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:: (331)
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CD (268)
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Accessoire (209)
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Pocket, Study conductor (205)
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Dulcimer (190)
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Carte Postale (187)
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Flute Quartet: 4 flutes (163)
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Partition de Poche (151)
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Symphonic Band (148)
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Flute Trio: 3 flutes (145)
Viola and orchestra (145)
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Travaux Pour Choeurs (145)
Stationery (145)
Nursery rhyme (143)
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Educatif (127)
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Clarinette et Orchestre (110)
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Ensemble Mixte (109)
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Tenor voice (89)
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Choral CD (87)
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String Quintet: 2 violins, vio… (86)
Orchestre (86)
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Baritone voice (84)
4 Parties Mixtes (82)
Fanfare Band (82)
Trompette Et Orchestre (82)
Quintette (81)
Soli and Orchestra (80)
Scores (80)
Big Note Piano (79)
Low voice (78)
Voice and Orchestra (78)
Trio à Cordes (78)
Chamber Music (78)
Flute, Basso continuo (78)
2 Trumpets, Keyboard (piano or… (77)
Dobro (77)
Petit Ensemble Contemporain (76)
Flute, Cello, Piano (trio) (76)
Accordéon et Orchestre (76)
Solistes (SATB), Choeur Mixte … (75)
Clarinet, Cello, Piano (trio) (75)
String quartet: 4 violins (75)
2 Violas (duet) (74)
2 Trombones (duet) (74)
Musique Légère (73)
Bass Clarinet (73)
Chant et Guitare (73)
Violon 1 (6 parts) Violon 2 (6… (72)
Piano, Guitar (Chords) (72)
Violon, Cordes Et Basse Contin… (72)
Clavecin (72)
Solistes SATB, Choeur SATB, 2 … (71)
Solistes SATB, Choeur SATB, Fl… (71)
Vocal duet, Piano (70)
Choeur de Femmes (70)
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High voice (69)
Horn Ensemble (68)
Défilé et parade (68)
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Drum set and Piano (66)
Cornet and Orchestra (65)
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Euphonium en Clé de Fa Do ou … (63)
Trombone or Euphonium (63)
Flûte Et Instruments Divers (63)
2 Violins, Piano (63)
String Trio: 3 cellos (63)
Harp, Orchestra (63)
Musique de film et télévisio… (62)
Lap Steel Guitar (62)
Madrigaux (61)
Saxophone Ténor et Piano (61)
Livre Musical (61)
Xylophone or Marimba or Vibrap… (61)
Quatuor à Cordes ou Orchestre… (60)
Trompette Sib 1 Cor en Fa 1 Tr… (60)
Solistes SAT, Choeur SATB, 2 F… (60)
Solistes SATB, Choeur SATB, 2 … (59)
Trio A Cordes (59)
Ligne Mélodique/Instruments D… (59)
Conducteur et Poche (59)
Batterie et Percussions (58)
A Cappella (58)
Accordion and Orchestra (57)
Trompette ou Cornet à Pistons… (57)
Baryton Et Orchestre (57)
Cajon (56)
Hautbois, Clarinette et Basson… (55)
String Trio: 2 violins, viola (55)
Saxhorn and Piano (55)
Choeur SATB, (4 Instruments, C… (55)
3 Saxophones (trio) (54)
Handbells (54)
Livres (53)
Djembe (53)
Accordion, String(s) (53)
Bass Trombone and Piano (53)
3 Trombones Ténor et 1 Trombo… (52)
Book (52)
Clarinette et Orchestre à Ven… (51)
Electric bass, Drums (51)
Orchestre Scolaire (51)
Choeurs (51)
Xylophone (51)
Voix et Orchestre à vent (51)
Choeur et Orchestre (50)
Voix Mixtes (50)
Cello, Guitar (duet) (50)
Voice, Organ (50)
Solistes SBar, Choeur SATB, 2 … (49)
Clavecin Et Instruments A Cord… (49)
Cello Ensemble (49)
2 Hautbois, 3 Trompettes, Timb… (48)
Variétés françaises (48)
Flute and String Quartet (48)
Brass Quartet: 4 trumpets (48)
Soprano (48)
Violoncello, Basso continuo (48)
Clarinet, Violin, Cello, Piano… (48)
Solistes STBB, Choeur SATTBB, … (47)
Brass Quartet: 2 trumpets, 2 t… (47)
Lute (47)
Piccolo (47)
