SKU: HL.14004587
ISBN 9780853608592. 8.25x11.75x0.165 inches.
Arthur Bliss's first orchestral compositions, his studies for Full Orchestra, are believed to have been composed in 1920. The first performance in 1921 was conducted by Arthur Bliss. Orchestration: 2 Flutes, Oboe, Cor Anglais, 2 Clarinets in Bflat, Bass Clarinet in Bflat, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in C, 3 Trombones, Tuba, Timpani, Percussion, Harp, Celesta, Strings. Full score and orchestral parts are available on hire from the publishers. Duration: c. 12 minutes.
SKU: HL.4008565
UPC: 196288180029.
Composer Otto M. Schwarz completed his first Concerto for trumpet in October 2009. Schwarz displays a special knack in writing for this instrument, thanks to his trumpet studies undertaken with Professor Josef Pomberger at the Music Conservatory in Vienna. Concerto for Trumpet No. 1 'Trumpet Town' was commissioned by the police-orchestra of Upper Austria, under the baton of Andreas Schwarzenlander. The work was premiered on 17 November 2009. The soloist for the evening was trumpeter Franz Wagnermeyer, who also studied at the Vienna Conservatory and who currently performs with, amongst others, the international group “Ten of the Bestâ€. A rapid flourish in 12/8 time opens Concerto for Trumpet No. 1 'Trumpet Town'. The metric changes that follow affect the pulse rhythmically and melodically, in exciting and unexpected ways. The solo trumpet's displays of technical prowess and bravura alternate with the film-score-like tutti sections of the brass ensemble. The slow, almost elegiac, central section can be performed on the flugel horn, while the closing reprise demands that both the soloist and the orchestra give of their best as the piece comes to an exciting, colourful, and uplifting finale. This piece is also available for trumpet and piano.
SKU: HL.49018017
ISBN 9790001152419. 9.0x12.0x0.2 inches.
After completing his studies with Zoltan Kodaly, the Hungarian composer Mathias Seiber (1905-1960) first worked as a musician in a dance orchestra on an ocean liner which gave him the opportunity to listen to jazz music in New York. From 1928 he taught the first jazz class worldwide at Dr. Koch's Conservatoire in Frankfurt. In the winter term of 1928/29, 19 students had registered with whom he gave a public concert on 3 March 1929 which was broadcast by Radio Frankfurt. After the Nazis had seized power, the jazz class was dissolved, Seiber lost his job and emigrated to London.In 1932 he wrote his piano cycle 'Leichte Tanze' (Easy Dances), one of the early examples of the adoption of jazz forms and styles in so-called serious music. The present arrangement for orchestra is easily playable and is aimed at youth and amateur orchestras. Instrumentation: 2 flutes, clarinet, oboe (ad lib.), alto saxophone, trumpet, bassoon and strings. Movements: Cake Walk - Novelty Foxtrot - Gipsy Tango - Waltz - Walzer - Blues - Charleston.
SKU: AP.49903
ISBN 9781470657963. UPC: 038081575827. English.
Galactic Nature, by Victor López, for young string ensembles, is captivating and perfect for integrating music into cross-curricular studies. Inspired by the systems of stars and interstellar matter that make the universe, this composition provides an effective way of connecting music with celestial scientific concepts. (2:00).
SKU: HL.48181134
UPC: 888680860561. 11.0x13.5x0.083 inches.
To this day, Eugene Bozza (1905-1991) remains one of the most prolific composers French composer. His Instrumental Board provides a clear glossary of all principal orchestral instruments. During his studies at the Paris Conservatoire, Bozza won prizes for violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opera-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Compiled in 1947, Bozza's Instrumental Board addresses the range of each instruments and their potential. The Instrumental Board provides a helpful aid to orchestral writing.
SKU: HL.50494658
PER ORCHESTRA (1973) - PARTITURA.
SKU: AP.49903S
ISBN 9781470657970. UPC: 038081575834. English.
