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More Than I Can Say/Tie A Yellow Ribbon (Ergänzerstimmen Salonorchester). Sheet Music for Orchestra
Orchestra
[Sheet music]
Peer Musik Verlag
Tie A Yellow Ribbon-Von Peermusic gibt es Arrangements berühmter Klassiker dive...
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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 die Ergänzerstimmen. Die Besetzung - Ergänzer: 3. Stimme Violine; 4. Stimme Tenorsax; 3. Stimme Trompete; 2. Stimme Posaune; Bariton-Saxophon; Cello.Hier der Doppelband mit More Than I Can Say (Curtis/Allison) und Tie A Yellow Ribbon(Levine/Brown).
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More Than I Can Say/Tie A Yellow Ribbon (Salonorchester). Sheet Music for Orchestra
Orchestra
Peer Musik Verlag
Tie A Yellow Ribbon-Von Peermusic gibt es Arrangements berühmter Klassiker dive...
(+)
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).
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Samuel Barber: First Essay For Orchestra Op.12: Orchestra: Study Score
Orchestra
Schirmer
The study score of Samuel Barber's First Essay For Orchestra Op.12 as first per...
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The study score of Samuel Barber's First Essay For Orchestra Op.12 as first performanced by the NBC Symphony Orchestra with conductor Arturo Toscanini New York on 5 November 1938.
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Samuel Barber: Third Essay for Orchestra: Orchestra: Score
Orchestra
Schirmer
Score-This third essay for Orchestra was written by Samuel Barber in 1978.
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John Williams: Sayuri's Theme (from Memoirs of a Geisha): Orchestra: Score &
Orchestra
[Score and Parts]
Hal Leonard
Sayuri's Theme (from Memoirs of a Geisha)
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Peter Sculthorpe: Mangrove: Orchestra: Instrumental Work
Orchestra
Faber Music Limited
John Rockwell of The New York Times says 'Lush and pictorial it consisted of sh...
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John Rockwell of The New York Times says 'Lush and pictorial it consisted of sharply defined sections that courted the charge of mere exoticism - evocations of Oriental musics and sounds full of throbbing strings rapidly reiterated percussion and all manner of aural colour presumably inspired by alien cultures. But Mr Sculthorpe is no simple-minded purloiner of sonic artifacts; his piece coheres into a statement by a distinctive composer with something interesting and evocative to say.'10 June 1984
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George Benjamin: Sudden Time: Orchestra: Score
Orchestra
Faber Music Limited
Michael White writing in the Independent On Sunday newspaper says '. . .perhaps...
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Michael White writing in the Independent On Sunday newspaper says '. . .perhaps the most impressive motivated handling of orchestral forces in an output which has always demonstrated an extraordinary control of large forms. And the most telling of its time-tricks is that it compacts such a fecundity of ideas into a duration that you are astonished to discover barely exceeds 15 minutes. It feels twice as long; and I don't say that as criticism. Merely as a tribute to the substance depth and technical accomplishment of an outstanding score'.The Independent on Sunday 25th July 1993
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Tidsrum / Spaces Of Time: Orchestra: Score
Orchestra
Wilhelm Hansen
Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dati...
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Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dating from 1991. Programme Note Spaces of time is a 20-minute long one-movement orchestral piece “with piano” signifying that the piano not only as in my other orchestra works is part of the ensemble but also in a major passage attracts almost all attention. This passage is only one of the ´spaces of time´- spaces which give the work its title and represent individual musical perspectives. Relations of tempo and scale characterize such a space (besides the mentioned“piano-concerto” or other intrumental features) and in this way associate with say a small room - with close-ups of the musical objects - or perhaps to an infinitely great space - a cosmic one where all is far away and vibrating. One motive marked mainly by ascending stepwise movement unifies the spaces but the very varied scales may let the outines of the motive change between say 1/4-tone steps 1/2-tone steps diatonic and other scale steps up to such ambient steps that each one comprises almost a third of the total orchestral range. Very often 2 scales are woven together in a way that lets the “hidden tone” inside a major step in one of the scaels become a part of the other scale. By dynamic means one scale may be highlighted as a “figure” the other one as a “ground” in one passage - and vice versa. In this way a 12-tone chromatic scale may as well contain a Japanese 5-tone scale as a European 7-tone scale. In the final “space” the tones literally take leave of the listeners - by streaming down - as water sucked down into the ground by gravity - into the bass octaves and - into silence. Spaces of time was comissioned by “Suntory Hall” in 1990-91 (artistic director Toro Takemitsu) in October 1991 with Aki Takahashi (piano)
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Hans Abrahamsen: Four Pieces For Orchestra: Orchestra: Score
Orchestra
Wilhelm Hansen
Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programm...