Musique de chambre (46)
Brass Quartet: 2 trumpets, hor… (46)
Choeur SAM (46)
2 Violons Et Orchestre (46)
Violin, Organ (45)
Soprano Saxophone and Piano (45)
Voix et Orff-Instruments (45)
Clarinet Quartet: Clarinet, Vi… (45)
Orchestre de Chambre (Flûte … (44)
2 Trompettes Sib 1 Cor en Fa 1… (44)
Flûte Traversière, Instrumen… (44)
Hautbois 1 Clarinette en Sib 1… (44)
Viola, Cello (duet) (44)
Violon, Instruments à Cordes … (44)
Trumpet, Trombone (duet) (44)
Quintette Avec Piano (44)
Choeur SSATB, 2 Flûtes Traver… (44)
Marches militaires (44)
4 Parties Solo Et Orchestre (43)
Conga (43)
2 Violins and Basso (43)
Solistes SATB, Choeur SATB, 4 … (43)
Clarinette et Quatuor à Corde… (43)
Solistes SATB, Choeur SATB, 2 … (43)
Chanson (43)
Cor en Fa (42)
Trumpet ensemble (42)
Solistes SATB, Choeur SATB, 2 … (42)
Clavier ou Orgue Electronique (42)
Guitare Flatpick et Plectre (41)
Flûte Traversière(S) Et Autr… (41)
Violon, Violoncelle Et Orchest… (41)
Saxhorn or Euphonium (41)
Choral SSATTB (41)
Voice, String Quartet (41)
Libretto (41)
Lyrics only (41)
Flute and Strings Trio (41)
4 Instruments à Cordes (4 Boi… (40)
Soli (ATB), Choeur Mixte (SATB… (40)
Flûte à Bec Alto ou Flûte T… (40)
Saxophone Et Piano Et/Ou Autre… (40)
2 Bassoons (duet) (40)
Soprano, Choeur Mixte (SATB), … (39)
Violon, Violoncelle et Alto (39)
Piano et Orchestre (39)
Petit Orchestre (39)
Harpsichord and Strings (39)
2 French horns (duet) (38)
4 Cellos (38)
Solistes SATB, Choeur SATB, 2 … (38)
2 Clarinets, Piano (38)
Fac-similé (38)
3 Trombones (trio) (38)
Saxophone and Orchestra (37)
Ensemble Divers (37)
Viola da Gamba (37)
Woodwind Quartet: any 4 woodwi… (37)
Trompette et Orchestre à Vent… (37)
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Guitare Tablatures Flatpick et… (37)
Orchestre à Cordes et Basse C… (37)
2 Hautbois, 2 Cors, 2 Clarinet… (36)
English horn, Piano (36)
Ensembles de Cordes et Piano (36)
Autoharp (36)
Orgue, 2 Hautbois, Basson Et C… (36)
Soprano Saxophone (36)
Saxophone Baryton (36)
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Instruments A Vent (36)
Guitare ou Luth (36)
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Soliste, Double Choeur Mixte E… (35)
Flute Quartet: Flute, Violin, … (35)
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Quatuor A Cordes Et Orchestre … (35)
2 Violons, 2 Altos et 2 Violon… (34)
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Flute, Clarinet, Piano (trio) (34)
Orchestre D'Instruments A Plec… (34)
Voix et Instruments (34)
Instruments Divers (34)
Choeur SATB, 2 Hautbois, 2 Cla… (34)
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4 Violons, Cordes et Basse Con… (33)
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Ensemble Moyen Contemporain (33)
Soli (STB), Choeur Mixte (SATB… (33)
String trio (33)
Solistes SATB, Choeur SATB, 2 … (33)
Solistes SATB, Choeur SATB, Ha… (33)
Orff-Instruments (33)
Instruments à Vent (33)
Diverses Formations (33)
2 Flûtes Traversières ou 2 F… (32)
2 Violons, Violoncelle et Orch… (32)
Trombone et Orchestre à Vent (32)
Orchestre D'Harmonie avec Soli… (32)
DVD Opera and Ballets (32)
Choeur SS (B) ou SA (B), 2 Vio… (32)
Solistes ST, Choeur SATB, Flû… (32)
Batterie-Fanfare (32)
Trompette et Quatuor à Cordes… (32)
Concert Band ou Harmonie et Ba… (32)
Medium Voice (32)
Pop music (32)
Solo S, Choeur SATB, 2 Flûtes… (32)
Batterie Fanfare En Sib (32)
Flûte à Bec, Guitare et Musi… (32)
2 Violons, Alto, Violoncelle E… (32)
Solistes SATB, Choeur SATB, 2 … (31)
3 Clarinettes en Sib et Clarin… (31)
Clarinette Et Instruments Dive… (31)
Sextuor à Cordes (31)
Cordes et Basse Continue (31)
Choeur SSATTB, (6 Instruments,… (31)
Quatuor Variable (31)
Violon 2 (31)
Guitare (Fingerpick) (31)
Bugle (31)
Partition D'Orchestre In 8 (31)
2 Trompettes (duo) (31)
Tuba Solo (30)
Flûte Traversière ou Flûte … (30)
Batterie Fanfare En Mib (30)
Trombone et Orchestre (30)
Tuba en Do et Piano (30)
Tuba and Orchestra (30)
Violoncelle et Orchestre de Ch… (30)
Bagpipe (30)
Euphonium and Orchestra (30)
Trio (2 Soli Avec Réduction D… (30)
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Descant (Soprano) Recorder, Ba… (29)
