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(There's No Place Like) Home for the Holidays: Orchestra: Parts
Orchestra
Shawnee Press
Smooth and elegant vocal styles featuring two short solos and a lush piano accom...
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Smooth and elegant vocal styles featuring two short solos and a lush piano accompaniment and orchestration are in this arrangement of the classic holiday song Home for the Holidays. Just what you would expect from Mark Hayes - apicture-perfect musical postcard for your holiday concert.
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Small Pieces Composed In Homage To The Saxon Court
Orchestra
Schott
Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented...
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Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Score
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Gioachino Rossini: Barbier Von Sevilla: Orchestra: Miniature Score
Orchestra
Barenreiter
This study score is based on the critical edition of ?The Barber Of Seville? edi...
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This study score is based on the critical edition of ?The Barber Of Seville? edited by Patricia B. Brauner and published in 2008 as part of the series ?Works of Gioachino Rossini?. But who needs a new critical edition of ?The Barber Of Seville?? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly none of the early editions satisfy modern demands for a scholarly-critical edition. Secondly there is a wealth of previously unpublished material relating to this opera of great interest to both scholars andperformers.Thus the famous overture which Rossini had already used in his earlier opera ?Aureliano in Palmira? differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in ?Aureliano in Palmira?) which includes two Flutes two Oboes and Timpani or in the scoring for the subsequent opera ?The Barber Of Seville? (with just one flute one oboe and no timpani).A series of appendices contain music and information which have been included in no other edition of the opera to date.- Takes into account all original sources also including five manuscripts with Rossini?s autograph ornamentation.- Takes into consideration the full extent of Rossini?s personal notational characteristics.- With a detailed foreword (Eng/Ital)
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Joseph Haydn: Symphony D major Hob. I:96: Orchestra: Study Score
Orchestra
[Score]
G. Henle
The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s s...
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The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s symphonic ?uvre. 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 subtlerelations 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. The twelve ?London Symphonies? comprise the sublime final statement of Haydn?s symphonic ?uvre. 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 subtlerelations 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.
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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.
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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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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
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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
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