Albert W. Ketèlbey's With Honour Crowned for Orchestra. Piano Conductor Score/Parts.

Score-'RiverRun' was Steven Albert's third work inspired by the writing of James Joyce. The opening movement ‘Rain Music’ is meant to convey the origins of a river. After the sharply accented chords of the movement's introduction themusic becomes quieter suggesting an atmosphere of expectancy. The lightly scored second movement ‘Leafy Speafing’ has a languid cadenza-like opening on alto flute followed by a more tightly focused thematic idea from thesolo viola. The two instruments then engage in a quiet dialogue against the softly changing chords.The third movement ‘Beside the Rivering Waters’ is a fragmented march and scherzo. It opens with a children'ssong. The march for the pit band follows and we are engulfed in a boozy wake. The scherzo brings a return of the current then the march returns abruptly followed by the children's tune - which is in turn transformedinto a raucous pub song. Throughout the fourth movement ‘RiversEnd’ musical ideas from the preceding movements are recalled. Night is falling and the river is moving quietly into darkness. As it approaches the open sea itsmomentum builds and it soon becomes a torrent spilling into the ocean. The work ends quietly.

Per Orchestra - Partitura. Par COLLA ALBERTO. / Musique contemporaine / Date parution : 1905-06-28/ Répertoire / Orchestre

Hommage à Joseph Haydn. Par SALBERT DIETER. Hommage À Joseph Haydn/ Répertoire / Orchestre

Oratorio Sacro Per Voce Recitante, 5 Solisti, Doppio Coro Di Voci Bianche, Coro Misto E Orch.. Par COLLA ALBERTO. Oratorio Sacro Per Voce Recitante, 5 Solisti, Doppio Coro Di Voci Bianche, Coro Misto E Orch. / Oratorio / Répertoire / Orchestre

Suite for Orchestra-In 1918 Gabriel Fauré then 73 years old received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell?arte. The four-movement orchestral suite Op.112 consisting of Ouverture Menuet Gavotte and Pastorale combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré?s last composition for orchestra the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer now older and more experienced reworked and improved his earliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2.First Urtext edition Based on Gabriel Fauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Suite for Orchestra-In 1918 Gabriel Fauré then 73 years old received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell?arte. The four-movement orchestral suite Op.112 consisting of Ouverture Menuet Gavotte and Pastorale combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré?s last composition for orchestra the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer now older and more experienced reworked and improved his earliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2.First Urtext edition Based on Gabriel Fauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Suite for Orchestra-In 1918 Gabriel Fauré then 73 years old received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell?arte. The four-movement orchestral suite Op.112 consisting of Ouverture Menuet Gavotte and Pastorale combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré?s last composition for orchestra the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer now older and more experienced reworked and improved his earliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2.First Urtext edition Based on Gabriel Fauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

In 1918 Gabriel Fauré, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell?arte. The four-movement orchestral suite Op.112, consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré?s last composition for orchestra, the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved his earlier music. This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works, Volume IV/2. First Urtext edition Based on Gabriel Fauré The Complete Works Score and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Premiered by the London Philharmonic Orchestra in the Royal Albert Hall under the baton of the composer July 1943.

Commissioned by the BBC. Premiere: 23 July 1982 Henry Wood Promenade Concert Royal Albert Hall London.The work is cast in four distinct movements though as in Wood's violin concerto there is only one pause in the music between the second and third; even here the break is minimised in effect by a resumption of motivic arguments. In terms both of harmonic structure and of expressive development the four movements seem to have been conceived as asingle unified progression. While melodic and harmonic details are both derived from an intensive working of a handful of intervallic figures in a way that owes much to his earlier serialism Wood’s handling is here free enoughto encompass a large-scale sense of tonal structure as well. Ths same tritone that inflicted so much of the melodic writing in Wood's 'cello concerto also affects the symphony. The music struggles to escape from an uncertain E/Eflat area which dominates the first movement towards an eventual unequivocal A major in the work’s final pages. Emotionally however this trajectory more closely resembles that of the Third Quartet - except that where thequartet opens in frozen despair the symphony begins in tumultuous violence.

Hymne-The Te Deum was composed in Paris in 1849 following Berlioz’s first visit to England at a period when political unrest in France had made the future for artists and musicians seem very uncertain. He had no particular occasion in mind but hoped for some years that it would be available for some grand ceremonial occasion. Once Napoleon III had seized power such an occasion seemed more likely but in the end Berlioz had to wait until 1855 for an opportunity to perform the work. This took place for the opening of the Exposition Universelle on 30 April 1855 in the church of St.-Eustache Paris. It was the only time in his life that Berlioz performed it with theexception of certain extracts in later concerts. The score was published in 1855 with a dedication to Prince Albert consort of Queen Victoria. Urtext of the New Berlioz Edition Full score (BA5450) vocal score (BA5782-90) available for sale Performance material (BA5782-72) available for hire