| Themes from The New World Orchestra - Beginner Belwin
Orchestra - Grade 1 SKU: AP.48041S Composed by Antonin Dvorak. Arranged b...(+)
Orchestra - Grade 1 SKU: AP.48041S Composed by Antonin Dvorak. Arranged by Doug Adams. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Masterwork Arrangement. Score. 12 pages. Duration 2:50. Belwin Music #00-48041S. Published by Belwin Music (AP.48041S). UPC: 038081555201. English. Doug Adams' arrangement of themes from Symphony No. 9 in E minor by AntonÃn Dvorák will introduce your beginning strings to selections from this well-known symphony. While technical obstacles have been eliminated, this piece provides teaching opportunities for dynamic shading and contouring as well as diverse articulations. A perfect choice for contest, festival or the concert stage. (2:50) This title available in MakeMusic Cloud. $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Themes from The New World Orchestra - Beginner Belwin
Orchestra - Grade 1 SKU: AP.48041 Composed by Antonin Dvorak. Arranged by...(+)
Orchestra - Grade 1 SKU: AP.48041 Composed by Antonin Dvorak. Arranged by Doug Adams. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Masterwork Arrangement. Score and Part(s). 152 pages. Duration 2:50. Belwin Music #00-48041. Published by Belwin Music (AP.48041). UPC: 038081555195. English. Doug Adams' arrangement of themes from Symphony No. 9 in E minor by AntonÃn Dvorák will introduce your beginning strings to selections from this well-known symphony. While technical obstacles have been eliminated, this piece provides teaching opportunities for dynamic shading and contouring as well as diverse articulations. A perfect choice for contest, festival or the concert stage. (2:50) This title is available in MakeMusic Cloud. $50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Requiem Orchestra [Study Score / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score) SKU: HL.49018099 Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099). ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German. On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009. $93.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Pavane fur Orchester op. 50 Orchestra Barenreiter
Orchestra (Violoncello) SKU: BA.BA07887-82 Composed by Gabriel Faure. Edi...(+)
Orchestra (Violoncello) SKU: BA.BA07887-82 Composed by Gabriel Faure. Edited by Robin Tait. This edition: urtext edition. Folded. Barenreiter Urtext. Single part. Opus 50. 3 pages. Duration 7 minutes. Baerenreiter Verlag #BA07887_82. Published by Baerenreiter Verlag (BA.BA07887-82). ISBN 9790006558537. 32.5 x 25.5 cm inches. The popularity of Faure's Pavane is mostly attributed to its many arrangements but the original version for orchestra is being published here for the first time. Shortly after completing the orchestral work, Faure began work on a version for choir, which was actually premiered before the orchestral version.
This new Barenreiter edition offers conductors and orchestras a reliable Urtext edition of the Pavane's original orchestral version which will surely enhance symphonic concert programmes everywhere. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pavane fur Orchester op. 50 Orchestra Barenreiter
Orchestra (Viola) SKU: BA.BA07887-79 Composed by Gabriel Faure. Edited by...(+)
Orchestra (Viola) SKU: BA.BA07887-79 Composed by Gabriel Faure. Edited by Robin Tait. This edition: urtext edition. Folded. Barenreiter Urtext. Single part. Opus 50. 3 pages. Duration 7 minutes. Baerenreiter Verlag #BA07887_79. Published by Baerenreiter Verlag (BA.BA07887-79). ISBN 9790006558520. 32.5 x 25.5 cm inches. The popularity of Faure's Pavane is mostly attributed to its many arrangements but the original version for orchestra is being published here for the first time. Shortly after completing the orchestral work, Faure began work on a version for choir, which was actually premiered before the orchestral version.