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Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject
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Per Nørgård: Symphony No.8: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Symphony No. 8 for Orchestra (2011) by Per Nørgård. Premiered on September 19 ...
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Symphony No. 8 for Orchestra (2011) by Per Nørgård. Premiered on September 19 2013 by the Helsinki Philharmonic Orchestra and John Storgårds. Programme note: The first movement opens with sculptural rising and falling scales. Visually the sound may call to mind say spirals or ziggurats (temple towers). Brisk music leads to the climax of the movement. The second movement is slow and sensually melodious and has three interludes of greater timbral melodic action. The third movement begins very restlessly but towards the climax thetempo gradually begins to accelerate. An oscillating pianissimo murmur ends the movement – and the symphony. Symphony no. 8 is commissioned by Helsinki Philharmonic Orchestra and is besides the Orchestra dedicated to the conductor John Storgårds. Per Nørgård (2012)
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Wolfgang Amadeus Mozart: Die Entführung Aus Dem Serail: Orchestra: Score
Orchestra
Barenreiter
German singspiel in three acts-?I know for a fact that the Emperor is proposing ...
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German singspiel in three acts-?I know for a fact that the Emperor is proposing to mount a German opera in Vienna and that he is making every effort to find a young Kapellmeister who understands German has talent and is capable of striking out on a new path. [...] I think it would be a good thing for me provided of course that the pay is good. If the Emperor will give me a thousand gulden I will write a German opera for him.?Thus Mozart in a letter of 10 11 January 1778 from Mannheim to his father Leopold. He continued by asking his father to ?write to every good friend in Vienna you can think of and say that it is in my power to do honor to the Emperor. If he won?t take meon any other terms then let him try me with an opera. After that he can do what he likes for all I care.?Urtext of the New Mozart EditionFull score (BA4591-01) vocal score (BA4591-90) and study score format 22.5 x 16.5cm (TP311) available for salePerformance material available for hire (BA4591-72)
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Gustav Mahler: Symphony No.6 In A Minor: Orchestra: Score
Orchestra
Dover Publications
An unabridged republication of this work orginally published by C.F. Kahnt Nach...
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An unabridged republication of this work orginally published by C.F. Kahnt Nachfolger in 1906. The symphony dates from the composer's prolific period of 1903-4. The work incorporates 'portraits' of Alma in the first movement and of children playing in a diabolical Scherzo- some say a musical prediction of the tragedy that was to strike the Mahler family within three years.
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Carl Nielsen: Symphony No.5 Op.50: Orchestra: Score
Orchestra
[Sheet music]
-
Intermediate/advanced
Carl Nielsen Edition
Symphony No.5 Op.50 was composed by Carl Nielsen in 1922. Carl Nielsen (1865-193...
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Symphony No.5 Op.50 was composed by Carl Nielsen in 1922. Carl Nielsen (1865-1931) was a Danish musician often seen as his country’s greatest composer. While his operas and songs have become embedded in the cultural heritage of his native Denmark internationally he is better known for his symphonies and concertos – distinguished by his prominent use of Brass instruments and dramatic changes in tonality. His Symphony No.5 (Op. 50 FS. 97) was composed in 1922 and is often seen as his “War Symphony” despite the composer denying any such direct influence. Strangely it is formed ofonly two movements and does not have any title. Often said to be a modernist piece it is constantly restless some would say pulsating. Brought to fame by Leonard Bernstein in 1962 scholars and musicians are still trying to understand this enigmatic work.
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Edward Elgar: Nimrod: Orchestra: Score and Parts
Orchestra
[Sheet music]
Goodmusic Publishing
What can you say about this piece? It is probably Elgar's best known work. Not a...
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What can you say about this piece? It is probably Elgar's best known work. Not a simplified arrangement just 2 Trumpet parts transposed into Bb (originally 3 in F) and the contra bassoon omitted.Duration: 2½ minutesOrchestration2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 4 Horns in F 2 Trumpets in Bb 3 Trombones Tuba Timpani Strings (Violin 1 Violin 2 Viola Cello Bass)
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Lord Berners: A Wedding Bouquet: Orchestra: Study Score
Orchestra
Chester
A WEDDING BOUQUET is undoubtedly Berners' most original and successful work. Som...
