SKU: AP.49005S

ISBN 9781470645236. UPC: 038081563893. English.

Genesis by Rossano Galante is a stunning original cinematic overture that will transport your students to the movie soundstage. This stunning cinematic overture is a musical journey that depicts the rebuilding of humankind into a Utopian society. The scene is set with a dramatic, rhythmic ostinato joined by the melody, which is indicative of hope for world peace, and builds to an intense peak before slowly fading away. (3:45) This title available in MakeMusic Cloud.

SKU: AP.36-52265472

ISBN 9781633611283. UPC: 676737987084. English.

Show off your principal players with this accessible and richly scored Christmas medley of Echo Carol and Polish Carol, as well as brief appearances of other favorites. Solo parts shift to allow interplay between performers and include arpeggiated figures (Grade 3). Orchestral parts are Grade 2.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: BR.PB-5435

ISBN 9790004212820. 11.5 x 16.5 inches.

Meine eigene neue Orchesterkomposition hat den Titel ,,SCHREIBEN. Die praktische Aktion des Schreibens, als mechanisches Einwirken per Hand, Stift, Pinsel, auf eine Flache (Papier, Pergament, Stein etc.), ausgelost und gesteuert von einem kommunikativen Bedurfnis und, bei aller Spontaneitat, beherrscht durch die Regeln von Schrift und Sprache, ist fur mich einer der geheimnisvollsten Vorgange im zwischenmenschlichen Alltag, bei dem menschlicher Geist und tote Materie einander begegnen: Gedanken bzw. Gedachtes werden auf einer Flache - Papier, Pergament, Stein - festgehalten, ihr sozusagen anvertraut. Und auf diesem Umweg uber Sprache, Schrift und Gravur begegnen sie dem Geist des lesenden oder entziffernden Mitmenschen. Als Komponist aber frage ich: gibt es auch einen anderen Kausalitatszusammenhang, gibt es z. B. ein ,,autonomes Schreiben, eine sinn-freie Zeichengebung, durch entfesselte, losgelassene Fortbewegung der schreibenden Hand, wo der Schreibende seinem eigenen Schreiben nur noch staunend zusieht? Werden nicht in Japan Bilder, auch ,,abstrakte, geschrieben??? (In einem Underground-Film der 70er-Jahre uber den jungen Mozart sieht sich der Zuschauer versetzt in ein Zimmer eines italienischen Gasthauses, in dem der junge durchreisende Mozart am Tisch eilig die Rezitative einer seiner italienischen Opern zu Papier bringt. Mehr als eine Viertelstunde lang sind wir dabei, horen nicht die entstehende Musik, sondern das nervose Kratzen der Feder auf dem groben Notenpapier in nachmittaglicher Stille - nur der gleichmassige Pendelschlag der Wanduhr ist noch zu horen -, und wir erleben diese sekundare Klangwelt kaum weniger intensiv als nachher andere Horer die dabei stumm entstehende Musik.) Das Orchester in meinem Stuck ,,schreibt. Es fugt Strich zu Strich, versteht sich selbst als eine Art vielfaltiges ,,Schreib-Gerat. Wir als Horer lesen nicht das ,,Geschriebene, aber wir horen den Vorgang des Schreibens, den Bogenstrich, die Bewegung des scharrenden Holzstabs auf Fell oder Tamtam, und wir beobachten dessen Imitation bzw. Transformation durch - zeitweise auch tonlos - sich zu linearen Gestalten verbindende Blasinstrumente als eine Art klingender Schreib-Zeremonie. Es ergibt sich eine Musik, die gelegentlich ihren gedanklichen Ausgangspunkt vergisst und sich als autonome Klang-Situation fortentwickelt und verwandelt, und die schliesslich im hochsten Register eine Art ,,Kantilene be-schreibt. Wer das deutsche Wort ,,Schreiben (engl. ,,to write) schreibt, der schreibt dabei auch unweigerlich das Wort ,,Schrei (engl. ,,shout), und er schreibt auch das Wort ,,reiben (engl. ,,to rub). So emotional der erste Begriff gedacht werden kann, so nuchtern-praktisch ist der zweite. Von beiden Aspekten, samt ihrer Gegensatzlichkeit, ist mein Stuck gepragt. (Helmut Lachenmann, 2003)

World premiere: Tokyo/Japan, December 4, 2003.

SKU: BR.SON-627

ISBN 9790004803295. 10 x 12.5 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts … are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. … In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. … For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. … JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.

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: RM.GENE06641-CO

SKU: KU.ETP-1312

SKU: HL.51489068

UPC: 840126951967. 6.75x9.5x0.278 inches.

Haydn arrived in London at the beginning of February 1794 for his second stay in England. Two movements of the Symphony in G major Hob. I:100 had already been completed by then, and the finished work was premiered on 31 March. The trumpet fanfare in the second movement and the use of “janissary” percussion gave the symphony its nickname “Military Symphony,” which Haydn himself even used. Its success in London was enormous; in 1794/95 alone, the work was performed nine times and thus quickly became one of the most popular Haydn symphonies of all time. To everyone wishing to become more acquainted with this symphony, let this inexpensive study edition be commended - with reliable commentaries on its genesis, sources, and edition as well as an unassailable musical text taken from the Haydn Complete Edition.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: SU.32040140

2222; 4331; timp, 2 perc, pno; stgs Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC Like a modern Pictures at an Exhibition…. Ha Shamayim is an original piece for orchestra that was inspired by photographs taken by the Hubble space telescope. Each section is inspired by one photo; the title of each section is the title that NASA gave to the photograph. The words Ha Shamayim are Hebrew for The Heavens. They are written in Genesis 1:1, In the beginning God created the heavens and the earth. The words are also seen in Psalm 19. Section I: Warped Edge-On Galaxy ESO 510-G13 The piece begins in outer space with its glistening stars. Glissandi are used to depict the strange but beautiful warp seen in the photograph. Section II: Galaxy Fires at Neighboring Galaxy Suddenly the piece erupts as one galaxy fires blue gas at its neighbor. They engage in a cosmic battle. Section III: Youthful-looking Galaxy May Be an Adult The adolescent galaxy is personified by a humorous, gawky melody reminiscent of teenage boys who walk on feet that are still too big. Occasionally there is an argument with an authority figure, but the joy of exploring the universe quickly returns. Section IV: Star Birth in Galaxy M83 The dramatic photograph looks like a womb with veins. The music begins on one note, then it begins to explore the initial swelling and stretching. It morphs into an energetic fast theme, still growing. Ultimately it becomes glorious and expansive, like the new star. Section V: String of ‘Cosmic Pearls’ Surrounds an Exploding Star The first theme is a happy circle dance inspired by the circle of white dots in the photograph. The second theme is noble and joyful. It is reminiscent of the melody in the famous chorus in Haydn’s The Creation with the words from Psalm 19, The heavens are telling the glory of God. The music then has flashbacks to the earlier sections, and ends in triumph. The five sections in Ha Shamayim are continuous with no breaks. Difficulty Level: 5 (Advanced/Professional) See composer website for audio sample. Performance materials available on rental only:.