Trois de voyage le plus populaire des airs: 'Ne Stop Believin '', 'Open Arms' et 'Any Way You Want It'-étincelle dans un puissant, medley bascule. Une nouvelle génération est tomber en amour avec cette bande, de sorte celui-ci s'il vous plaît étudiants ainsi que leurs parents. / Orchestre

Cette composition magistrale par Gordon Jacob a été une partie du répertoire standard pour la bande de pointe pour de nombreuses années. Dans les mains habiles de James Curnow, ce classique est maintenant jouable par les plus jeunes. Soigneusement raccourci et édité pour l'instrumentation de grade 3, cette adaptation ajoute une touche de classe à la bibliothèque de tout groupe. / Orchestre

G F Handel (1685-1759) was a German-born British composer and organist who spent his life working in London. He is credited with popularising opera in Britain both importing Italian works and composing his own. Giulio Cesare was composed in 1723-4 and first performed at the King's Theatre Haymarket London in February 1724. It remains today one of the most popular of Handel's Italian language operas enjoyed for its many gorgeous melodies inspired orchestration and exciting plot.Musicians scholars and music lovers will welcome this handsome reprint of the full score of Giulio Cesare reproduced complete andunabridged from the definitive Deutsche Handelgesellschaft edition.

Prior to 1991 Ukrainian master composer Yevhen Stankovych's works were regularly censored or banned by Soviet authorities. The ballet The Agony: Rasputin (originally titled Prometheus) was one such work. This suite from the ballet highlights Stankovych's uniquely pronounced affinity with the vernacular blending folk motifs with orchestral colors in multilayered polyphony. Rasputin was first performed with its original music and libretto in 1989 in Skopje Macedonia.

The 'Eulenburg Audio Score' series contains the orchestral world's greatest musical treasures from the baroque, classical and romantic repertoire. Each volume is clearly-presented with authoritative scores, informative prefaces detailing the biographical and creative background- - CDs of great performances of each work in full length, from orchestras including the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, and the Philharmonia Orchestra.NEW: This box-set of 25 masterpieces in a handy slipcase containing volumes 51-75 in the series is amazing value: almost 50% cheaper than buying each volume separately!This is the perfect gift for any music-lover. 'Eulenburg Audio Score' is the new way to hear, read and understand music. Eulenburg is the 130 year-old world-famous publishing brand, renowned for its top-quality, reliable study scores at reasonable prices. Focusing on the fields of opera, orchestral music, chamber music and vocal music, it is the favoured by conductors, orchestral musicians, soloists, students, teachers and music-lovers generally. The more you read, the more you hear! / Tout Instrument

Les cinq pièces de Sphères sont une commande de Radio-France et ont été créées sur les ondes de France-Musique chacun des cinq jours de la semaine. La thématique de l'oeuvre découle directement des conditions de sa naissance puisque Séléné (la lune) a vu le jour un lundi, Mars un mardi, etc. jusqu'à Vénus un vendredi.L'évocation de ces noms fait d'abord tinter nos souvenirs mythologiques et, en effet, une partie de l'inspiration de ces pièces est redevable à la personnalité des dieux de l'Olympe: Vénus toute de grâce sensuelle - Jupiter figé dans son écrasante domination universelle - Mercure volatile, insaisissable - Mars symbole de guerre mais aussi de printemps, de renouveau, et surtout force vitale irrépressible - la lune enfin qui, lorsqu'elle se montre ronde et blanche - la pleine lune est l'une des facettes de Diane - a pour nom Séléné. Nous en ressentons régulièrement la puissance attractive figurée ici musicalement par une série de vagues dont la dernière, véritable marée montante, est comme un pan d'océan soulevé par ce satellite prédateur.Car ce sont bien les corps célestes qui ont stimulé la plus grande part des idées musicales (l'indifférence de Jupiter n'est pas que le fait d'Epicure - elle s'explique aussi par sa constitution essentiellement gazeuse).La période, source à la fois de fréquence et de durée, est ici l'élément générateur - le développement, un déploiement de spirales harmoniques et rythmiques - ces douze minutes d'orchestre, un hommage aux innombrables sphères qui virevoltent à travers l'univers dans une danse fascinante, un contrepoint cosmique aux proportions étourdissantes.Patrick Burgan / Orchestre

The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s symphonic ?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity ?The Miracle? was bestowed erroneously for the miracle ? that no one was injured when a chandelier fell during a concert ? took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s symphonic ?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity ?The Miracle? was bestowed erroneously for the miracle ? that no one was injured when a chandelier fell during a concert ? took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Haydn a écrit ses six dernières célèbre London Symphonies, nos 99-104, au cours de son deuxième séjour à Londres en 1794/95. La gloire de couronnement de son vaste oeuvre symphonique était l'Orchestre symphonique de Londres, l'épithète qui, bien entendu, aurait adapté pour chacun de ses symphonies effectués il y. / Orchestre

From the best-selling Christmas cantata Canticle of Joy here is the thrilling ?Carol of the Faithful.? Based on the favorite Christmas hymn ?O Come All Ye Faithful ? this dynamic and powerfulanthem is joy unrestrained! Wonderfully fresh harmonies exciting syncopation and mixed meter congregational participation and a marvelous accompaniment with or without the orchestration make this fabulous octavo a definite highpoint for your Christmas celebration. For pageant use or any worship occasion during the Christmas season hold on to your hats and don't miss this triumphant song of praise!

Entre 1996 et 2000 Barenreiter publié des éditions savantes critiques de Beethoven neuf symphonies édité par la première classe musicologue Jonathan Del Mar. Le processus de rédaction a été une entreprise colossale en raison de la situation source complexe en ce qui concerne les symphonies de Beethoven qui a culminé avec la Symphonie avec choeurs, qui est venu jusqu'à nous dans près de 20 sources différentes. Ce n'était donc pas surprenant que Barenreiter de la nouvelle édition Urtext eut un grand retentissement dans le monde de la musique.Depuis la publication, édition Del Mar bénéficie l'éloge sans bornes de conducteurs, les artistes et la critique et est devenu la publication la plus largement utilisée des Symphonies de Beethoven qui peut être entendu non seulement tous les jours dans les salles de concert, mais aussi sur les enregistrements de CD par John Eliot Gardiner , David Zinman, Jos van Immerseel et Claudio Abbado. / Conducteur / Partition

Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical

Brahms s?acharna pendant des ann?es sur l??criture de sa premi?re symphonie. Son impuissance face ? l??uvre de Beethoven semblait le paralyser. ? ce propos il ?crivit d?ailleurs un jour ? son ami le chef d?orchestre Hermann Levi: ?Je ne composerai jamais de symphonie! Tu n?as aucune id?e de ce que cela peut avoir d?impressionnant pour nous d?entendre toujours un tel g?ant (Beethoven) marcher derri?re soi?. Brahms y parvint pourtant en octobre 1876 et sa premi?re symphonie donna lieu aussit?t aux premi?res ex?cutions ? couronn?es de succ?s ? ? Karlsruhe Mannheim Munich et Vienne. Cette ?uvre publi?e dans le cadre de notre nouvelle ?dition compl?te des ?uvres de Brahms faitl?objet ici d?une ?dition en format d??tude. Dans la pr?face ? cette ?dition urtext en petit format notre ?diteur et sp?cialiste de Brahms Robert Pascall apporte des informations int?ressantes sur la gen?se et l?histoire de l??dition de l??uvre.

Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre

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.