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A WEDDING BOUQUET is undoubtedly Berners' most original and successful work. Some might say unique, since choral ballets are rare indeed. It is based on the opening pages of Gertrude Stein's play, They Must. Be Wedded. To Their Wife. The first performance took place at Sadler's Wells Theatre on 27th April 1937, with scenario, costumes and set designs by Berners himself, choreography by Frederick Ashton.
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Fuggitivo
Orchestra
[Score]
Wilhelm Hansen
Par SORENSEN BENT . When it comes to titles, almost all the works I have compose...
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Par SORENSEN BENT . When it comes to titles, almost all the works I have composed have found their title before or at the same moment I started them. That is why it was also surprising - not to say transgressive - for me that my work for 9 instruments for Ensemble MidtVest was completely untitled until the last bar. Then it dawned on me that the titlelessness was a natural result of the music's volatility. It was - and is - as if the music was constantly escaping from itself. The beginning of the work is definitely an escape into a new chapter, and that feeling runs through the entire work. In a longer section, the music flies towards a Barcarole, where the piano has a soloist role, and this is probably a result of my recurring dream of Venice - the gondolas in the swaying rhythms of the canals. Hence the Italian title, 'Fuggitivo' - fugitive. The work was composed for and commissioned by Ensemble MidtVest with support from the Danish Arts Foundation. / Date parution : 2023-10-31/ Répertoire / Orchestre
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Britta Byström: Farewell Variations: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Bys...
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for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Byström (2005). Programme Note Farewell Variations sees the careful approach towards Haydn by Britta Byström. Although you have the title reference to the ”Farewell” Symphony Haydn’s Symphony No. 45 Byström’s approximations are being made in a subtle way similar to her free interpretation of literary works. You will not find any direct thematic connections between Byström and Haydn. Byström’s Haydn inspiration comes in form of the various titles which have been given to a lotof Haydn symphonies in the post-Haydn era. Byström wanted to go in sort of an opposite direction: To compose music based on ”Haydnish” symphonic titles. A kind of symphonic Haydn catalogue appears in the movements. Farewell Variations consist of fourteen variations of Byström’s own thematics. The work begins in sighing and broken phrases – like the shadow of a dance. The titles of the variations lead to the description of daily events starting with morning. A day of Haydn! The last variation farewell ends with the musicians playing on by on. As such there is no story but the titles are the main focus here. Byström says that she musically ”tried to capture some of Haydn’s ease and insights”. Tony Lundman
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Kongen Af Himmelby - Demo: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopia...
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Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopiaville-Demo is commissioned by Finn Schumacker for The Odense Symphony Orchestra. Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied up in a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focus is on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to me to start making orchestral excerpts from my operas that are meant to be played before the premiere (and after please); I call them 'operatrailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and more appetizer-ish. The Utopiaville-Demo is a fast-and-furious cinemascope 3D THX-demo for my chamber opera 'The King ofUtopiaville' which is sort of a mix between a reversed revolutionary opera (reversed because it's about a revolutionthat flops) and a rhythm'n blues theatre concert. The opera takes place on the remote tropical island of Honga-Tonga where a mayor form Europe is taking a much needed holiday as far away as possible from his home town Utopiaville. The mayor desperately needs to get away:He has overstepped his authority blatantly and broken every rule of law he felt like in order to create a modern liberalistic society where sanitation medicare hospitals schools the police and all other public institutions are sold to private investors and then leased back by the public - that way noone will ever have to pay taxes because everything finances itself the mayor says and in order to keep reality at a safe distance he drinks massive amounts of insanely expensive french claret all in the best interest of the inhabitants of Utopiaville of course.Honga Tonga can't get any further away from Waikiki Beach: It looks something like the 1933 version of
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Leonard Bernstein: Facsimile - study score: Orchestra: Instrumental Work
Orchestra
Boosey and Hawkes
Hawkes Pocket Scores HPS 1134-Study score to Bernstein's choreographic essay for...
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Hawkes Pocket Scores HPS 1134-Study score to Bernstein's choreographic essay for full orchestra.
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Constellation (BORBOUDAKIS MINAS)
Orchestra
Peters
Par BORBOUDAKIS MINAS. Constellation by Minas Borboudakis is a 14-minute work fo...