Recorder, Bass Continuo (29)
Organ, Piano (duet) (29)
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Ocarina (29)
2 Violons, Cordes Et Basse Con… (29)
Clarinette, Alto Et Piano (29)
Flûte à Bec F1, C1, 2 Violon… (28)
2 Clarinettes, 2 Violons, Orgu… (28)
Trompette ou Flûte à Bec ou … (28)
Flûte 1 Hautbois 1 Clarinette… (28)
Violon, Alto, Violoncelle et C… (28)
Choeur SATB, 2 Flûtes Travers… (28)
2 Hautbois, 2 Clarinettes, 2 B… (28)
Percussions Diverses (28)
Sextuor (28)
C Trumpetor et Trompette Sib/C… (28)
2 Violons, Violoncelle Et Orch… (28)
Baritone Ukulele (28)
Instruments Acoustiques (28)
Violon 1 (28)
Duos (28)
Flute, Violin, Piano (28)
Clavier Electronique et Ligne … (28)
6 Instruments (28)
Baritone Saxophone (28)
SATB, (4 InstrumentS Basse et … (27)
Solistes STTBB, Choeur SATB, 2… (27)
Trompette Solo (27)
Solistes SATB, Choeur SATB, 2 … (27)
Clarinet and Strings (27)
Voix (Ou Récitant) Et Instrum… (27)
Accordion - Piano, Voice, Guit… (27)
Drums-Marching band (27)
Clarinettes Et Autres Instrume… (27)
Violin, Viola and Orchestra (26)
Petit Choeur SATB, Contrebasse… (26)
Concert Band ou Harmonie et Cl… (26)
Saxophone Alto et Orchestre à… (26)
Choeur Mixte et Instruments Di… (26)
5 Recorders (26)
Ukulélé Soprano (26)
Solistes STBar, Choeur SATB, 2… (26)
Flute, Violin, Keyboard (basso… (26)
Flûte à Bec Alto et Basse Co… (26)
Solistes SATB, Choeur SATB, Tr… (26)
Trombone ensemble (26)
Guitar and Bass Tablatures, Ch… (26)
Trompette en Do ou et Trompett… (26)
Solistes SST, Choeur SATB, 2 F… (26)
Mezzo-Soprano et Orchestre (26)
Timbales (26)
Soprano, Piano (26)
Solistes SBar, Choeur SSATB, 2… (25)
Ensemble divers instruments (25)
Double Choeur Mixte (25)
Solistes SATB, Choeur SATB/SAT… (25)
Choeur SATB/SATB, (8 Instrumen… (25)
2 Hautbois Et Orchestre (25)
Choeur Mixte (SATTB/SATTB), So… (25)
Snare drums, Piano (25)
2 Pianos et Orchestre (25)
Soprano, Basse, Choeur Mixte e… (25)
Clarinette, Viola and Piano (t… (25)
5 Parties Mixtes (25)
Bass Clarinet, Piano (25)
Tambour (25)
8 Instruments (25)
Choeur SATB, 2 Violons, Alto e… (25)
Flûte à Bec et Piano (25)
ENS::Ensemble d'cole (25)
3 Tubas (25)
Children choir, Instruments (25)
Flûte à Bec, 2 Violons, Alto… (24)
Solistes ATB, Choeur SATB, Fl… (24)
Marches de concert (24)
Hautbois et Quatuor à Cordes (24)
Hautbois 3 Clarinettes Sib 1 C… (24)
Trompette 2 Violons 1 Alto 1 V… (24)
Violon (2), Alto et Contrebass… (24)
Quatuor de Cordes (24)
Flûte Traversière 3 Clarinet… (24)
Quartette Pour Flûtes à Bec … (24)
Hautbois 2 Violons 1 Alto 1 Vi… (24)
Trompette 3 Clarinettes Sib 1 … (24)
Solistes SATB, Choeur SATB, Fl… (24)
Hautbois, Instruments à Corde… (24)
Flûte Traversière ou Hautboi… (24)
Flûte Traversière Et Orchest… (24)
2 Violons, Alto, Violoncelle e… (24)
Petit Choeur SATB, 2 ViolonSBa… (24)
Flûte à Bec Alto et Basse Co… (24)
Trompette, Instruments à Cord… (24)
Solistes SATBB, Choeur SATB, 2… (24)
Clarinette 2 Violons 1 Alto 1 … (24)
Basson, 2 Violons, 2 Altos et … (24)
Flûte Traversière 2 Violons … (24)
Solistes SATB, Choeur SATB, 2 … (24)
Flute, Oboe, Clarinet (trio) (24)
Quatuor à Cordes et Basse Con… (24)
Tuba et Euphonium (24)
Oboe, Organ (24)
Hautbois, 2 Violons, Alto, Vio… (24)
Oboe, Bassoon (duet) (24)
Solistes SATTB, Choeur SSATTBB… (24)
Soli (T (Evangelist), B (Jesus… (24)
2 Tubas et Piano (24)
Instruments Cuivre (24)
Flûte A Bec Et Instruments Di… (24)
Guitare Tablatures Electrique (24)
Choeur SATB et Orchestre (24)
SATB, SATB et Orgue (24)
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5 Solistes, Choeur(s) Et Orche… (23)
Hautbois Solo (23)
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Soli (STB), Choeur Mixte (SSAT… (23)
Bass Trombone (23)
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Solistes SSATTB, Choeur SATB, … (23)
Choeur SATB/SATB, (8 Instrumen… (23)
Orgue et Orchestre à Vent (23)
Vocal duet (23)
Ochestre à Cordes (23)
Tenor (23)
Trombone Solo (23)
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Mozart W.a. - La Clemence De Titus Kv 621 - Fac-simile
Orchestra
[Score]
Barenreiter
Mozart, Wolfgang Amadeus La clemenza di Tito K. 621 Facsimile of Mozart's auto...
