SKU: AP.36-S014201
ISBN 9781608740055. UPC: 659359973819. English.
Franz Liszt (1811-1886) started work on his Concerto for Piano and Orchestra No. 2 in A major, S. 125, in 1839 and 1840. Putting it through a series of revisions, he dedicated the concerto to his student Hans von Bronsart von Schellendorf. The composer conducted the first performance in Weimar on January 7, 1857 with Bronsart as soloist. Liszt completed a 4th revision in 1861. Less virtuosic than his first piano concerto, it is played without break and serves as a masterful example of thematic transformation. Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(1-2): Str (9-8-7-6-5 in set): Solo Piano. Reprint edition. Study score.
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: AP.36-A164001
ISBN 9798892703208. UPC: 659359825644. English.
Franz Liszt (1811-1886) started work on his CONCERTO FOR PIANO AND ORCHESTRA No. 2 in A major, S. 125, in 1839 and 1840. Putting it through a series of revisions, he dedicated the concerto to his student Hans von Bronsart von Schellendorf. The composer conducted the first performance in Weimar on January 7, 1857 with Bronsart as soloist. Liszt completed a 4th revision in 1861. Less virtuosic than his first piano concerto, it is played without break and serves as a masterful example of thematic transformation. Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(1-2): Str (9-8-7-6-5 in set): Solo Piano. Reprint edition.
SKU: AP.36-A164002
UPC: 659359515002. English.
SKU: AP.36-A929590
UPC: 735816239411. English.
When Max Reinhardt was engaged to direct a German language production of Shakespeare's Much Ado About Nothing at the Vienna Volksbühne in 1918, he asked Korngold to compose the incidental music. The production, under the German title Viel Lärmen um Nichts did not open until May 6, 1920 at the Schönbrunn Palace Theater. In the pit, the composer led members of the Vienna Philharmonic, performing no less than 18 pieces of music. In the meantime, due to the tardy premiere of the play, Korngold had already extracted a five-movement orchestral suite which garnered much praise when performed three months before the play's opening night. The five movements included: 1. the Overture; 2. Scene in the Bridal Chamber; 3. Holzapfel und Schlehwein (a mock-serious scene); 4. Intermezzo (Garden Scene); and 5. Hornpipe. When the play moved to Vienna's Burgtheater (more than 80 performances) and later to the Rezidenz Theater in Munich, the music continued to attract much attention. Demand for the music was such that Korngold arranged the suite into versions for violin and piano (four pieces), and for solo piano (three pieces). German composer-arranger Leo Artok (1885-1935) arranged the most popular three items (1. Hornpipe; 2. Garden Scene; and 3. In the Bridal Chamber) for small orchestra, which were then published by Schott in 1926. This newly engraved edition of the Artok arrangement, offered with a new full score for the first time, has been completed by R. Mark Rogers. All editions noted above are available from the publisher. Instrumentation: 1.1.2.1: 2.2.1.0: Timp.Perc(2).Harm: Str (9.8.7.6.5 in set).
SKU: AP.36-A929501
ISBN 9781638875192. UPC: 735816239497. English.
SKU: AP.36-A128102
UPC: 659359919480. English.
Ludwig van Beethoven (1770-1827) completed his Piano Concerto No. 3 in C minor in 1803, not long after writing the famous letter to his brothers, the Heiligenstadt Testament, in which he lamented his increasing deafness. He gave the first performance of the piece, as soloist, on April 5 in a public benefit concert at the Theater an der Wien in Vienna. The opening melody in the first movement bears striking similarity to the first theme heard in Mozart's 24th piano concerto. As a whole, the piece provides an essential link between the Mozartean charm of the two earlier concertos and the more idiosyncratic work found in his middle period. Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (4-4-3-3-3 in set): Solo Piano.
SKU: AP.36-A134548
UPC: 735816434267. English.