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Par BORBOUDAKIS MINAS. Constellation by Minas Borboudakis is a 14-minute work for orchestra (4 Horns in F, Timpani, 3 Percussion, Strings – Sampler). 'The first version of Constellation for octet was written in 2002 when Gidon Kremer asked me to write a new piece for the sextet of the Kremerata Baltica during a series of performances of my works in his festival in Lockenhaus', says the composer. In the version for orchestra, glissandi spread out from a single note phrase by phrase. The four horns, placed stereophonically in pairs to the right and left of the conductor, create explosions of sound through repetitive lines and motivic escapades. The premiere took place on 7 January 2011 at the Tonhalle Zurich by the Tonhalle-Orchester Zurich under the baton of Constantinos Carydis. The score (EP 12575) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. / Date parution : 2022-09-07/ Répertoire / Orchestre
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Peter Maxwell Davies: Time And The Raven Concert Overture: Orchestra: Miniature
Orchestra
[Sheet music]
Chester
Commissioned to write a piece for the 50th anniversary of the United Nations Da...
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Commissioned to write a piece for the 50th anniversary of the United Nations Davies provided a musical General Assembly of his own: a bright overture based on an Australian aboriginal song which gives rise to 'national anthems'of various kinds and instrumental colourings. Finally the 'anthems' are combined 'if not triumphantly' Davies says 'at least in a manner whereby they get along together'.The first performance took place in June 1995 inNottingham. It was given by the Royal Philharmonic Orchestra conducted by Peter Maxwell Davies.Score (miniature). Duration c. 14mins.
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Picnic At Hanging Rock: Orchestra: Score
Orchestra
Wilhelm Hansen
Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byströ...
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Picnic At Hanging Rock (Utflykt til det okända) for Orchestra by Britta Byström (2010). Programme Note ”What we see and what we seem are but a dream a dream within a dream” – These words opens Peter Wier’s film on Joan Lindsay’s novel Picnic at Hanging Rock from 1967. The story takes place on Valentines Day 1900. A group of school girls go on a picnic at Hanging Rock in Australia and get caught up in a volcanic eruption. Three of the girls disappear without a trace – as if they where swallowed up by the mountain. Inspiredby Peter Weir’s poetic and many layered film I have composed a tone poem – with the emphasis on poem – or poetry – as opposed to programme music. Disappearance is an important motif. The piece is a series of disappearances and transformations – one after another. At the end you can hear how the sound of the orchestra disappears in a swarm of clanging triangles – a way of picturing the girls disappearing into the mountain. I have tried to catch several other of the characteristics of the film: The school girls in their white dresses the dangerous yet alluring mountain where the watches mysteriously stop at 12 the spell that makes the girls climb higher and higher and – at the end – the unanswered hesitant question: what really did happen? Britta Byström
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Poul Ruders: Listening Earth - A Symphonic Drama for Orchestra: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchest...
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Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical
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Peter Sculthorpe: Sun Music III for orchestra: Orchestra: Score
Orchestra
Faber Music Limited
Bill Zakariasen of the New York Daily News says 'The program included one bona f...
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Bill Zakariasen of the New York Daily News says 'The program included one bona fide masterpiece written in 1967 by Peter Sculthorpe. . .Sun Music III (Nos. I II and IV are equally imposing) could have been written only in Australia. The sounds of the Far East - notably the Balinese gamelan - are juxtaposed with wild string harmonics and incredibly subtle use of percussion while long-breathed themes of utmost desolation place us square in the middle of the Outback.'25 January 1987
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J. Williams: Star Wars: Orchestra: Score
Orchestra
Alfred Publishing
The Star Wars Main Theme arranged for Orchestra by Charles Sayre.
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George Benjamin: Antara: Orchestra: Score
Orchestra
[Score]
Faber Music Limited
'Benjamin augurs well to become the most important British composer of his gener...
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'Benjamin augurs well to become the most important British composer of his generation. An Antara is a Peruvian panpipe. Benjamin's 1987 work synthesizes its sound via computer and adds trombones flutes percussion and strings for a 20-minute essay that dazzles as much for its textures (from lush strings to the wham of an orchestral anvil) as it does for its alert rhythmic scheme.'San Francisco Examiner 29 September 1989
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Luigi Nono: Prometeo: Orchestra: Score
Orchestra
[Score]
Ricordi
Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Lu...