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Mozart, Wolfgang Amadeus La clemenza di Tito K. 621 Facsimile of Mozart's autograph score The Seven Great Operas in Facsimile Editions of Mozart?s Autograph Scores ?Idomeneo?, ?Die Entführung aus dem Serail?, ?Le nozze di Figaro?, ?Don Giovanni?, ? Così fan tutte ?, ?Die Zauberflöte ?, ?La clemenza di Tito? ? Mozart?s seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Through happy coincidence, all seven opera scores have survived almost complete in Mozart?s manuscript. The Packard Humanities Institute (PHI, Los Altos , California ) has now embarked on producing a facsimile edition of the seven autograph scores. Mozart scholars, libraries and of course all lovers of Mozart?s stage works now have the opportunity of acquiring these priceless manuscripts in flawless reproductions. At the same time, all risks about preserving Mozart?s legacy for the world of music are taken care of. The Packard Humanities Institute (PHI) charitable foundation, known for its philanthropic programmes in the arts and sciences, has forged an ideal cooperation for the Mozart project. Under the scholarly direction of an editorial board (Ulrich Konrad , David Packard, Wolfgang Rehm , Christoph Wolff; General editor Dietrich Berke) the International Mozarteum Foundation Salzburg and the libraries where Mozart?s manuscripts are held are working together with the Packard Humanities Institute. The production of the volumes is exquisite, for the digitalization of the manuscripts has been undertaken using the latest technology, which allows for an astounding level of authenticity and precision in detail. The printing follows the uncompromisingly high standards demanded by the edition. All seven volumes include essays on the history of literature and ideas by Hendrik Birus , Hans Joachim Kreutzer and Robert Miller as well as musicological introductions by leading Mozart scholars in German and English. The facsimile edition will be distributed by Bärenreiter- Verlag . - consolidation of Mozart manuscripts held in different places - highest level of precision in reproduction and authenticity of colour through use of the latest technology - unique offer thanks to project sponsorship by the Packard Humanities Institute (Los Altos, California) Precision in reproduction thanks to cutting edge technology In preparing the manuscripts for reproduction, equipment was used in line with the highest technical standards currently available. Mozart?s original manuscripts of the seven operas are held by several libraries. For five of the operas, the different acts have even ended up in different libraries following World War II. Thus, the autograph of Act I of ? Così fan tutte ? is in the Jagiellonian Library in Kraków and the second act in the Staatsbibliothek zu Berlin ? Preußischer Kulturbesitz . In order to achieve a uniformly high level of precision in reproduction and authenticity of colour both within a work and for all seven editions, the use of the same technical equipment in all the different places was a prerequisite. Specialist from the Salzburg firm ? Kirchberger Photography? were employed, were provided with the latest equipment by the Packard Humanities Institute and also given special additional training in the modern technology by specialists in the USA. Proofs of each edition were compared with the original in each location and improved until the likeness could not be bettered in all details. Mozart?s music and text notation is reproduced extremely clearly, and even those places where Mozart corrected or had rubbed out marks he had already made, appear in these editions in a previously unmatched transparency.
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Peter Maxwell Davies: Jimmack The Postie (Miniature Score): Orchestra: Miniature
Orchestra
[Sheet music]
Chester
This concert overture is a portrait of the Hoy island postman: a rumbustuous ya...
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This concert overture is a portrait of the Hoy island postman: a rumbustuous yarn-spinning character to judge by the music.Commissioned by the Scottish Postal Board and dedicated to the Board's Chairman Ian Barr inrecognition of his work on behalf of the St. Magnus festival Orkney. First performed by the Royal Philharmonic Orchestra in 1986. Written for full symphony orchestra. Score (miniature). Duration c. 9mins.
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Michael Nyman: MGV (Musique A Grande Vitesse): Ensemble: Instrumental Work
Orchestra
[Sheet music]
Chester
MGV (musique grand vitesse) was conceived as a set of interconnected journeys ...
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MGV (musique grand vitesse) was conceived as a set of interconnected journeys performed without pause but listed as nine separate tracks on Michael Nyman’s 23rd album. Since then Christopher Wheeldon has choreographed a danceto the work so there is now a DGV (dance grand vitesse) to add to the layers.When the French city of Lille produced a festival in 1993 to celebrate the inauguration of TGV (train grand vitesse fast train) service fromParis they could not have chosen a more apt composer for their event. Nyman's work The Piano Concerto was also premiered at the concert but it is the dynamic locomotion of MGV which aurally suggests the feeling and sound oftravel by train. Though as the composer writes ‘the topography of MGV should be experienced without reference to planning description or timetables.’