Johannes Brahms (1833-1897) composed his Piano Concerto No. 1 in 1858 and performed the work's debut in Hanover, Germany, in 1859, to mixed reviews. The work initially began as a sonata for two pianos, then a four-movement symphony. Under the counsel of friends Julius Otto Grimm and violinist Joseph Joachim, Brahms landed on a three-movement piano concerto. After its fifth performance in December 1861, with Clara Schumann as piano soloist, the work still received mixed audience reception. It has since grown in popularity and has been recognized as a masterpiece. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.
SKU: AP.36-A212602
UPC: 676737597597. English.
Richard Strauss (1864-1949) originally wrote this work for solo piano and orchestra under the title Scherzo in D minor in 1886 for conductor and pianist Hans von Bülow, a large influence on Strauss' career. Von Bülow, however, consider the work a complicated piece of nonsense and wanted nothing to do it. Discouraged, Strauss set the work aside until 1889, when he met Scottish pianist Eugen d'Albert, who liked it while also suggesting some changes. With a new title, Burleske, and a dedication to d'Albert, the work was premiered on June 21st, 1890 in Eisenach at the Tonkünstlerfest with d'Albert at the piano and Strauss conducting. Despite this, Strauss remained convinced that the work lacked merit and refused to have the work published until 1894, although it eventually became one of his favorite works. Strauss never gave the work an opus number, but many consider it to be Op. 11, which is actually assigned to his Horn Concerto No. 1 in E-flat. Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.
SKU: BT.BMP8095417
A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert.Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. Melodieën zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer één in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreëerd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrischeÜber den amerikanischen Komponisten Leroy Anderson lässt sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen fließend, absolvierte mit einemMagna-cum-laude-Abschluss die Harvard Universität und verfasste während seiner Militärzeit im Zweiten Weltkrieg für die amerikanische Armee eine Grammatik des Isländischen. Schon während seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er für das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes Stück, Blue Tango, wurde als erste Instrumentalkomposition über eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. Für seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisch für seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebräuchlichen Tonträger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehört sein Konzert C-Dur für Klavier und Orchester. Er komponierte es 1953, die Uraufführung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei Aufführungen, wieder ein. Er hatte zeitlebens die Absicht, es zu überarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu veröffentlichen.Das dreisätzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sämtliche Kompositionen auszeichnen. Dennoch findet man darin auch Anklänge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) überleitet. Der dritte Satz schließlich ist einwaschechter Hoe Down, ein fröhlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz führt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingängigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaßen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren Atmosphäre einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes.Nous savons beaucoup de choses sur le compositeur américain Leroy Anderson. Ce fils dimmigrants suédois jouait du piano, de lorgue, de laccordéon, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et était diplômé avec grande distinction de Harvard. Pendant son service militaire, il écrivit un manuel de grammaire islandaise commandé par larmée.Étudiant, il avait déj commencé faire des arrangements et dès l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mélodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommée mondiale. Son uvre phare, Blue Tango, fut numéro un descharts américains en 1952 et se vendit plus dun million dexemplaires. Un an après sa mort en 1975, il eut droit son étoile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcèdent pas trois minutes, soit peu près la durée maximale dun single lépoque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut créé Chicago sous sa direction avec Eugene List au piano. Après trois exécutions, Anderson nétait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson décida de tout de m?me rééditer son concerto pour piano.Cette uvre en trois parties se caractérise par son élégance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxième partie (en mi mineur). La troisième partie est une danse populaire joyeuse et typiquement américaine en 2/4, une Hoe Down avec un passage lyrique et mélodieux en son milieu. la fin, un solo est suivi par une clôture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thèmes beaux et simples, sans oublier des éléments de la musique légère. Cette uvre.
SKU: BT.BMP8091417
SKU: HL.44011228
UPC: 884088876845. 9.0x12.0x1.477 inches. English-German-French-Dutch.
