SKU: HL.14020998
ISBN 9780711930766. UPC: 884088435059. 5.5x7.5 inches.
A short piece for small orchestra, written in 1989 when the composer heard of Michael Vyner's death. Premiered in October 1989 at Glyndebourne Sussex, by the London Sinfonietta and conducted by the composer just six days after Vyman's death. Approximately six minutes in duration, it is based on the plainsong 'Cor meum et caro mea exultaverunt in Deum vivum' and is scored for two oboes, two bassoons, two horns, two trumpets, timpani and strings.
SKU: BR.PB-5582
ISBN 9790004213926. 10 x 12.5 inches.
Little is known about the actual composition process of Lemminkainen, and the performance and publication history is rather complex, resulting in a first complete printing of all four movements en suite through the complete edition of Jean Sibelius Works only in 2013.In summer 1894 Sibelius went to Central Europe, carrying among others a plan for an opera freely based on the Kalevala in his mind. But during this trip he reassessed his composing: I think I have found my old self again, musically speaking. I think I really am a tone painter and a poet. As a result he abandoned his opera plans, but musical parts may have found their way into the Lemminkainen pieces which he started composing during that time. Lemminkainen became popular from the beginning and has attained a fixed position in the concert repertoire.A critic opined on Lemminkainen and the Maidens on the Island: We do not hesitate to award this tone painting of Lemminkainen's erotic emotional world the first prize among all the young composer's works..
SKU: HL.14023201
ISBN 9788759860250. International (more than one language).
Orchestration: 3(pic)(2afl).+ pic.3+ca.3+bcl.3+cbn/6.4.4.1/timp.perc/hp/pf/str THE RAINBOW SNAKE is an Indian legend about how the rainbow came into being. It is said that a snake heard the Indians grieving over a very long drought and the unfruitfulness of the land, so it wound itself into a ball and wasthrown high into the air. It unwound itself again and grew longer and longer until b And since then - every time it rains while the sun is shining - the snake has stretched its supple body across the sky.
SKU: HL.48011263
UPC: 073999780871. 8.25x11.75x0.175 inches.
Contents: Themes from Peter and the Wolf (Prokofiev) * In the Gymnasium (Kabalevsky) * The Rain and the Rainbow (Prokofiev) * March from Musique d'enfants (Prokofiev) * Sweet Dreams (Tchaikovsky) * The Drummer (Kabalevsky).
SKU: BA.BA08891
ISBN 9790006564149. 33 x 24 cm inches. Preface: Sylvie Bouissou.
Christoph Willibald Gluck's opera in four acts about the Curse of the House of Atreus is based on a tragedy by the classical Greek dramatist Euripides. The mythological plot about the siblings Iphigenia and Orestes is characterized by hatred, ritual sacrifice, and murder and was especially popular during the 18th century. The premiere of Gluck's opera in 1779 was immensely successful.Barenreiter now presents a carefully edited and corrected piano reduction that was newly set to meet Barenreiter's current quality standards. An informative preface (Ger/En/Fr) supplements the edition, which also includes all appendices of the score volume the edition is based on, as contained in the Gluck Complete Edition (GGA).
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
SKU: PE.EP14581
ISBN 9790014137175.
Memory jolts. Flashes of pink in the brain. by Clara Iannotta is a 17-minute work for string orchestra. Written for the non bthvn project of the Cologne Philharmonic, the work reflects Beethoven's hearing loss and the unbearable condition when his ears began to buzz and roar. The title describes the memory jolts that take place in the inner ear.
Memory jolts. Flashes of pink in the brain. was premiered by Ensemble Resonanz on 31 October 2021 at the Philharmonic Hall Cologne.
The full score (EP 14581) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: AP.49070S
ISBN 9781470647933. UPC: 038081567150. English.
This multi-level piece includes a full set of parts for grade 2 as well as a full set for grade 3 ensembles. Mix and match the parts as you need---perfect for mixed-ability ensembles! Crazy Train was co-written by one of Mark Wood's main influences and favorite guitar players, Randy Rhoads, a neo-classical rock guitar player. When Wood discovered him, Rhoads was fully entrenched in the standard rock/blues style, yet had wonderful control of the flourish and esthetic of classical music in his playing. The influence was perfect for Mark Wood, who was an up-and-coming rock violinist at the time. For string orchestra with optional rock rhythm section parts. (5:30)Download Play-Along Track
SKU: AP.49070
ISBN 9781470647926. UPC: 038081567143. English.
SKU: BR.PB-5585
ISBN 9790004213957. 10 x 12.5 inches.
Little is known about the actual composition process of Lemminkainen and the performance and publication history is rather complex, resulting in a first complete printing of all the four movements en suite through the complete edition of Jean Sibelius Works only in 2013.In summer 1894 Sibelius went to Central Europe, carrying among others a plan for an opera freely based on the Kalevala in his mind. But during this trip he reassessed his composing: I think I have found my old self again, musically speaking. I think I really am a tone painter and a poet. As a result he abandoned his opera plans, but musical material may have found its way into the Lemminkainen pieces which he started composing during that time. Lemminkainen became popular from the beginning and has attained a fixed position in the concert repertoire.On Lemminkainen's Return Sibelius commented: I would like to see more pride in us Finns. Why should we be ashamed? This is the underlying thought in Lemminkainen's Return. Lemminkainen is just as good as the noblest of earls. He is an aristocrat, without question an aristocrat!.
SKU: BR.PB-5584
ISBN 9790004213940. 10 x 12.5 inches.
Little is known about the actual composition process of Lemminkainen and the performance and publication history is rather complex, resulting in a first complete printing of all the four movements en suite through the complete edition of Jean Sibelius Works only in 2013.In summer 1894 Sibelius went to Central Europe, carrying among others a plan for an opera freely based on the Kalevala in his mind. But during this trip he reassessed his composing: I think I have found my old self again, musically speaking. I think I really am a tone painter and a poet. As a result he abandoned his opera plans, but musical material may have found its way into the Lemminkainen pieces which he started composing during that time. Lemminkainen became popular from the beginning and has attained a fixed position in the concert repertoire.Sibelius said about Lemminkainen in Tuonela: The cradle song at the end of the work is maternal love, which rakes the pieces of Lemminkainen together from the River Tuonela..
SKU: PR.11641867S
UPC: 680160683208.
Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
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