SKU: SU.28120090
Orchestra Duration: 46' Composed: 2004 Published by: Alla Pavlova Music Alla Pavlova has written music for the ballet Sulamith, based on the 1923 story by Russian writer Alexandre Kuprin about the love of King Solomon for Sulamith, a servant from his vineyard. Instrumentation is for full symphony (winds: 3.2.3.2.; brass: 4.; 4.3.1.; Timp.; Perc. (Bells; Bass-dr.; Snare-dr; Susp.cymb.; Triangle; Tambour.; Tom-tom; Tam-tam; Vibroph.; Glock.); Hp; Pn; Organ (or Harmon.); Strings). The Sulamith Suite (which has been recorded by the Moscow Philharmonic for Naxos) can be heard at http://www.allapavlova.com/listen.html. Performance materials available on rental only:.
SKU: FG.042-08761-9
ISBN 979-0-042-08761-9.
The Overture in E major and the Scene de Ballet are among the earliest works written by Sibelius for orchestra. Infused with all the freshness of youth, they also hint at the great symphonist to come. Sibelius's handling of the orchestra is surprisingly refined and colourful.
SKU: HL.50583285
SKU: HL.50585683
SKU: HL.48189477
UPC: 888680882136. 8.5x12.0x0.442 inches.
Paulet Office Des Adieux Orchestra Full Score.
SKU: TI.TR00316
SKU: BT.ALHE31373
French.
Ballet Music (for 16 solo instruments).
SKU: AP.12-0571538320
ISBN 9780571538324. English.
Requires an instrumental ensemble of 12 players. The Comedy of Change was commissioned by the Rambert Dance Company and Het Concertgebouw, for Asko / Schönberg. The UK premier took place as a ballet choreographed by Mark Baldwin at the Theatre Royal Plymouth by Rambert Dance Company, conducted by Paul Hoskins on September 16, 2009.
SKU: HL.48187596
UPC: 888680842413. 5.0x7.25x0.258 inches.
SKU: HL.49012995
ISBN 9790001125246.
One of my earliest works for orchestra, this piece was strongly influenced by the aural and visual impressions left by the London Sadler's Wells Ballett's visit to Hamburg in 1949.- Hans Werner Henze.
SKU: SU.90810040
Instrumentation: 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 2tbn(bs), tba; timp, 4 perc, hrp, pno; strings Duratiion: 3' Full Score & Parts: available on rental Composed: 1997 Published by: Subito Music Publishing Composer's Note: A Festive Violet Pulse opens with lively textures in the woodwinds which are used as accompaniment for a melodic statement in the violins. This melody is answered contrapuntally by the celli, and develops into a web of repeated melodic phrases. The middle section is very rhythmic, highlighting the percussion section and making use of many polyrhtyhms. A soft tremolo begins to emerge in the strings and gradually evolves into the foreground material. A repeated note theme enters in the celli and is answered sequentially by each string section. A strong statement of the original theme in the trumpets and violins climaxes the movement. --N.G.
SKU: HL.48181824
UPC: 888680860721. 6.25x8.25x0.425 inches.
Henri Tomasi: 3 Lettres de mon Moulin (Orchestra).
SKU: HL.48187814
UPC: 888680867874. 5.5x7.5x0.353 inches.
Darius Milhaud: La Cueillette des Citrons Op.298b (PH211) (Orchestra).
SKU: HL.48189274
Aboulker Eymery Very Martin Squelette Opera Pour Enfants Orch Score.
SKU: HL.14040463
SKU: BT.ALHE31682
SKU: HL.50499161
SKU: HL.49005134
ISBN 9790001054997. 9.0x12.0x0.669 inches.
2 (2. auch Picc.) * 1 * Engl. Hr. * 1 * Bassklar. * 1 * Kfg. - 4 * 3 * 2 * 1 - P. S. (Trgl. * hg. Beck. * Beckenpaar * 2 Tamt. * 2 Tomt. * Schellentr. * Militartr * gr. Tr. * Vibr. * Gl.) (3 Spieler) - 2 Hfn. * Cel. (auch Klav.) * Git. - Str. * Hinter der Buhne: Glocke.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: AP.49011S
ISBN 9781470645311. UPC: 038081565316. English.
Each section of the string orchestra gets featured in Jim Palmer's Holiday String-Along. Written like a sing-along, this arrangement features Let It Snow! Let It Snow! Let It Snow!, Frosty the Snowman, Up on the Housetop, Santa Claus Is Comin' to Town and We Wish You a Merry Christmas. Students will enjoy playing the melodies while the audience may choose to sing along. This piece will surely be a holiday concert favorite! (4:00).
SKU: AP.49011
ISBN 9781470645304. UPC: 038081565309. English.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