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Richard Strauss: Don Juan Op. 20: Orchestra: Miniature Score
Orchestra
Eulenburg
Don Juan stands out among Richard Strauss' early tone poems for its almost fault...
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Don Juan stands out among Richard Strauss' early tone poems for its almost faultless structure and concise design. This elaborate and considered work helped to establish him as one of the Great German composers when he conducted the premiere of the work himself in November 11 1889. At twenty-four he had written the first masterpiece for which he will be remembered. Taking Nikolaus Lenau’s play as his starting point Strauss fashioned a Symphonic poem which would convey the story of the legendary womanizer. It is a perfect characterisation with exceedingly vivid orchestration use of short motives and intense lyricism. Eulenberg's celebratedand highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.
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Henryk Mikolaj Górecki: Beatus Vir: Orchestra: Study Score
Orchestra
[Study Score / Miniature]
Chester
The polish composer Henryk Gorecki born in 1933 readily acknowledges the influ...
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The polish composer Henryk Gorecki born in 1933 readily acknowledges the influence of national religious and folk traditions upon his music including the avant-garde works which made his name in the late 1950s.HisPsalm setting Beatus Vir was composed in 1979 to fulfil a request from Karol Wojtyla the Cardinal of Krakow made shortly before his election as pope. The commission the celebrated 900th anniversary of the martyrdom of St.Stanislaw a bishop of Krakow murdered by the king's henchmen while celebrating Mass.Beatus Vir is dedicated to Pope John Paul II and was premiered in his presence during his first pilgrimage to Poland.
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Lord Berners: A Wedding Bouquet: Orchestra: Study Score
Orchestra
Chester
A WEDDING BOUQUET is undoubtedly Berners' most original and successful work. Som...
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A WEDDING BOUQUET is undoubtedly Berners' most original and successful work. Some might say unique, since choral ballets are rare indeed. It is based on the opening pages of Gertrude Stein's play, They Must. Be Wedded. To Their Wife. The first performance took place at Sadler's Wells Theatre on 27th April 1937, with scenario, costumes and set designs by Berners himself, choreography by Frederick Ashton.
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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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Britta Byström: Ten Secret Doors - Suite For Orchestra: Orchestra: Score
Orchestra
Wilhelm Hansen
Ten Secret Doors - Suite For Orchestra was composed by Swedish composer Britta B...
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Ten Secret Doors - Suite For Orchestra was composed by Swedish composer Britta Byström in 2010. Commissioned by Västerås Sinfonietta and premiered by VS conducted by Johannes Gustavsson on April 14 2011. Programme note: Each of the ten movements in the orchestral suite Ten Secret Doors contains a transformation a stage-change in sound meant to give a feeling that the music 'slips away'. In the first movement this transformation is achieved by a sudden orchestral sound change from tutti to solo. There follow changes from muted sound to open sound from wind section to string section from bow play to pizzicato play. In the last movement there is a trumpet solo that is first played on stage then off stage - a transformation from close to distant. I pictured the ending of every movement as the opening rather than the closing of a door.In this work there is also a small musical quotation from 'Von fremden Ländern und Menschen' (from Robert Schumann's famous Kinderszenen). This phrase snuck into music as a greeting from another suite characterized by many short movements of flightiness and lightness.(Britta Byström)
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Per Nørgård: Tributes - Album For Strings: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Tributes - Album For Strings (1994-95) by Per Nørgård. Parts are available on ...
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Tributes - Album For Strings (1994-95) by Per Nørgård. Parts are available on hire: hire@ewh.dk I: FOUR OBSERVATIONS – FROM AN INFINTE RAPPORT – hommage a Bartok (1995) II: OUT OF THIS WORLD – hommage a Lutoslawski (1994) III: VOYAGE INTO THE BROKEN SCREEN - hommage a Sibelius (1995). Programme note “TRIBUTES – album for strings” (1994-95) includes three hommages which might also be performed separately.The shared point of departure was the hommage to three major composers of the 20th century – Bartok Lutoslawski and Sibelius.In FOUR OBSERVATIONS the hommage is to Bartok (on the occasion of the 50th anniversary of his death 1995). Hungarian Radio asked me to write a piece in his honor but apart from the very last unison string figure which is - I think - very Bartokian the work in no way intends to evoke even less to imitate the musical style of the great Hungarian master. This would be an act of impudence against a composer who was such an exceptionally integrated personality and who has himself shown (in 'Mikrokosmos') the worthy way to pay a personal tribute to highly respected colleagues: In 'Hommage á J.S.B.' and 'Hommage à R. Sch.' Bela Bartok composes in his own manner but lets the music reflect some qualities of the said composers as perceived in Bartok's mind. In a similar way my 'Observations from an infinite Rapport' reflects as well the timeless proportions of the 'golden section' - which seem to have inspired Bartok so much - in his great respect for perceptive structural patterns. 'OUT OF THIS WORLD' was composed at the request of a group of Lutoslawski's friends as a symbol of parting to a great composer and a noble man. The title quotes a poem by Yunus Emre the Turkish 14th century poet. The opening line of the poem 'Biz dünyadan' reads as follows in English translation: 'We are on the way out of this world we
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Joby Talbot: Worlds Stars Systems Infinity (Full Score): Orchestra: Score
Orchestra
Chester
Commissioned by the Philharmonia Orchestra and Esa-Pekka Salonen for the Univers...
