Per Orchestra - Partitura. Par NIELSEN R.. / Musique contemporaine / Date parution : 1905-06-06/ Répertoire / Orchestre

Aulis Sallinen’s Symphony No.7 is related to J.R.R. Tolkien’s great novel 'The Lord of the Rings.' The symphony does not actually depict the events in the novel; rather it is a musical expression of the literary atmosphere and poetry. The symphony was commissioned by the Gothenburg Symphony Orchestra and composed in 1995-6. Orchestration: 3 Flutes 3 Oboes 3 Clarinets in B flat 3 Bassoons 4 Horns in F 4 Trumpets in B flat 3 Trombones Tuba Timpani Percussion Celesta Harp Strings. The duration of the work is 25 minutes full score and orchestral material is available for hire.

from Symphony No. 1 - The Lord of the Rings. Johan de Meij?s first symphony The Lord of the Rings is based on the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five separate movements, each illustrating a personage or an important episode from the book. This transcription for brass band, arranged by the composer has the following movements: I. GANDALF (The Wizard), IV. JOURNEY IN THE DARK (The Mines of Moria and The Bridge of Khazad-Dûm), V. HOBBITS. The symphony was written in the period between March 1984 and December 1987, and had its première in Brussels on 15th March 1988, performed by the The Royal Band of the Belgian Guides under the baton of Norbert Nozy. In 1989, the symphony The Lord of the Rings was awarded a first prize in the Sudler International Wind Band Composition Competition in Chicago, and a year later, the symphony was awarded a grant by the Dutch Composers Fund. In 2001, the orchestral version was premiered by the Rotterdam Philharmonic Orchestra and recorded by the London Symphony Orchestra.

Chorale (2001 02) for orchestra is a kind of musical meditation on the chorale Es ist genug from Bach?s cantata O Ewigkeit du Donnerwort itself a harmonisation of J R Ahle?s 1662 hymn. Nick Kimberley?s preface outlines the context of the Bach original and refers to Alban Berg?s use of the chorale in his Violin Concerto almost 300 years later. In contrast to both of these works Lindberg?s Chorale has no extra-musical agenda. The composer explains that he took the harmonic structure of the chorale and embedded it in his own harmonies. ?I make an analogy with the rise and fall of the tide. When the tide is in the sea-bed is invisible; but when the tidegoes out you see the rock formation on the sea-bed.?Tribute is a short show-piece for full orchestra composed in 2004 as a gift to celebrate the 20th anniversary of Esa-Pekka Salonen?s debut with the Los Angeles Philharmonic.

Moliendo Café-Von Peermusic gibt es Arrangements ber?hmter Klassiker diverser Genres f?r Salonorchester in Doppelnummern (B?nden mit 2 Musiktiteln) - ?hnlich wie die Doppelnummern f?r Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbl?ser (Standard) bis 5 Sax./6 Blechbl?ser (Standard + Erg?nzer) und den Erg?nzer-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 La camisa negra (Aristizabal) und Moliendo Caf? (Manzo).

o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss.   We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of  'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead.  In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old.   We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction.   In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript.  He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds.  The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the

2005-Søren Nils Eichberg's Symphony No. 1 'Stürzten wir uns ins Feuer' for Orchestra (2005). DK Programnote Eichbergs 1. Symfoni er skrevet i 2005 og blev uropført Ã¥ret efter af Odense Symfoniorkester. Symfonien er i ét sammenhængende forløb og varer en halv time. Den har en undertitel: 'Stürzten wir uns ins Feuer' ('Styrtede vi os i flammerne'). Ordene er taget fra bogen 'Jesusevangeliet' skrevet i 1991 af den portugiske Nobelprismodtager José Saramago. Det fulde citat er en dommedagsvision der lyder sÃ¥dan her: '… og var viligesÃ¥ dumdristige eller vovemodige som sommerfuglene og natsværmerne og styrtede vi os i flammerne én og alle hele menneskeslægten - mÃ¥ske sÃ¥ en sÃ¥ kraftig brand en sÃ¥ skærende lue ville gennemtrænge Vorherres lukkede øjenlÃ¥g og vække ham fra hans træge blunden - for sent ganske vist til at nÃ¥ at opfatte os men dog tidsnok til at mærke begyndelsen af det store intet nu da vi ikke længere var…' Visionen fascinerede Eichberg med det samme han læste bogen. 'Der er for mennesket noget direkte magisk tiltrækkende ved den kollektive selvdestruktion og katastrofen som sÃ¥dan ogsÃ¥ selvom det egentlig synes ulogisk og gang pÃ¥ gang styrter vi os hovedkulds ind i ilden. Jeg vidste med det samme at jeg ville bruge citatet i musik pÃ¥ et tidspunkt.' Men nÃ¥r citatet stÃ¥r over Søren Nils Eichbergs Symfoni nr. 1 er det konkret ogsÃ¥ fordi han fandt at det udtrykte noget om situationen i begyndelsen af 2000-tallet. 'Europa førte igen angrebskrig ' forklarer han 'og de politiske strømninger der 60 Ã¥r forinden lagde Europa i ruiner var pÃ¥ fremmarch igen. I Danmark lod man dem ligefrem fÃ¥ parlamentarisk indflydelse.

Moliendo Café-Von Peermusic gibt es Arrangements ber?hmter Klassiker diverser Genres f?r Salonorchester in Doppelnummern (B?nden mit 2 Musiktiteln) - ?hnlich wie die Doppelnummern f?r Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbl?ser (Standard) bis 5 Sax./6 Blechbl?ser (Standard + Erg?nzer) und den Erg?nzer-Stimmensatz. Hier der Standardsatz plus Erg?nzerstimmen. 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). Erg?nzer: 3. Stimme Violine; 4. Stimme Tenorsax; 3. Stimme Trompete; 2. Stimme Posaune; Bariton-Saxophon; Cello. Hier der Doppelband mit La camisa negra (Aristizabal) und Moliendo Caf? (Manzo).

Le génie de Mozart n'est nulle part plus apparente que dans les symphonies de sa maturité, compositions qui se dressent parmi les plus grandes réalisations de l'orchestre du XVIIIe siècle. Ce score étude miniature rassemble trois de ses oeuvres les plus connues, toutes écrites dans la dernière décennie de sa vie: Symphonie #35 en ré majeur, 'Haffner', Symphonie n o 36 en ut majeur, 'Linz', et Symphony n o 38 en ré majeur, 'Prague'.La musique est reproduite ici de la foi Breitkopf and Härtel édition, avec bar-numérotés et les mouvements de larges marges au bas de chaque page de score pour les notes et les analyses. Idéal pour l'étude en classe, à la maison, ou dans la salle de concert, ce volume à prix abordable de haute qualité, de taille conventionnelle sera l'édition de choix pour les étudiants en musique et amateurs de musique.Réimpression de l'Breitkopf and Härtel, Leipzig, 1880-1882 éditions. / Orchestre