Music Of Our Time. Par SCHNEBEL DIETER. In this work Schnebel attempts to apply the idea of the Baroque canon - as exemplified in Bach’s ‘Art of Fugue’ - to modern concepts of tonal colouring. The ‘Motu proprio’ of the 7 mixed groups of orchestral instruments intensifies within 28 short emotional sections to the Baroque ‘Motu contrario’. In ‘Diapason’, literally translated ‘in the octave’ but in the ancient Greek music tradition taken to mean ‘through or across everything’ among other things, the orchestra is arranged into 13 groups according to families of instruments and tonal colour. Schnebel alternately uses the term ‘fugue’ in the strict sense of the Baroque period and in its more general, purely architectonic meaning./ Répertoire / Orchestre

Tie A Yellow Ribbon-Von Peermusic gibt es Arrangements berühmter Klassiker diverser Genres für Salonorchester in Doppelnummern (Bänden mit 2 Musiktiteln) - ähnlich wie die Doppelnummern für Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbläser (Standard) bis 5 Sax./6 Blechbläser (Standard + Ergänzer) und den Ergänzer-Stimmensatz. Hier der Standardsatz. Die Besetzung - Standard: C-Stimme (Akkordbezifferung und Text); Gitarre/Melodie (Akkordbezifferung und Text); Drums/Melodie (mit Text); 1./2. Violine; 1./3. Stimme Altsax; 2. Stimme Tenorsax; 1./2. Stimme Trompete; 1. Stimme Posaune; Bass; Klavier(Akkordbezifferung und Text). Hier der Doppelband mit More Than I Can Say (Curtis/Allison) und Tie A Yellow Ribbon (Levine/Brown).

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

With 2 violino concertato-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

The Orchestra Parts for George Frideric Handel's 'Chandos Anthem' (No.2) In The Lord Put I My Trust expertly edited by Damien Cranmer. Arranged for Cello Bassoon Double Bass Oboe Violin I Violin II and Basso Continuo.  You can purchase the  Full Score separately here.

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

Composer's Note: Quilting co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic is my first stand alone work fororchestra and is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris. During my time there I thought a lot about what it means to compose symphonic music as ayoung American in the 21st century when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century.I began to think of the American crafts-tradition of quilting as a foil to the high-art tradition of European orchestral composition. As the score for my new work began to take shape I started thinking about themanuscript itself as an object its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great Americantradition of quilting. I imagined about how conducting an orchestra can feel like stitching a piece together or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries the African-American quilting tradition is especially fascinating and the quilts tell the stories of the women and communities who made them.The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder' 'drunkards path' 'solomon's puzzle' and (my favorite for its relevance to this piece) 'the road to California.' -Bryce Dessner

Par GADE NIELS WILHELM. 'I can?t remember when another work made a more lively, beautiful impression on me? ? this is what a very enthusiastic Felix Mendelssohn wrote to Niels Gade in January 1843. On March 2nd he premiered Gade?s C minor Symphony at the Leipzig Gewandhaus. On 26 October of the same year the 26 year old Danish composer conducted the second performance himself and in the following year he was engaged as co-conducter of the Gewandhaus concerts. His first symphony, however, was to remain Gade?s greatest success: unique are its colourful instrumentation, atmospheric melodies and the characteristic sound world which we know as Nordic. This volume presents Gade?s opus 5 as volume I.1 of the Complete Edition ?Niels W. Gade / Works?, edited by Finn Egeland Hansen. The volume also contains a preface by Inger Sørensen as well as a separate discussion of the musicological reception of this central work. / Date parution : 2022-03-05/ Répertoire / Orchestre

A definitive, lasting arrangement worthy of the epic! Featuring Duel of the Fates, Across the Stars, and Revenge of the Sith, each individual movement from Episodes I, II, and III can stand alone, or followed by Part II of the suite (item 00-26677). (4:45) This title is available in SmartMusic.

Par HAYDN FRANZ JOSEF. Les trois Symphonies de Haydn nos 90 à 92 pourraient en fait être présentées sous l’appellation de «Symphonies parisiennes, seconde partie», car elles sont nées en 1788-1789 également dans le cadre d’une commande de la Société Olympique pour laquelle Haydn avait déjà composé ses six «Symphonies parisiennes» nos 82 à 87 quelques années auparavant. De façon assez amusante, Haydn les vendit ensuite une nouvelle fois au Prince von Oettingen-Wallerstein, qui souhaitait «acquérir 3 nouvelles “Synfonien” de lui». Au-delà de ces complications mercantiles, Haydn se montre, dans ces œuvres, en pleine possession et en pleine maîtrise de son métier de symphoniste. La Symphonie en Mi bémol n° 91 fut, si l’on en croit le manuscrit autographe, terminée en 1788, et surprend – même selon les critères de Haydn – par le nombre de ses particularismes, comme par exemple le thème de contrepoint baroque du premier mouvement, ou les enchaînements de trilles dans le mouvement lent à variations. L’édition d’étude reprend le texte de l’édition complète des œuvres de Haydn, garantissant ainsi la plus haute qualité scientifique. Une préface informative et un bref commentaire critique font de cette partition en format maniable un accompagnateur idéal pour tous les fans de Haydn, ainsi que tous ceux qui souhaitent le devenir./ Répertoire / Orchestre Symphonique

Eight Varied Pieces For Orchestra-Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 2 contains:-Marching through Mud (Richard Ling); When I was a lad (from HMS Pinafore); Ghost Ride (Richard Ling); Largo (Dvorak); Battle Zone (Richard Ling); Persian March (J Strauss II); Lazy Horse (Richard Ling); Good King Wenceslas.

Wenn Die Rose Sich Selbst Schmückt Schmückt Sie Auch Den Garten (When The Rose Beautifies Itself It Beautifies The Garden ) was composed by Per Nørgård in 1971. Chamber Cantata for four performers Scored for Soprano Alto Flute Double Bass and Percussion (all playing also Crotales). Composed for and dedicated to Dorothy Dorrow. Parts available: KP01092 Preface / Programme Note The title of the work is borrowed from a fragment by the German poet Friedrich Rückert.This fragment this short sentence (which Rückert apparently neverelaborated upon) is the entire basis of the work. I was inspired by the meaning as well as the sound of these words.I perceive the meaning of the sentence as being a defence for the refinement of an individual’s personal gifts - far from the present hostility toward individuality and the senseless praise of impersonal success in society. Personal refinement can so the fragment in my interpretation at its best be accompanied by a deep sense of responsibility and become an active and positive influence in society.The sound the timbre of the individual words and characters is employed both instraightforward text-sequences as well as in the exploration of individual vowels and consonants as pure sounds. The soprano is often used purely instrumentally echoing and pre-echoing discreetly the notes of the flute and the harmonics of the double bass often imperceptably stealing their notes and altering them into human sounds which then yetagain are absorbed into the instrumental tapestry. Per Nørgård 1971