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Commissioned by the Philharmonia Orchestra and Esa-Pekka Salonen for the Universe of Sound project.First perfromed at the Royal Festival Hall on 8th July 2012 by the Philharmonia Orchestra and PhilharmoniaVoices conducted by Esa-Pekka Salonen.Instrumentation.4 Flutes (3rd doubling Alto Flute Piccolo; 4th doubling Piccolo)3 Oboes (3rd doubling Bass Oboe)Cor Anglais2 Clarinets in BflatClarinet in A BassClarinet in B flat3 BassoonsContrabassoon6 Horns in F4 Trumpets in C2 Tenor TrombonesBass TromboneTenor Tuba in B flat (Euphonium)Bass Tuba2 Timpani (2nddoubling Suspended Cymbals China Cymbal)4 Percussion (Meditation Bowls Bass Drum Crotales Marimba Vibraphone Small & Large Tam-tam Glockenspiel Xylophone Side Drum Mark Tree SizzleCymbal)CelestaOrgan2 HarpsChorus (SSSAAAA)Strings
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Nico Muhly: So To Speak: Orchestra: Study Score
Orchestra
-
Intermediate/advanced
St Rose Music Publishing
So To Speak is an extended meditation on an anthem for Pentecost by Thomas Talli...
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So To Speak is an extended meditation on an anthem for Pentecost by Thomas Tallis entitled Loquebantur Variis Linguis (they spoke in many tongues). After organizing the material for the piece I wrote a melody that works against underneath and above Tallis’s lines to create counterpoint made of old and new elements. Patterns of aggressive woodwind scales and ornaments evoke some of the hysteria inherent in glossolalia (ecstatic speaking in tongues). The central section of the piece gestures towards an insect-like musical and religious fervor. So To Speak is scored for orchestra and lasts seven minutes. It is dedicated to Amiel Melnick.
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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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Sonate Op. 30 Op. 30 (TITTEL ERNST)
Orchestra
[Sheet music]
-
Beginner
Doblinger
F. 3 Gleiche Oder Ungleiche St.. Par TITTEL ERNST. Die einfachen Spielstücke, z...
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F. 3 Gleiche Oder Ungleiche St.. Par TITTEL ERNST. Die einfachen Spielstücke, zum Gebrauch im Instrumentalunterricht an allgemeinbildenden Schulen bestimmt, waren in der früheren Auflage des Lehrbuches “Wir lernen Musik” enthalten. / Niveau : Débutant à Facile / Répertoire / Orchestre
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Peter Maxwell Davies: Horn Concerto: French Horn: Score
Orchestra
[Study Score / Miniature]
Chester
This work was commissioned by the Royal Philharmonic Orchestra. It was first per...
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This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 2nd May 2000 at the Barbican Centre London conducted by Peter Maxwell Davies. Duration c.23 minutes. Peter Maxwell Davies: The hornwriting is extremely virtuoso throughout not least in exploring the full range of the horn from the deepest notes in the bass normally exclusive to an orchestral fourth horn player to the highest most exposed sostenuto of afirst horn soloist presenting here challenges of embouchure and sheer stamina I should think fairly unprecedented.Solo part and piano reduction on sale (CH61758) Conductor's score and orchestral parts available for hire.
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Britta Byström: Screen Memories - Trumpet Concerto No.2: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Britta Byström's Trumpet Concerto No.2 Screen Memories for Trumpet solo and Orc...
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Britta Byström's Trumpet Concerto No.2 Screen Memories for Trumpet solo and Orchestra (2012). Trumpet solo part: WH31514B Dedicated to Tine Thing Helseth. Premiered February 28 2013 by the Nordic Chamber Orchestra and Tine Thing Helseth conducted by Johannes Gustavsson at Stadshuset in Sundsvall Sweden. Programme note Screen Memories is the English translation of a Freudian term (Deckerinnerung is the original German term). In Swedish it is called 'täckminnen'. The term means strong but seemingly meaningless childhoodmemories as 'cover' for substantial memory. The title is something of a pun as the work is based on the composition Voyage Into the Golden Screen (1968-69) by Danish composer Per Nørgård – a modern classic in which Nørgård presents his compositional technique known as the infinity series. The technique which I freely apply in the “Trumpet Concerto” enables the development of an endless melody! In that sense “Screen Memories” adapts a second understanding: memories of the composition of Nørgård. Nørgård in turn adopted the title from a song by British songwriter Donovan – the first phrase of this song is in my trumpet concerto. And then there's a third musical reference: the second movement of Beethoven's Piano Sonata No. 8 'Pathetique'. I once heard it in concert while a massive rainstorm appeared and nearly drowned the music. A musical memory incorporated in the composition (the percussionist uses a “rain stick”). Screen Memories thus becomes a concert full of musical memories dressed in new clothes. It is written for and dedicated to the soloist Tine Thing Helseth whose soft and virtuoso
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Britta Byström: Farewell Variations: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Bys...
