SKU: HL.14021025
ISBN 9780711986138. 5.5x7.5x0.164 inches.
Miniature Score. This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 13th May 1998 London. This piece is based on a genuine old tune 'Maxwell's Strathspey' which the composer found in an 1824 collection of Scottish melodies, and which unfolds at the start of the piece on solo cello. Variations and a bold up-tempo to the quick dance we know as a reel ultimately yield to the magic that has been promised right at the start: the northern lights take over at the end of the piece. Its inspiration comes from a walk to a community event in Hoy Hall, during which Davies saw the lights in the sky pulsing in and out of time with the sounds coming from the hall. Duration 12 minutes. Conductor's score and orchestral parts are available on hire.
SKU: HL.51489064
UPC: 840126937640. 6.75x9.5x0.214 inches.
The twelve “London Symphonies” comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracle”, was bestowed erroneously, for the miracle - that no one was injured when a chandelier fell during a concert - took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless; from the subtle relations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: HL.48016646
UPC: 073999166460. 5.5x7.5x0.129 inches.
SKU: LO.30-3153L
UPC: 000308138962.
Soaring and majestic, this Mary McDonald original work is filled with rich harmonies and sequencing modulations that build to a powerful close as the chorus answers the call with We will go!.
SKU: BR.PB-5709
ISBN 9790004216460. 10 x 12.5 inches.
Strauss third tone poem Don Juan was composed in spring 1888. This work is already an impressive demonstration of the composer's newly acquired confidence in mastering the orchestral apparatus. Already completed in the fall, it took over a year until its premiere in Weimar on November 11, 1889. Breitkopf & Hartel's new Urtext edition assesses not only the autograph and the first edition, but also for the first time the parts used under the composer's direction, resulting in some surprisingly new readings. An extensive preface, facsimile pages, and a detailed critical report round off this authoritative Urtext edition.First Urtext edition since the first edition. Evaluation of all available sources, including some orchestral parts used by Strauss. A detailed critical report. Complete orchestral material available for purchase.
SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: LO.30-3182L
UPC: 000308140446.
This fervent prayer will set the tone for a meaningful worship experience. Mary McDonald's lyrics plea for God to be present in our midst and to change our lives through the power of the Holy Spirit. The music builds from a reflective opening to a passionate affirmation: We need you, Lord! The instrumental ensemble includes a score and CD with printable parts for Piccolo, 2 Flutes, Oboe, 2 Clarinets, Bassoon, 2 Horns, 2 Trumpets, 2 Trombones, Tuba, Timpani, Percussion, Harp, Piano, 2 Violins, Viola, Cello, and Bass.
SKU: AP.42079
UPC: 038081480930. English.
Want to know what's hip? Well, this is it! Give your students and audiences a taste of some real funky music and don't be surprised if you see grandma getting down during the performance. Includes What Is Hip?, You're Still a Young Man, and Down to the Nightclub. (5:30) This title is available in MakeMusic Cloud.
SKU: HL.14015535
ISBN 9780711986220. 8.25x11.75x0.135 inches.
Howells wrote Penguinski for a visit made to the Royal College of Music in London on 10 May 1933. This score pays light and affectionate tribute to the considerable popularity of Stravinksy in London from the teens of the twentieth century. In Penguinski Howells creates a knockabout piece which shadowboxes Petrushka. Whilst underlining Howells's versatility, the score gives a colourful insight into the prevailing influences of the time, and is an intriguing example of how Stravinsky must have sounded to his English contemporaries.
SKU: FG.042-08465-6
ISBN 979-0-042-08465-6.
In Poseidon, commissioned by the National Symphony Orchestra of Washington and Mstislav Rostropovich, Bergman turns to the Greek god of the sea and lord of the earthquake as a symbol for primaeval power and the wellspring of creativity. In the ocean depths - the subconscious - power stirs and rises to the threshold of consciousness. It projects itself into the second movement's eruption of energy, after which follows recovery and calm. Composed in 1992.
SKU: HL.51489061
UPC: 840126932836. 6.75x9.5x0.22 inches.
The twelve “London Symphonies” comprise the sublime final statement of Haydn's symphonic ouvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Probably composed in the winter of 1791/92, the Symphony in D major no. 93 was, with its easily accessible (butby no means simple!) musical structure, perfectly tailored to London tastes, which demanded melodic clarity and expressive pathos. The Baroque echoes of Handel in the slow introduction to the first movement and in the festive mood of the finale with its timpani and trumpets would have been well received - no wonder the symphony had to be repeated multiple times in the same season after its performance in 1792! This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: HL.51489071
UPC: 840126989397. 6.75x9.5x0.268 inches.
The twelve “London Symphonies” comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The E-flat-major Symphony no. 103 was composed in 1795 as the penultimate of the London Symphonies. It owes its epithet to its unique beginning; a solo drumroll in the timpani ushers in the slow introduction. This opening bar, marked with Haydn's heading “Intrada” and a pause, even inspires many a performer to venture a short timpani improvisation. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: LO.30-3379L
UPC: 000308144666.
Lord, Your church are we; redeemed, Your own to be. Full of thoughtful text and vivid scriptural images, Mary McDonald’s flowing setting of the early American folk tune PROSPECT is an ardent call to discipleship.
SKU: LO.30-2684L
UPC: 000308128024.
Reverent and worshipful, this beloved gospel Christmas classic has been set in a beautiful arrangement by Don Hart. Lovely harmonies are highlighted in the accessible choral parts, which float atop an elegant accompaniment. A gorgeous, optional orchestration is also available to complement this touching Christmas anthem. Instrumentation: 2 Fl, Ob, 2 Cl, Bsn, 3 Tpt, 2 Hn, 2 Tbn, Tba, 2 Perc, Timp, Harp, Pno, 2 Vln, Vla, Cello, Bass.
SKU: HL.51489063
UPC: 840126932867. 6.75x9.5x0.204 inches.
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