This new Barenreiter edition offers conductors and orchestras a reliable Urtext edition of the Pavane's original orchestral version which will surely enhance symphonic concert programmes everywhere. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Prelude a lapres-midi dun faune for Orchestra Orchestra Barenreiter
Orchestra (Viola) SKU: BA.BA08841-79 Composed by Claude Debussy. Edited b...(+)
Orchestra (Viola) SKU: BA.BA08841-79 Composed by Claude Debussy. Edited by Douglas Woodfull-Harris. This edition: urtext edition. Folded. Barenreiter Urtext. Single part. 4 pages. Duration 10 minutes. Baerenreiter Verlag #BA08841_79. Published by Baerenreiter Verlag (BA.BA08841-79). ISBN 9790006541232. 32.5 x 25.5 cm inches. Prelude a l'apres-midi d'un faune, often referred to as the first composition of the modern era, is one of Debussy's most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and several important ones are drawn upon for the first time in Baerenreiter's new scholarly-critical edition. Most of the currently available editions are based on the first edition from 1895 which, however, contains many engraver errors. When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed. Baerenreiter's Urtext edition incorporates readings of a printed copy of the score from c. 1908 which shows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which all subtly enhance Debussy's finely sculpted work. There is even a breath mark added to the famous solo flute passage which opens the work. * Scholarly critical edition with many corrections in the score and orchestral parts * Clear presentation of orchestral parts in an enlarged format. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dardanus RCT 35 A, 35 B Orchestra Barenreiter
Orchestra SKU: BA.BA08899 Tragédie in one prologue and 5 acts. ...(+)
Orchestra SKU: BA.BA08899 Tragédie in one prologue and 5 acts. Composed by Jean-Philippe Rameau. Edited by Denis Herlin. This edition: urtext edition. Paperback. Symphonies / Versions from 1739 and 1744. Score, anthology. RCT 35 A, 35 B. Baerenreiter Verlag #BA08899_00. Published by Baerenreiter Verlag (BA.BA08899). ISBN 9790006523351. 33 x 24 cm inches. Preface: Denis Herlin. Text: Charles-Antoine Leclerc de La Bruere. “Dardanus†is Rameau’s third “Tragdie lyrique†composed for Paris after “Hippolyte et Aricie†and “Castor et Polluxâ€. With its multi-facetted music it represents quite a high point of this genre. Its performance history is remarkable in that within only five years two clearly different versions were being performed.
The new critical edition by Denis Herlin for the first time offers the possibility to reconstruct the version of May 1744 in addition to the version of 1739. Also, the Appendices include the complete performance material of the version of April 1744, many parts of which could not be heard since. Last but not least the changes of the successful re-staging of 1760 are presented.
This performing edition contains all the purely instrumental numbers of the opera in their various versions. Apart from the preludes and ritornellos, these are above all the diverse dance numbers.
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
$123.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| SCHREIBEN Orchestra Breitkopf & Härtel
Orchestra (3(3picc.A-fl.B-fl).4.3.0 - 4.3.3.2 - perc(5) - 2pno - str: 8.8.8.8.8....(+)
Orchestra (3(3picc.A-fl.B-fl).4.3.0 - 4.3.3.2 - perc(5) - 2pno - str: 8.8.8.8.8.8) SKU: BR.PB-5435 Composed by Helmut Lachenmann. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Music post-1945; New music (post-2000). Full score. Composed 2003/04. 108 pages. Duration 25'. Breitkopf and Haertel #PB 5435. Published by Breitkopf and Haertel (BR.PB-5435). ISBN 9790004212820. 