SKU: SU.50032490
Parts available on rental.Published by: Seesaw Music.
SKU: HL.49005938
ISBN 9790001064323. 9.0x12.0x0.04 inches.
SKU: HL.49005937
ISBN 9790001064316. 8.25x11.75x0.063 inches.
SKU: HL.49005939
ISBN 9790001064330. 9.0x12.0x0.041 inches.
SKU: HL.49005936
ISBN 9790001064309. 8.25x11.75x0.058 inches.
SKU: BT.PWM8821
Work on this piece began in the spring of 1899 durng Kar owiczs studies in Berlin and he finished it after graduating and returning home in June 1902. Its premiere took place on March 21, 1903 in Berlin, and the Polish premiere on April 7, 1903 in Lviv. The symphony has a classic, four-movement structure, but in terms of architecture it is much closer to symphonic poems. It consists of the movements: 1. Andante. Allegro 2. Andante non troppo 3. Vivace 4. Allegro maestoso. ''In terms of orchestration and instrumentation technique it represents Kar owiczs early, academic period. The composer still used double wind enriched with piccolo flute, unlike in his later orchestral works the symphonic poems. The orchestration of the work indicates that the composer was guided by Tchaikovskys symphonic model. Kar owicz here still willingly operates with various sound blocks of entire instrumental groups, treating them in a choral manner, with tight chordal pillars'' (Leszek Polony). Before the Polish premiere the composer gave a comprehensive literary programme of the work in the Lviv newspaper S owo Polskie, in which he referred to each consecutive movement of the Symphony. In his last words he wrote, ''We hear a hymn of revival, at first quiet and sweet, then wider and wider, and fuller. Already the time has come; to hear the fanfare. Only one more step! And although the spirits fall again in doubt, we hear a powerful and solemn hymn of rebirth.''.
SKU: HL.50580624
SKU: HL.50579619
SKU: HL.50580697
SKU: HL.49045561
ISBN 9783901974045.
Strauss's first tone poem distinguishes itself from all other subsequent orchestral compositions in its existence in three different versions. Even among the operas and other compositions in his hand there is no other work with a comparable history of origin and publication. What is more, the final version of Macbeth is the only valid form of the work and the only variant with further sources (cf. Critical Report) in addition to the autograph score. In contrast, the second version has only been preserved in an autograph score and autograph piano reduction (the orchestral parts which must have existed have obviously not survived). This was never printed and was replaced by the published third version. The two surviving versions should therefore not be considered to be of equal status. Unlike the case of Ariadne auf Naxos in which the earlier version was for a time the sole valid alternative and was yet never completely displaced by the soon dominating later version of the opera, only the final third version of Macbeth is considered as valid. Right from the outset, it was a matter of course for the editors of the present volume to include the second version as a first publication (in addition to the above-mentioned surviving pages of the first version), albeit in different forms. The surviving pages of the first version are reproduced in facsimile and the second version, as a subordinate form of the work, appears alongside Strauss's piano reduction in a modified source edition, i.e. without intervention on the part of the editors. The ultimate third version is published as a full edition (please refer to the Critical Report for further details). In order to facilitate a comparative study of the second and third versions, the relevant page numbers of the score are placed opposite one another (the autograph piano reduction of the second version is included at the end of the music section of the volume). The editors hope that this synoptic representation will prompt interest in further studies on Strauss's art of orchestration: a field of research which has still remained insufficiently examined. A study of Macbeth namely illuminates as clearly as could be wished how much significance Strauss allotted to sound alongside form. The subjects were not merely intended to generate an individual figure, but also specific tonal colours, and the instrumentation was simultaneously designed to provide an optimal communication of thematic-motivic texture to the audience. The 'new path' threw up consequences which caused Strauss a considerable amount of difficulty. He was however a fast learner and had already swum free with Don Juan and all the more with Tod und Verklarung.
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