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Per Nørgård: Symphony No. 6 'At The End Of Day': Orchestra: Score
Orchestra
Wilhelm Hansen
Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Pro...
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Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per NørgÃ¥rd. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day” (New Testament 2 Peter 3:8) My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000. The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ... This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute). The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation. Without a break follows the third and last passage in a
129.99 GBP - Sold by Musicroom UK
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No other people (BARRY GERALD)
Orchestra
[Study Score / Miniature]
Schott
for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Ray...
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for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods. In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original. I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings. There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo. They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing. Something of this is in the music.' Gerald Barry, 2009/ Répertoire / Orchestre
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Britta Byström: Symphony In Yellow: Orchestra: Score and Parts
Orchestra
Wilhelm Hansen
Symphony In Yellow for Violin Cello and Piano by Britta Byström (2002). Progra...
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Symphony In Yellow for Violin Cello and Piano by Britta Byström (2002). Programme Note Leggiero Dolce Energico Symphony in Yellow for Piano Trio is structured as a “miniature symphony” in three movements. The slow middle movement is surrounded by two faster ones. The title is taken from a poem by Oscar Wilde in which various images that are all characterized by something yellow float by: a yellow bus yellow hay yellow leaves… During the composition of the work I searched for a certain mood or color of sound something “yellow” that shouldremain unchanged while different musical events in the work’s structure took place. I perceived my challenge to be akin to an artist painting different subjects using only one color. Britta Byström Oscar Wilde: Symphony in Yellow An omnibus across the bridge Crawls like a yellow butterfly And here and there a passer-by Shows like a little restless midge. Bib barges full of yellow hay Are moored against the shadowy wharf And like yellow silken scarf The thick fog hangs along the quay. The yellow leaves begin to fade And flutter from the Temple elms And at my feet the pale green Thames Lies like a rod of rippled jade.  Â
38.50 GBP - Sold by Musicroom UK
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Poul Ruders: Handel Variations: Orchestra: Score
Orchestra
[Sheet music]
-
Intermediate/advanced
Wilhelm Hansen
Poul Ruders' Handel Variations for Orchestra (2009) -Ninety Symphonic Reflection...
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Poul Ruders' Handel Variations for Orchestra (2009) -Ninety Symphonic Reflections on Eight Bars by Georg Friedrich Handel.Commissioned by and dedicated to the Aarhus Symphony Orchestra in celebration of their 75th anniversary 2010. Premiered by The Aarhus Symphony Orchestra conducted by Giancarlo Andretta at the Aarhus Concert Hall 14 January 2010. Programme noteThe short feisty Bourrée from Handel´s famous Water Music (First Suite in F major) has for some years been hovering at the back of my mind as possessing the perfectpotential for a series of variations. Not unlike the short 'morsel' by Henry Purcell (the witches Ho-ho-ho-chorus from the opera Dido and Aeneas) which kicks off the ten variations of my orchestral work Concerto in Pieces the music per se is not particularly interesting but it nevertheless grows on you and is difficult to get rid of. It is merely a handful of sequences (a technique much used in the Baroque era - a method in which the same motif is being shifted up and down in a specified order). Actually it is only the first eight bars of the Bourrée which I haul through the wringer.It would be obvious to assume that Handel Variations make up a sequel to Concerto in Pieces but in spite of the similarity in character between the two chosen themes the Handel Variations are far more symphonically coherent. There are no less than ninety (!) variations and each variation (they are relatively short ranging from four up to forty-something bars) runs seamlessly into the next creating a huge symphonic body of constantly changing colours. I set out with the original theme without interfering but the 'erosion' begins to gnaw away at the theme already from the first variation. Imagine a vast gallery of Handel portraits in which Georg Friedrich appears at first fully recognizable but then the 'disfiguration' sets in and
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Poul Ruders: Final Nightshade - An Adagio Of The Night: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fish...
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Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be
60.99 GBP - Sold by Musicroom UK
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Britta Byström: Screen Memories - Trumpet Concerto No.2: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Britta Byström's Trumpet Concerto No.2 Screen Memories for Trumpet solo and Orc...
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Britta Byström's Trumpet Concerto No.2 Screen Memories for Trumpet solo and Orchestra (2012). Trumpet solo part: WH31514B Dedicated to Tine Thing Helseth. Premiered February 28 2013 by the Nordic Chamber Orchestra and Tine Thing Helseth conducted by Johannes Gustavsson at Stadshuset in Sundsvall Sweden. Programme note Screen Memories is the English translation of a Freudian term (Deckerinnerung is the original German term). In Swedish it is called 'täckminnen'. The term means strong but seemingly meaningless childhoodmemories as 'cover' for substantial memory. The title is something of a pun as the work is based on the composition Voyage Into the Golden Screen  (1968-69) by Danish composer Per NørgÃ¥rd – a modern classic in which NørgÃ¥rd presents his compositional technique known as the infinity series. The technique which I freely apply in the “Trumpet Concerto” enables the development of an endless melody! In that sense “Screen Memories” adapts a second understanding: memories of the composition of NørgÃ¥rd. NørgÃ¥rd in turn adopted the title from a song by British songwriter Donovan – the first phrase of this song is in my trumpet concerto. And then there's a third musical reference: the second movement of Beethoven's Piano Sonata No. 8 'Pathetique'. I once heard it in concert while a massive rainstorm appeared and nearly drowned the music. A musical memory incorporated in the composition (the percussionist uses a “rain stick”). Screen Memories thus becomes a concert full of musical memories dressed in new clothes. It is written for and dedicated to the soloist Tine Thing Helseth whose soft and virtuoso
87.99 GBP - Sold by Musicroom UK
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Ed Hughes: Le Voyage Dans La Lune: Orchestra: Score
Orchestra
[Sheet music]
University Of York Music Press
'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 min...
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'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902) written and directed by the pioneering French film-maker Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries as well as the science fiction of Jules Verne. At the same time his work seems fantastic surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide tolaunch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon?s face) and then encounter a strange race of aliens whom they battle and destroy. The return to earth involves a dramatic descent a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score which is by turns abrupt smooth lyrical and violent and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted reflecting the violent encounters with the moon?s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers? return from their adventuring. The music could be considered to be a surreal mini-opera
20.95 GBP - Sold by Musicroom UK
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Ed Hughes: Le Voyage Dans La Lune: Orchestra: Study Score
Orchestra
[Sheet music]
University Of York Music Press
'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 min...
(+)
'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902) written and directed by the pioneering French film-maker Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries as well as the science fiction of Jules Verne. At the same time his work seems fantastic surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide tolaunch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon?s face) and then encounter a strange race of aliens whom they battle and destroy. The return to earth involves a dramatic descent a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score which is by turns abrupt smooth lyrical and violent and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted reflecting the violent encounters with the moon?s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers? return from their adventuring. The music could be considered to be a surreal mini-opera
19.95 GBP - Sold by Musicroom UK
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