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Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Luigi Nono?s Prometeo serves a twofold objective. First, it proposes to document the musical text as defined through the experience of the performances in which Nono took part. Second, it aims to provide performers and scholars with the necessary information relating to the performance practice of the voices, instruments, and electronics (data, programming schemes, instructions for the implementation of sonic treatments). The technical and performance-related material is preceded by an essay which illustrates the philosophical background of the work, as closely linked to its formal aspects. The edition avails itself of the text of the second, final version of Prometeo, performed for the first time in Milan at the Stabilimento Ansaldo (September-October 1985) and reprised in Frankfurt (Alte Oper, August 1987), Paris (Théâtre National de Chaillot, October 1987) and Berlin (Kammermusiksaal of the Philharmonie, August 1988), with Nono at the Sound Direction. While the purpose of the edition is eminently practical, the specific nature of the work, combined with Nono?s own compositional approach, has made it necessary for the editors to access a number of sources, in order to accurately define the musical text. These include the autograph score supplied to the publisher and the printed copy that Nono used in all of the performances he took part in, the scores and parts used by the performers who worked with the composer, the work protocols of the Experimentalstudio of Freiburg (where Nono realized the live electronics part for Prometeo), the radio broadcast recordings of the performances in which Nono was directly involved. The concept of the edition owes much to André Richard?s extended experience realizing Prometeo, from the premieres of Venice (1984) and Milan (1985) up until 2015. He assumed a variety of roles in his plurennial involvement, from preparing the chorus and vocal soloists to leading the Sound Direction, to the design of the sonic space. As to the notation for the electronics of Prometeo, particular attention was devoted to solving the problem posed by the absence of a reference standard, as well as of specific indications in the autograph score. Based on the work protocols of the Experimentalstudio of Freiburg, the editors have developed a semiographic code that is coherent and expressive enough to avert stylistic ambiguities and, at the same time, open and flexible enough to allow for the exercise of interpretative freedom in a constantly evolving technological context.
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Malcolm Arnold: Symphony No.6: Orchestra: Study Score
Orchestra
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Intermediate/advanced
Faber Music Limited
Ivan March of Gramophone says '. . .a bleak unease in the unrelenting energy of ...
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Ivan March of Gramophone says '. . .a bleak unease in the unrelenting energy of the first movement which becomes even more discomforting in the desolate start to the Lento. This leads to a forlorn suggestion of a funeral march which then ironically quickens in pace but is suddenly cut down; the drum strokes become menacingly powerful and the despairing mood of the movement's opening returns. . . and grips the listener in the music's pessimism. . .'This is a Study Score of Arnold’s Symphony No.6 Op.95.
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Malcolm Arnold: Four Cornish Dances: Orchestra: Study Score
Orchestra
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Intermediate
Faber Music Limited
Darrell Jones says 'Arnold has in the new work invoked traditional rhythms but a...
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Darrell Jones says 'Arnold has in the new work invoked traditional rhythms but again the musical matter is his own. The second of the dances has a misty and reflective character but the other three are vintage boisterous Arnold vividly illustrating his gift for bouncy rhythms and fine melodies and his massive sense of fun. Chronicle and Echo 15th August 1966
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Geoffrey Burgon: Acquainted With Night: Orchestra: Score
Orchestra
[Score]
Chester
'Acquainted with Night' is a cycle of six songs for alto and strings harp and...
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'Acquainted with Night' is a cycle of six songs for alto and strings harp and timpani. The texts are all concerned with different aspects of night. The first song ‘Lullaby’ to a poem by Beaumont and Fletcher seeks to evokethe ‘care-charming’ powers of sleep. The second a setting of Robert Frost’s ‘Acquainted with the night’ is concerned with the lonely world of a strange city at night and the music is characterised by an insistently repeatedfigure in the accompaniment. The third song contrasts the calmness of the night with the turbulence in a lover’s mind - the poem is by the Earl of Surrey. ‘Out in the dark’ a poem by Edward Thomas is the text of the fourthsong. It is in the form of a scherzo and deals with the mystery and strangeness of night and as the poet puts it the ‘might’ of night. It is as the poet says a hymn to night and the chordal nature of the accompanimentsuggests this quality. This song leads directly into the last which is in fact a reprise of the opening ‘Lullaby’ so completing the cycle.
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