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for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Byström (2005). Programme Note Farewell Variations sees the careful approach towards Haydn by Britta Byström. Although you have the title reference to the ”Farewell” Symphony Haydn’s Symphony No. 45 Byström’s approximations are being made in a subtle way similar to her free interpretation of literary works. You will not find any direct thematic connections between Byström and Haydn. Byström’s Haydn inspiration comes in form of the various titles which have been given to a lotof Haydn symphonies in the post-Haydn era. Byström wanted to go in sort of an opposite direction: To compose music based on ”Haydnish” symphonic titles. A kind of symphonic Haydn catalogue appears in the movements. Farewell Variations consist of fourteen variations of Byström’s own thematics. The work begins in sighing and broken phrases – like the shadow of a dance. The titles of the variations lead to the description of daily events starting with morning. A day of Haydn! The last variation farewell ends with the musicians playing on by on. As such there is no story but the titles are the main focus here. Byström says that she musically ”tried to capture some of Haydn’s ease and insights”. Tony Lundman
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Festspiele Von 1812 Und 1822
Français
Orchestra
G. Henle
/ Orchestre
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Peter Maxwell Davies: Throstle's Nest Junction: Orchestra: Score
Orchestra
[Study Score / Miniature]
Chester
Study Score of Throstle's Nest Junction for orchestra. This work was commission...
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Study Score of Throstle's Nest Junction for orchestra. This work was commissioned by the BBC first performed on 16th November 1996 by the BBC Philharmonic conducted by the composer. Duration c. 15 minutes.Conductor's score and orchestral parts are available on hire.
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Felix Mendelssohn Bartholdy: The Hebrides Op.26: Orchestra: Study Score
Orchestra
Barenreiter
The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’...
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The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions. Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition. Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn. The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood
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Igor Stravinsky: Funeral Song Op. 5: Orchestra: Study Score
Orchestra
[Sheet music]
Boosey and Hawkes
The music of Igor Stravinsky's Funeral Song op.5 composed by the young composer...
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The music of Igor Stravinsky's Funeral Song op.5 composed by the young composer as an orchestral memorial to his teacher Nikolai Rimsky-Korsakov disappeared after just one performance in 1909. Following its rediscovery in 2015 and world premiere in St Petersburg last December orchestras around the world have swiftly added Funeral Song into their current seasons. The Funeral Song score has been reconstructed from the complete set of parts by Dr. Natalia Braginskaya and the St Petersburg Conservatory in collaboration with Stravinsky?s publisher Boosey
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Mica Levi: Mica Levi: Under the Skin: Orchestra: Study Score
Orchestra
[Sheet music]
Chester
This is the study score featuring the complete original music by Mica Levi compo...
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This is the study score featuring the complete original music by Mica Levi composed for Jonathan Glazer's stunning 2013 film Under the Skin starring Scarlett Johansson. The score for this critically-acclaimed film is a vivid sound world constructed from Flute Strings Percussion and Synthesisers. Mica Levi is a classically-trained musician whose work is characterised by the experimental use of distortion noise and found-object sounds. Her collaboration with the London Sinfonietta caught Jonathan Glazer's attention who wanted to use her talents with creating uncomfortable and jarring yet beautifulsoundscapes to complement his starkly unusual imagery. Levi won a European Film Award for best composer for this work and she was also nominated for a BAFTA.
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Incantation. Concerto for Piano and Orchestra No. 4 H 358 / Fantasia Concertante. Concerto for Piano and Orchestra No. 5 in B-flat major H 366 (MARTINU BOHUSLAV)
Orchestra
[Sheet music]
Barenreiter
The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnat...
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The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / Orchestre
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Benet Casablancas: Tres Interludios Para Orquesta: Chamber Ensemble: Score
Español
Orchestra
[Sheet music]
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Advanced
Unión Musical Ediciones
Three Interludes For Orchestra by Benet Casablancas was commissioned by Fundaci...
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Three Interludes For Orchestra by Benet Casablancas was commissioned by Fundación Autor and the Spanish Association of Symphonic Orchestras (AEOS) for its World Premiere in the 2012-2013 season.The score consists of three movements – Pastorale (Tranquillo) Scherzo (Con moto) and Memento e Corale (Lentissimo Ampio e tenuto) – and has an approximate duration of 14 minutes. The spaciousness and transparency of its textures the clearness of its harmony and a general calm and quiet tone of the first and final parts set a contrast with the vigour and rhythmical vividness of its central scherzo.During the course of the piece the shape of chamber writing coexists with the greatness of orchestral peaks. The last section embraces a lower and expressive tone which ends with a great chorale that will lead to a more contemplative coda which fades into silence. Sadness for the devastating tsunami that struck Japan on those same days was present in the mind of the author at the time of writing this movement.“It shows the accused dramatic quality (especially in the third piece) which dominate the orchestral writing of the composer from Sabadell enriched by a pitch atmosphere of neo-impressionistic quality and a healthy rhythmical energy. The concert version contributed with intensity and performance depth which we hope to deepen in future performances and which motivated the greeting of Casablancas.” - Germán Gan Audio Clásica
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Curry: Star of the East: Orchestra: Parts
Orchestra
Shawnee Press
Star of the East dramatically relates the ancient journey of the wise men to our...