Diamond Concerto was commissioned by Musikverein Morschied from Germany - Dr. Eric Grandjean, conductor - for a special concert featuring Steven Mead as guest soloist. Together they gave the world premiere on 28th April 2012 in the town theatre of Idar-Oberstein.The commission is a highlight in the 30-year friendship between composer and soloist, which has included many mutual CD projects and concerts and, now, a concerto. Sparke had Steven Mead's special euphonium sound in his head throughout the composition process and made free use of the variety of styles which the world-renowned virtuoso has made his own during his highly successful solo career.The village ofMorschied lies to the west of Frankfurt am Main in the area known as the German Road of Precious Stones, which is famous for its thriving gem industry. Because of this it was decided to give the commission a local connection by choosing the title, Diamond Concerto. Each of the three movements is named after a famous diamond:1 EARTH STARis rather stern in mood, opening with a free fantasy for the soloist over a static chord from the band. This leads to an Allegro Moderato in minor mode where small motives are gradually repeated and developed by both band and soloist.2 OCEAN DREAMuses a varied quote from the composer's Music for Battle Creek, including a melting slow melody that was originally written with Steven Mead in mind.3 BLUE HEARTwas written, at Steven Mead's suggestion, in bebop style and takes the form of a jazz waltz. The quasi-improvisatory central section features a call-and-response passage for the soloist and upper woodwinds.Soloist: Difficulty 6Diamond Concerto is available for euphonium and piano (AMP 374-401) as well as for euphonium and brass band (AMP 354-030). Diamond Concerto is geschreven in opdracht van de Duitse Musikverein Morschied - met dirigent Eric Grandjean - voor een speciaal concert met Steven Mead als gastsolist. De wereldpremiere vond plaats op 28 april 2012 in het Stadttheater van Idar-Oberstein.De opdracht vormt een hoogtepunt in de dertig jaar lange vriendschap van de componist en de solist - waarin ze aan vele gezamenlijke cd-projecten en concerten werkten. En nu is er dan dit concert. Sparke heeft het gecomponeerd met Steven Meads geheel eigen euphoniumklank in het achterhoofd. Hij paste daarbij de diverse stijlen toe die de wereldberoemde virtuoos zich heeft eigen gemaakt tijdens zijn succesvollesolocarriere.Het plaatsje Morschied ligt ten westen van Frankfurt am Main, in het gebied dat bekendstaat als de Deutsche Edelsteinstrasse. Het is beroemd vanwege zijn bloeiende edelstenenindustrie. Om het werk een lokaal tintje te geven is een toepasselijke titel gekozen: Diamond Concerto. Elk van de drie delen is genoemd naar een beroemde edelsteen:1 EARTH STARDit deel is tamelijk sober van sfeer. Het opent met een vrije fantasie van de solist over een statisch akkoord in het orkest. Dan volgt een allegro moderato in mineur, met kleine motieven die geleidelijk worden herhaald en uitgewerkt door zowel het orkest als de solist.2 OCEAN DREAMHierin wordt een citaat van Sparke's werk Music for Battle Creek naar voren gebracht, met een vloeiende, langzame melodie die van oorsprong werd geschreven met het spel van Steven Mead in gedachten.3 BLUE HEARTNaar een suggestie van Steven Mead zelf is dit deel geschreven in bebopstijl. Het neemt de vorm aan van een jazzwals. De quasi-improvisatorische centrale passage omvat een vraag-en-antwoordspel voor de solist en het hoge hout.Solo: moeilijkheidsgraad 6Diamond Concertois eveneens verkrijgbaar voor euphonium en piano (AMP 374-401) en voor euphonium en brass band (AMP 354-030). Geschrieben fur den Musikverein Morschied, westlich von Frankfurt am Main an der Deutschen Edelsteinstrasse gelegen, wurde jeder der drei Satze von Diamond Concerto nach einem beruhmten Diamanten benannt: 1 EARTH STAR ist eher stimmungstechnisch ein Stern. Der Satz beginnt mit einer freien Fantasie des Solisten uber einem statischen Akkord des Orchesters. Dieses fuhrt zu einem Allegro Moderato in Moll, in