| 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 | | |
| Modern Band Method - Teacher Edition Orchestra Little Kids Rock
A Beginner's Guide for Group or Private Instruction. Modern Band. Method, Teac...(+)
A Beginner's Guide for Group
or Private Instruction.
Modern Band. Method, Teacher
Resource. Softcover. 256
pages. Published by Little
Kids Rock
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Symphony No. 6 - At the End of the Day Orchestra - Intermediate/advanced Wilhelm Hansen
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Comp...(+)
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192). ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language). Symphony No. 6 for orchestra, 1997-99. Preface / Program 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 Gteborg 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 contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard. $125.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Alas! Babylon's Final Sunset Orchestra Subito Music
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee III. Orchestra. Study Score. Subito Music Corporation #94010400. Published by Subito Music Corporation (SU.94010400). 2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset. $36.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Haroun and the Sea of Stories Orchestra Peters
Orchestra soloists, chorus, orchestra SKU: PE.EP67890 An Opera in Two ...(+)
Orchestra soloists, chorus, orchestra SKU: PE.EP67890 An Opera in Two Acts Based on the Novel by Salman Rushdie. Composed by Charles Wuorinen. Full Orchestra; Single Titles. Edition Peters. 20th Century. Full score. 782 pages. Duration 02:00:00. Edition Peters #98-EP67890. Published by Edition Peters (PE.EP67890). ISBN 9790300747613. 297 x 420mm inches. English. Libretto by James Fenton In a make-believe world, based loosely on Bombay and Kashmir, the story of Haroun is a tale of a fight between the free imagination and the powers that oppose it. Haroun's father, Rashid, the Shah of Blah, is a professional and gifted story-teller, a popular figure much in demand at public events. Feeling neglected, his wife is persuaded to leave him and run away with a neighbor. After this, Rashid loses confidence in his powers of story-tellling, haunted by his son's question: 'What's the use of stories that aren't even there?' Rashid is due to speak at a political rally to be held by the sinister politician, Snooty Buttoo. He is told that if he does not come up with his usual fund of tales, his tongue will be cut out. As Rashid despairs, Haroun determines to rescue his father's talent - a project in which he learns that the Ocean of the Sea of Stories, the source of all stories, is being polluted by the enemy of all stories, the evil Khattam Shud. In a series of brilliant imagined adventures, Haroun succeeds in defeating the powers of darkness, and restoring happiness to his family, and to the city where he lives. Salman Ruishdie's children's book, written in the aftermath of the fatwa, has an effervescent style which is full of rhymes and wordplay. The libretto stays very close to the spirit of the original, conjuring up a fantasy world in which, nonetheless, one never loses sight of harsh political reality and the great issues of freedom of speech and imagination. -- James Fenton, 1998 $650.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Midsummer Night's Dream Op. 21 MWV P 3 Orchestra Breitkopf & Härtel
Orchestra (2.2.2.2 - 2.2.0.0.oph - timp - str) SKU: BR.PB-5364 Concert...(+)
Orchestra (2.2.2.2 - 2.2.0.0.oph - timp - str) SKU: BR.PB-5364 Concert Overture No. 1 - Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Hans Christian Schmidt. Orchestra; stapled. Partitur-Bibliothek (Score Library). Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time. Overture; Romantic. Full score. 72 pages. Duration 12'. Breitkopf and Haertel #PB 5364. Published by Breitkopf and Haertel (BR.PB-5364). ISBN 9790004211458. 10 x 12.5 inches. Autograph lays bare Mendelssohn's Overture to A Midsummer Night's Dream To this day, Mendelssohns epoch-making Overture to A Midsummer Night's Dream has been performed on the basis of a more than dubious transmission. Neither the first edition of the parts (1832), and certainly not the print of the score based on these parts (1835) go back directly to the autograph of the 17-year-old composer, which is now located in Krakow. No wonder, since Mendelssohn had breezily given away his original at an early date. The result: during his lifetime, versions were published with his authorization, even though they were full of unintended inconsistencies. Yet the autograph of 1826 is unequivocal: it is clear, practically free of irregularities and diverges considerably from the corrupted printed version. Christian Martin Schmidt comes up with occasionally differing musical passages, but above all with logical and compositionally compelling performance instructions, laying bare to musical practice the original form buried beneath layers of falsified material for the first time.
Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time. $65.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Have You Heard? - CD with Printable Parts Orchestra Lorenz Publishing Company
Full orchestra SKU: LO.30-3733L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra SKU: LO.30-3733L Composed by Joel Raney. Arranged by Ed Hogan. Choral, cantatas. Advent, Christmas, Sacred. CD with printable parts. Lorenz Publishing Company #30/3733L. Published by Lorenz Publishing Company (LO.30-3733L). UPC: 000308154610. CD with Printable Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work! $249.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Have You Heard? - Score and Parts plus CD with Printable Parts Orchestra Lorenz Publishing Company
Full orchestra SKU: LO.30-3734L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra SKU: LO.30-3734L Composed by Joel Raney. Arranged by Ed Hogan. Choral, cantatas. Advent, Christmas, Sacred. Score and parts, plus CD with printable parts. Lorenz Publishing Company #30/3734L. Published by Lorenz Publishing Company (LO.30-3734L). UPC: 000308154627. Score and Parts plus CD with Printable Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work! $399.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Iridium Orchestra - Advanced Kjos Music Company
Orchestra full orchestra - Grade 5 SKU: KJ.JO2002C Composed by Jack Stamp...(+)
Orchestra full orchestra - Grade 5 SKU: KJ.JO2002C Composed by Jack Stamp. Score and parts. Neil A. Kjos Music Company #JO2002C. Published by Neil A. Kjos Music Company (KJ.JO2002C). It was with great pleasure that received a commission from my good friends at the Johnstown (Pennsylvania) Symphony Orchestra, Istvan Jaray, music director and conductor, to write a work for the opening of their 1996-1997 season. My intention was to write a lively work which highlighted the strengths of this musical organization while being accessible and appealing to their loyal audience members. In trying to tie something unique about Johnstown to the work, came up with the title, Iridium, which is a term that deals with the production of metal. During the writing of the work, my friend, colleague, and former teacher, Hugh Johnson passed away. Dr. Johnson, faculty emeritus at Indiana University of Pennsylvania, was a terrific musician who was always enthusiastic about orchestral music! It is this enthusiasm and energy that have tried to capture in this new work, which is dedicated to Dr. Johnson's memory. Finally, would like to thank Maestro Jaray and Tony Blackner for their interest in my work. With Iridium comes my best wishes to Maestro Jaray and the orchestra for a fantastic new season of music-making. -Jack Stamp (August, 1996). $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Away in a Manger Orchestra - Easy Belwin
Orchestra - Grade 2.5 SKU: AP.45835 Composed by William J. Kirkpatrick. A...(+)
Orchestra - Grade 2.5 SKU: AP.45835 Composed by William J. Kirkpatrick. Arranged by Jeffrey E. Turner. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Christmas; Sacred; Winter. Score and Part(s). 72 pages. Duration 3:00. Belwin Music #00-45835. Published by Belwin Music (AP.45835). UPC: 038081524368. English. This is the other version of Away in a Manger, the beloved Christmas carol, written by William J. Kirkpatrick. Arranged by Jeffrey E. Turner, it features a string quartet within the orchestra and its haunting beauty is mesmerizing. This is sure to become one of your holiday favorites. (3:00). $46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Away in a Manger Orchestra - Easy Belwin
Orchestra - Grade 2.5 SKU: AP.45835S Composed by William J. Kirkpatrick. ...(+)
Orchestra - Grade 2.5 SKU: AP.45835S Composed by William J. Kirkpatrick. Arranged by Jeffrey E. Turner. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Christmas; Sacred; Winter. Score. 8 pages. Duration 3:00. Belwin Music #00-45835S. Published by Belwin Music (AP.45835S). UPC: 038081524375. English. This is the other version of Away in a Manger, the beloved Christmas carol, written by William J. Kirkpatrick. Arranged by Jeffrey E. Turner, it features a string quartet within the orchestra and its haunting beauty is mesmerizing. This is sure to become one of your holiday favorites. (3:00). $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dido and Aeneas Orchestra [Study Score / Miniature] Eulenburg
By Henry Purcell. Arranged by Ellen Harris. (Study Score). Schott. Size 5.25x7....(+)
By Henry Purcell. Arranged by Ellen Harris. (Study Score). Schott. Size 5.25x7.5 inches. 98 pages. Published by Eulenburg.
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Have You Heard? - Set of Parts Orchestra Lorenz Publishing Company
Full orchestra SKU: LO.30-3732L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra SKU: LO.30-3732L Composed by Joel Raney. Arranged by Ed Hogan. Choral, cantatas. Advent, Christmas, Sacred. Instrumental parts. Lorenz Publishing Company #30/3732L. Published by Lorenz Publishing Company (LO.30-3732L). UPC: 000308154603. Set of Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work! $249.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Have You Heard? - Full Score Orchestra Lorenz Publishing Company
Full orchestra SKU: LO.30-3731L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra SKU: LO.30-3731L Composed by Joel Raney. Arranged by Ed Hogan. Choral, cantatas. Advent, Christmas, Sacred. Full score. Lorenz Publishing Company #30/3731L. Published by Lorenz Publishing Company (LO.30-3731L). UPC: 000308154597. Full Score for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work! $99.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Symphony No. 16 in A major Orchestra Breitkopf & Härtel
Orchestra (1.2.2.2. - 2.2.0.0. - timp - str) SKU: BR.PB-5591 Urtext(+)
Orchestra (1.2.2.2. - 2.2.0.0. - timp - str) SKU: BR.PB-5591 Urtext. Composed by Friedrich Schneider. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Symphony; Romantic. Full score. Duration 35'. Breitkopf and Haertel #PB 5591. Published by Breitkopf and Haertel (BR.PB-5591). ISBN 9790004214015. 0 x 0 inches. A rewarding extension to the repertoire Friedrich Schneider, remembered in the music world almost entirely through his oratorio Das Weltgericht (The Last Judgment), bequeathed at his death in 1853 an oeuvre of over 1000 works, among them 23 symphonies. Breitkopf & Hartel, whose association with Schneider began as early as 1805, is now publishing for the first time an edition of his Symphony No. 16. The symphony composed in 1818 is impressive proof that outside of Vienna the romantic symphony was also developing then. To this day Schneider's extensive symphonic works are almost completely unknown. Inviting us to rediscover him, the work offers a welcome and valuable repertoire extension in the realm of the early romantic symphony.A contemporary of Beethoven, Schneider's soundworld is not a million miles away from the great man's. He is on frisky form in his 16th symphony. (Jeremy Pound, BBC Music Magazine). $73.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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