11.5 x 16.5 inches. Meine eigene neue Orchesterkomposition hat den Titel ,,SCHREIBEN. Die praktische Aktion des Schreibens, als mechanisches Einwirken per Hand, Stift, Pinsel, auf eine Flache (Papier, Pergament, Stein etc.), ausgelost und gesteuert von einem kommunikativen Bedurfnis und, bei aller Spontaneitat, beherrscht durch die Regeln von Schrift und Sprache, ist fur mich einer der geheimnisvollsten Vorgange im zwischenmenschlichen Alltag, bei dem menschlicher Geist und tote Materie einander begegnen: Gedanken bzw. Gedachtes werden auf einer Flache - Papier, Pergament, Stein - festgehalten, ihr sozusagen anvertraut. Und auf diesem Umweg uber Sprache, Schrift und Gravur begegnen sie dem Geist des lesenden oder entziffernden Mitmenschen. Als Komponist aber frage ich: gibt es auch einen anderen Kausalitatszusammenhang, gibt es z. B. ein ,,autonomes Schreiben, eine sinn-freie Zeichengebung, durch entfesselte, losgelassene Fortbewegung der schreibenden Hand, wo der Schreibende seinem eigenen Schreiben nur noch staunend zusieht? Werden nicht in Japan Bilder, auch ,,abstrakte, geschrieben??? (In einem Underground-Film der 70er-Jahre uber den jungen Mozart sieht sich der Zuschauer versetzt in ein Zimmer eines italienischen Gasthauses, in dem der junge durchreisende Mozart am Tisch eilig die Rezitative einer seiner italienischen Opern zu Papier bringt. Mehr als eine Viertelstunde lang sind wir dabei, horen nicht die entstehende Musik, sondern das nervose Kratzen der Feder auf dem groben Notenpapier in nachmittaglicher Stille - nur der gleichmassige Pendelschlag der Wanduhr ist noch zu horen -, und wir erleben diese sekundare Klangwelt kaum weniger intensiv als nachher andere Horer die dabei stumm entstehende Musik.) Das Orchester in meinem Stuck ,,schreibt. Es fugt Strich zu Strich, versteht sich selbst als eine Art vielfaltiges ,,Schreib-Gerat. Wir als Horer lesen nicht das ,,Geschriebene, aber wir horen den Vorgang des Schreibens, den Bogenstrich, die Bewegung des scharrenden Holzstabs auf Fell oder Tamtam, und wir beobachten dessen Imitation bzw. Transformation durch - zeitweise auch tonlos - sich zu linearen Gestalten verbindende Blasinstrumente als eine Art klingender Schreib-Zeremonie. Es ergibt sich eine Musik, die gelegentlich ihren gedanklichen Ausgangspunkt vergisst und sich als autonome Klang-Situation fortentwickelt und verwandelt, und die schliesslich im hochsten Register eine Art ,,Kantilene be-schreibt. Wer das deutsche Wort ,,Schreiben (engl. ,,to write) schreibt, der schreibt dabei auch unweigerlich das Wort ,,Schrei (engl. ,,shout), und er schreibt auch das Wort ,,reiben (engl. ,,to rub). So emotional der erste Begriff gedacht werden kann, so nuchtern-praktisch ist der zweite. Von beiden Aspekten, samt ihrer Gegensatzlichkeit, ist mein Stuck gepragt. (Helmut Lachenmann, 2003)
World premiere: Tokyo/Japan, December 4, 2003. $133.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Finlandia Op. 26 Orchestra [Score] Breitkopf & Härtel
Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). C...(+)
Tone Poem - Urtext based on
the Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean Sibelius
(1865-1957). Edited by Timo
Virtanen. Full score.
Breitkopf and Haertel #PB-
5658. Published by Breitkopf
and Haertel
$39.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Oboe Concerto Orchestra [Study Score / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024115 Composed by James Macmillan. Boo...(+)
Orchestra (Study Score) SKU: HL.48024115 Composed by James Macmillan. Boosey & Hawkes Scores/Books. Classical. Softcover. 104 pages. Boosey & Hawkes #M060125461. Published by Boosey & Hawkes (HL.48024115). ISBN 9780851628219. UPC: 888680708962. 7.25x10.25 inches. This work was written for the Britten Sinfonia and Nicholas Daniel, and is dedicated to him. It is in three movements. The first opens with a gradual building up of rhythmic layers on violas, bassoon and trumpet before the soloist joins in. Suddenly the music is thrown forward by a metrical modulation and becomes very fast, flighty and virtuosic. Structurally, the music eventually goes into reverse before a solemn coda. The second movement is based on an earlier work for solo oboe, in angustiis... The solo material is expressive and sad, and enters into much dialogue with other wind instruments throughout. The reflective character of the movement is interrupted by little dyadic patterns, various pizzicato outbursts, some scherzo-like material and agitated faster passages, but the principal mood is introverted and cantabile. The last movement begins brashly and has a clownish character. The overall feeling is extrovert and dramatic, showing off the oboe in fast display. Some of the original ideas from the opening movement are re-introduced in new guises, before an exultant and joyous ending. $49.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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