welchem kurze Motive von sowohl Orchester als auch Solist nach und nach wiederholt und entwickelt werden.2 OCEAN DREAM verwendet ein variiertes Zitat aus Music for Battle Creek von Philip Sparke, das ein schmelzende Melodie enthalt, die schon im Gedanken an Stevengeschrieben worden war.3 BLUE HEART wurde auf Steven Meads Anregung hin im Bebop-Stil komponiert und weist die Form eines Jazz Waltz auf. Der quasi-improvisatorische Mittelteil enthalt eine Passage im Call-and-Response-Muster, die sich zwischen Solist und den hohen Holzblasern abspielt.Solist: Schwierigkeitsgrad 6Diamond Concerto ist fur Euphonium und Klavier erhaltlich (AMP 374-401) sowie fur Euphonium und Brass Band (AMP 354-030). Diamond Concerto est une œuvre de commande de la formation allemande Musikverein Morschied, dirigee par le Dr Eric Grandjean, pour un concert avec un invite special, le soliste Steven Mead. Ensemble, ils ont cree cette œuvre le 28 avril 2012 au theatre de la ville d'Idar-Oberstein.Cette commande represente l'un des points culminants d'une amitie de trente annees entre le compositeur et le soliste, leur relation ayant donne naissance a de nombreux enregistrements et concerts et, maintenant, a un concerto. Pendant la composition de cette œuvre, Sparke avait sans cesse a l'esprit le son bien particulier de l'euphonium de Steven Mead, et il a employe librement lavariete de styles que ce virtuose mondialement connu a adoptes au cours de sa brillante carriere de soliste.Le village de Morschied se trouve a l'ouest de Francfort-sur-le-Main, dans la region surnommee Route allemande des pierres precieuses, celebre pour son industrie de la joaillerie. C'est pourquoi le compositeur a decide de saluer cette province en intitulant son œuvre Diamond Concerto. Les trois mouvements sont chacun nommes d'apres un diamant celebre :1 EARTH STARDe caractere plutot serieux, ce mouvement debute avec une fantaisie libre pour le soliste sur un accord statique de l'orchestre. Vient ensuite un Allegro Moderato en mode mineur ou de courts motifs sont progressivement repetes et developpes par l'orchestre et le soliste.2 OCEAN DREAML'on pourra entendre ici une variante d'un extrait de Music for Battle Creek, incluant une melodie lente et emouvante, que le compositeur ecrivit alors dans l'optique d'une future interpretation realisee par Steven Mead.3 BLUE HEARTSuivant l'idee de Steven Mead, ce mouvement est ecrit dans un style de be-bop et prend la forme d'une valse jazzy. La partie centrale, quasi-improvisee, comprend un passage d'appel et reponse entre le soliste et les bois.Soliste: Difficulte 6Diamond Concerto est aussi disponible pour euphonium et piano (AMP 374-401) et euphonium et brass.
SKU: HL.44011229
UPC: 884088876852. 9x12 inches. English-German-French-Dutch.
SKU: AP.36-A775601
ISBN 9798892701938. UPC: 659359900174. English.
At the precocious age of fourteen, Felix Mendelssohn (1809-1847) scribbled out his Concerto for Two Pianos and Orchestra in E major. He wrote a second, this time longer, double piano concerto the following year. In December 1823, the young composer gave the first performance of the E major concerto with his sister Fanny Mendelssohn. Since he came to regard it as mere juvenilia, it never achieved publication in his lifetime. Filled with stylish finger-work, the concerto clearly served to display the musical gifts of the two siblings. It remained forgotten until a version, which had been revised by the composer himself and edited by Karl-Heinz Köhler, surfaced in 1961 in a Leipzig critical edition. Instrumentation: 1.2.2.2: 2.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo pianos (2 - available separately).
SKU: CN.09971
Written with the virtuoso in mind, this piano concerto is perfect for the modern ensemble. The first movement exudes an urgency scored in the rhythms and harmonies throughout, while the second movement, Elegy, reflects on the memory of a friend. The final movement barrels along with spirit and drive, utilizing mixed meter and a full compliment of percussion to bring you to the breathtaking conclusion.
