertoire / Orchestre
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Overture no. 1 for the opera "Leonore" (1807) (BEETHOVEN LUDWIG VAN)
Orchestra
G. Henle
Par BEETHOVEN LUDWIG VAN. / Répertoire / Orchestre
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