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Star of the East dramatically relates the ancient journey of the wise men to our own journeys of faith. Just as the wise men laid their gifts at the feet of Jesus and worshipped Him so now in the Advent of Christ's return do weanticipate the day when we shall lay our gifts at the feet of Christ. Commissioned for the 20th annual Community Christmas Festival in Corry Pennsylvania this majestic anthem boasts a wonderful orchestration and is sure toheighten the excitement and emotion of the Christmas season.
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Malcolm Arnold: Suite From Homage To The Queen: Orchestra: Study Score
Orchestra
[Sheet music]
Novello & Co Ltd.
Malcolm Arnold's one act ballet score Homage To The Queen was commissioned in 19...
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Malcolm Arnold's one act ballet score Homage To The Queen was commissioned in 1953 by the Royal Opera House Covent Garden to celebrate the coronation of Her Majesty Queen Elizabeth II. The ballet was conceived and choreographed by Frederick Ashton with designs by Oliver Messel and was danced by the full company of the Sadler's Wells Ballet with an illustrious cast that comprised Nadia Nerina as Queen of the Earth Violetta Elvin as Queen of the Waters Beryl Grey as Queen of Fire and Margot Fonteyn as Queen of the Air. The conductor of the ROH orchestra was Robert Irving. Homage to the Queen was first performed on the night of the coronation 2June1953.One of the towering musical figures of the 20th century Sir Malcolm Arnold has a remarkable catalogue of major concert works to his credit including nine symphonies seven ballets two operas one musical over twenty concertos two string quartets and music for brass band and wind band. He has also written over 132 film scores and among these are some of the finest works ever composed for the medium: Bridge On The River Kwai Inn Of The Sixth Happiness Hobson's Choice Whistle Down The Wind and David Copperfield.
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Hector Berlioz: La damnation de Faust op. 24 Hol. 111: Mixed Choir: Score
Orchestra
[Sheet music]
Barenreiter
Légende dramatique en quatre parties-In 1828 Berlioz wrote the 'Huit scènes de...
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Légende dramatique en quatre parties-In 1828 Berlioz wrote the 'Huit scènes de Faust'. The work was soon withdrawn but almost twenty years later each of the eight scenes found a place in the Légende dramatique 'La damnation de Faust' dedicated to Franz Liszt. The first part of the 'Damnation' exposes the figure of Faust and has an introductory nature. From the second part onwards the course of action is largely based on Goethe?s drama.Contrasting characters and dramatic effect are of central importance in understanding Berlioz?s musical thought and his compositional process. Magic and fairy tale incantations and ghosts have been the ever-recurring themes ofopera since the Baroque. It is precisely this fantasy in Berlioz's Faust the ?Opéra de Concert en Quatre acts? which comes very close to the spirit of Goethe's presentation.Reliable Piano reduction based on the Urtext of the New Berlioz EditionStraight-forward Piano reduction in the Vocal scoreClear user-friendly layoutFrench original text with German translationFull score (BA5448) and Vocal score (BA5448-90) available for sale performance material (BA5448-72) available for hire
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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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Hans Abrahamsen: Four Pieces For Orchestra: Orchestra: Score
Orchestra
Wilhelm Hansen
Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programm...
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Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject
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The Symphony: From Mannheim to Mahler
Orchestra
[Book]
Faber Music Limited
Par . The Symphony: From Mannheim to Mahler is a fascinating and accessible guid...
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Par . The Symphony: From Mannheim to Mahler is a fascinating and accessible guide that considers the development of the symphony from a number of different perspectives: analytical, historical, and critical. Exploring important milestones, touchpoints, events, key works, and the composers that surround the genre, it also includes a composer timeline, detailed case studies and comprehensive music examples. This handy and informative book is ideal for GCSE, A-Level, and undergraduate music students, as well as anyone wanting to study and learn more about the genre. Christopher Tarrant is Lecturer in Music Analysis at Newcastle University. He received his PhD from Royal Holloway, University of London and now teaches and writes about concert music of the long nineteenth century with a special emphasis on theory of form and the Nordic symphony. Christopher is also a violinist and conductor. Natalie Wild is Director of Research and Deputy Director of Music at the Music in Secondary Schools Trust (MiSST). Her research focuses on the role a classical music education can play in breaking down social barriers. Natalie has taught both GCSE and A-Level Music for many years as Head of Music in various inner-city schools. / Date parution : 2022-05-17/ Livre / Orchestre
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Adagio aus der Symphonie Nr. 10 (MAHLER GUSTAV)
Orchestra
[Study Score / Miniature]
Universal Edition
Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. Un...
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Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre
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