SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
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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: BT.YKM570369270
A Hymn to the Thames was commissioned by James Turnbull and the Music Director of the St Paul’s Sinfonia, Andrew Morley. It was begun in 2019 and completed early in 2020. There are four movements played without a break, which follow the Thames from its Cotswold source to the North Sea. As the first performance took place in St ALfege’s Church, Greenwich, this seemed appropriate. The solo oboe represents both a wanderer along the river path and the spirit of the river. The pitch centres of the movements spell out the musical letters of the river (tHAmES—B natural, A, E and E flat) so that the river’s name is projected across the whole work. In addition, the musical letters found in James Turnbull, Andrew Morley and my wife, Teresa Cahill ( who was born in Maidenhead and brought up by the river in Rotherhithe) are entwined in various guises. The first movement grows from the depths, the soloist entering with fanfare-like gestures, followed by lyrical music and breaks into a dance as the river gathers momentum. The third movement is slow and sustained and geographically the Thames flows through Oxford. The music is based on the well-known In Nomine ