| L'Arte del Violino Op. 3, Nos. 5-8 Orchestra [Study Score / Miniature] Eulenburg
Concertos for Violin Study Score. By Pietro Antonio Locatelli. Study Score. 90 p...(+)
Concertos for Violin Study Score. By Pietro Antonio Locatelli. Study Score. 90 pages. Published by Eulenburg.
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| Seven (7) Gates Of Jerusalem - Symphony No. 7 for Narrator, Choir and Orchestra - Study Score Orchestra Schott
5 soloists (SSATB), speaker, 3 mixed choirs and orchestra SKU: HL.49045487(+)
5 soloists (SSATB), speaker, 3 mixed choirs and orchestra SKU: HL.49045487 For 5 soloists (SSATB), narrator, 3 mixed choirs and orchestra. Composed by Krzysztof Penderecki. This edition: Saddle stitching. Sheet music. Study Score. Das grosse Vokalwerk wurde 1995 zum 3000-jahrigen Bestehen Jerusalems komponiert. Der Zahl sieben hat darin eine besondere Bedeutung: sieben Satzen, die fur die sieben Tore stehen, sieben gewaltige Fortissimo-Akkorde, die das Oratorium beschliessen. Softcover. Composed 1996. 158 pages. Duration 68'. Schott Music #ED20533. Published by Schott Music (HL.49045487). ISBN 9790001157179. UPC: 888680747992. 8.25x11.75x0.41 inches. Latin - German. Deeply moved by his first visit to the city of Jerusalem with its seven gates, Krzysztof Penderecki composed this major vocal work to celebrate the city's 3,000th anniversary in 1995. Two years later, it was premiered as Symphony No. 7 in which the magic number seven has a special meaning: From the seven movements representing the seven gates to the seven powerful fortissimo chords concluding the oratorio, the biblical number runs through the entire work.
4 (3. u. 4. auch Picc.) * 3 * Engl. Hr. * 3 (3. auch Es-Klar.) * Bassklar. * 3 * Kfg. - 4 * 3 * 4 (3. auch Basstrp.) * 1 - S. (I.: P. * Beckenpaar * 2 Tamt. (t.) * Rohrengl. * gr. Tr. m. Beck. * Crotalenbaum * 5 Tomt. * Marimba * Bin-Sasara * kl. Tr. * Ruhrtr.; II.: Trgl.-baum * 4 hg. Beck. * Tamt. (t.) * Rohrengl. * Kirchengl. * Tubaphon * Glsp. * Xyl. * Vibr. * Ruhrtr. * Tempelbl. * 2 Gongs; III.: 3 hg. Beck. * Mil. Tr. * Tubaphon * Kuhgl. * Tempelbl. * 2 Gongs; IV.: P. * hg. Beck. * 2 Tamt. * Beckenpaar * 5 Tomt. * gr. Tr. * Ruhrtr. * Bin-Sasara) (12 Spieler) - Cel. * Klav. * Org. ad lib. - Str. Im Saal: 0 * 0 * 3 * Bassklar. (auch Es-Klar.) * 3 * Kfg. - 4 * 3 * 4 * 1. $77.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fontane Di Roma Orchestra [Study Score / Miniature] Eulenburg
By Ottorino Respighi (1879-1936). Study Score. Study Score. Softcover. 88 pages....(+)
By Ottorino Respighi (1879-1936). Study Score. Study Score. Softcover. 88 pages. Eulenburg (Schott Music) #ETP8097. Published by Eulenburg (Schott Music) . Softcover.
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| L.A. Variations Orchestra [Study Score / Miniature] Chester
(Orchestra). By Esa-Pekka Salonen. For Orchestra (Study Score). Music Sales Amer...(+)
(Orchestra). By Esa-Pekka Salonen. For Orchestra (Study Score). Music Sales America. Softcover. 96 pages. Chester Music #CH61474. Published by Chester Music
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| Feria Orchestra [Study Score / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024527 Orchestra HPS 1330 Study Scor...(+)
Orchestra (Study Score) SKU: HL.48024527 Orchestra HPS 1330 Study Score. Composed by Magnus Lindberg. Boosey & Hawkes Scores/Books. Classical. Softcover. 80 pages. Duration 1020 seconds. Boosey & Hawkes #M060135293. Published by Boosey & Hawkes (HL.48024527). ISBN 9781784544591. 8.0x11.75 inches. 17-minute work for full orchestra commissioned by the Finnish Broadcasting Company. First performed by the Finnish Radio Symphony Orchestra at the BBC Proms in August 1997. The composer comments: The word Feria is Spanish for an outdoor festival or fair, the exuberance of which is alluded to in this work. In the fast opening section the explosive, rhythmic ideas, especially the trumpet fanfares which are a recurring motif in the piece, herald a lively public spectacle. The mainly slower-paced central section reaches a focal point which may well be recognised as a chord progression from Monteverdi's “Lasciatemi morire†(Lament of Arianna). $58.00 - See more - Buy online | | |
| Requiem Orchestra [Study Score / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score) SKU: HL.49018099 Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099). ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German. On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009. $93.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Quiétude Orchestra [Score] - Easy Highland/Etling
Orchestra - Grade 3 SKU: AP.35975S Composed by Susan H. Day. MakeMusic Cl...(+)
Orchestra - Grade 3 SKU: AP.35975S Composed by Susan H. Day. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Ballade. Score. 12 pages. Highland/Etling #00-35975S. Published by Highland/Etling (AP.35975S). UPC: 038081411842. English. The clever title combines the word quiet with etude, the French word for a musical study. Inspired by the notion of world peace, the composer communicates this idea through a series of engaging melodic and harmonic sections in G minor and D minor, ultimately ending on a major chord to express hopefulness. The haunting melodies and mature sound of this grade 3 work make this a memorable and thought-provoking addition to any concert or contest. This title is available in MakeMusic Cloud. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pensées sur un prélude - Debussy-Variations for Orchestra Orchestra Sikorski
Orchestra (Score) SKU: HL.50486019 Debussy-Variations for Orchestra(+)
Orchestra (Score) SKU: HL.50486019 Debussy-Variations for Orchestra. Composed by Ulrich Leyendecker. Study Score. Classical. 68 pages. Sikorski #SIK8532. Published by Sikorski (HL.50486019). ISBN 9781423402046. UPC: 073999971491. 8.25x11.75x0.215 inches. The work may be played in two versions: with or without Debussy's Prélude No. 6 preceding it, the work upon which the “Pensées†are based. The Prélude, with the exception of the final chord, has been orchestrated by the composer. $74.95 - See more - Buy online | | |
| Miranda (melodrama) Orchestra SATB, Orchestra Fennica Gehrman
Orchestra SKU: FG.55011-468-5 Composed by Armas Jarnefelt. Study score. F...(+)
Orchestra SKU: FG.55011-468-5 Composed by Armas Jarnefelt. Study score. Fennica Gehrman #55011-468-5. Published by Fennica Gehrman (FG.55011-468-5). ISBN 9790550114685. To mark the 150th anniversary of Armas Jarnefelt, Fennica Gehrman publishes his hitherto unpublished works. Jarnefelt's first composition for stage was music for Z. Topelius's play Miranda in 1900-1901. It is a kind of melodrama with recitation and choral singing, not so much incidental music. Jarnefelt composed a rather broad array of numbers for Miranda, seven movements in total. Miranda is characterized by a downwards moving chromatic chord progression. Listeners especially liked the Nymf- och trolldans movement, its slowly and elegantly swinging waltz, and the Oriental colours of one of the dance movements. Orchestral parts available for hire. $29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Euphonic Blues Orchestra Subito Music
Orchestra SKU: SU.90810330 For Orchestra. Composed by Nancy Galbra...(+)
Orchestra SKU: SU.90810330 For Orchestra. Composed by Nancy Galbraith. Orchestra. Study Score. Subito Music Corporation #90810330. Published by Subito Music Corporation (SU.90810330). Instrumentation: 2,1 2 2,1 2; 4331; timp, perc, hp, pno; stgs Composed for the Carnegie Mellon School of Music for its Centennial Celebration concert in September 2012, Euphonic Blues is a predominantly melodic work - using polychords and lush diatonic harmonies - that reflects a somewhat bluesy and nostalgic sound. Duration: 10' Composed: 2012 Published by: Subito Music Publishing. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| St John Passion Orchestra [Study Score / Miniature] Boosey and Hawkes
Baritone, Choral, Orchestra (Study Score) SKU: HL.48024806 The Passion...(+)
Baritone, Choral, Orchestra (Study Score) SKU: HL.48024806 The Passion of our Lord Jesus Christ according to John Study Score. Composed by James Macmillan. Boosey & Hawkes Scores/Books. Classical, Sacred. Softcover. 380 pages. Boosey & Hawkes #M060134470. Published by Boosey & Hawkes (HL.48024806). ISBN 9781784543792. UPC: 888680978648. 8.25x11.75 inches. Scored for baritone solo, small 'narrator' chorus, large chorus and orchestra, MacMillan's first Passion setting was composed in 2007. Lasting 87 minutes the work is divided into two parts, with 10 movements overall. As Paul Spicer has commented, “The originality of the St John Passion lies in MacMillan's ability to mix old with new, rather in the manner of Bach in his day. There are passages of sumptuous polyphony and there is a fresh look at the text where passages of Latin are interspersed with the Gospel story in English. In movement seven ('Jesus and his Mother'), MacMillan introduces not only part of the Stabat Mater but also his own words ('Lully, lulla, my dear darling'). The final movement, which is purely orchestral, is a kind of via doloroso march with a Scots lament over quite brass chords. The string writing here, with its elegiac cello lines, is deeply reminiscent of the early 20th-century English school. This should be the War Requiem of the 21st century.&rdquo. $120.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Symphony in G Major, Hob. I:94 (Surprise Symphony) Orchestra G. Henle
Orchestra SKU: HL.51489062 Study Score. Composed by Franz Joseph H...(+)
Orchestra SKU: HL.51489062 Study Score. Composed by Franz Joseph Haydn. Edited by Robert v. Zahn. Henle Music Folios. Classical. Softcover. 66 pages. G. Henle #HN9062. Published by G. Henle (HL.51489062). UPC: 840126951950. 6.75x9.5x0.263 inches. The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. 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. To this day, the G-major symphony, first performed in March 1792, numbers among Haydn's most popular works. It owes its English nickname “Surprise†to the striking tutti chords in the Andante, which apparently caught the audience off guard. Haydn had consciously incorporated this effect at a later stage - and was thus subsequently also perfectly willing to authorize this nickname that had been dreamt up by a London musician. This popular work also spread rapidly through German-speaking countries, where it is still firmly established in the repertoire as the “symphony with the drumbeat.†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. About Henle Urtext What I can expect from Henle Urtext editions: - error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for Urtext editions)
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