SKU: CN.09970
SKU: BT.CMP-0128-97-010
SKU: FL.FX071416-2
SKU: AP.36-A196148
ISBN 9798892702683. UPC: 659359867958. English.
Following the death of his mother in 1888, a depressed Camille Saint-Saëns (1835-1921) decided to take a trip to his favorite destination, North Africa, travelling to Ceylon, then to Alexandria and Cairo over the period of several months. While he was in Egypt, he composed his fantasia for piano and orchestra, AFRICA, Op. 89. Dedicated to pianist Marie-Aimée Roger-Miclos, it premiered on October 25, 1891, with the dedicatee playing the solo, and the work was an immediate success both at the premiere and after, which pleased Saint-Saëns a great deal to the point that he considered AFRICA a signature work. Borrowing themes and techniques from North African music, the fantasy draws on material he heard in Algeria and Egypt, offering an exotic sound to those listening in the late 19th and early 20th centuries. This concertante is notable also as one of the first works to be recorded with the composer as soloist, with a surviving 1904 recording with Saint-Saëns at the piano. This colorful piece continues to be performed regularly today. Reprint edition. Instrumentation: 2.2.2.2: 2.0+2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set): Solo Piano.
SKU: AP.36-A196102
UPC: 659359795107. English.
SKU: AP.36-A196101
ISBN 9798892702676. UPC: 659359636882. English.
SKU: HL.49006363
ISBN 9790001068949. 8.25x12.0x0.213 inches.
The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823.In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers - a vision Beethoven shared with him.In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions - for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for.In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity.The score of this offical anthem is exclusively available from the Schott publishing house.(1 Piccolo-Flote, 2 Floten, 2 Oboen, 2 Fagotte, 1 Kontrafagott, 1 Klarinette in Es, 3 Klarinetten in B, 1 Bass-Klarinette in B, 2 Alt-Saxophone in Es, 1 Tenor-Saxophon in B, 1 Bariton-Saxophon in Es, 3 Trompeten in B, 2 Kornette in B, 2 Horner in F, 3 Posaunen, 2 Flugelhorner in B, 3 Tenorhorner in B, 1 Bariton, 2 Tuben, Pauken, Kontrabass).
SKU: AP.36-A144902
UPC: 735816201197. English.
LES DJINNS was written at the request of pianist Caroline Montigny-Rémaury, though César Franck's (1822-1890) short work for piano and orchestra was instead premiered on March 15, 1885 by Louis Diémer with the Société Nationale de Musique. The piece is inspired by the poem of the same name in Victor Hugo's LES ORIENTALES, as Franck represents the idea of the mysterious and supernatural forces tearing the nocturnal sky through their passage. Franck was impressed with the virtuosic playing and interpretation of Diémer in this difficult work, which sparked a renewed interest in the piano for the composer. Instrumentation: 2.2.2.4: 4.2.3.1: Timp: Str (9-8-7-6-5 in set): Solo Piano.
SKU: PE.EP68777
ISBN 9790300762418.
Only in Sleep is a nostalgic vision of childhood re-experienced through dreams. Eriks Ešenvalds has created a work of subtlety, yet powerful and expressive. The music has an incandescent freshness and the Flugel Horn soloist heard at the opening returns at the close, lost in reverie, whilst florid arabesques float over one last pair of chordal oscillations, winding down to nothing. This brilliant arrangement for brass band has become every bit as popular as the original choral setting.
Orchestration:
1 Eb Soprano Cornet, 4 Bb Solo Cornet, 1 Bb Repiano Cornet, 2 2nd Bb Cornet, 2 3rd Bb Cornet, 1 Bb Flugel Horn, 1 Solo Eb Horn, 1 1st Eb Horn, 1 2nd Eb Horn, 1 1st Bb Baritone, 1 2nd Bb Baritone, 1 1st Bb Trombone, 1 2nd Bb Trombone, 1 Bass Trombone, 2 Bb Euphoniums, 2 Eb Basses, 2 B Basses, Timpani, 1 Percussion (suspended cymbal)
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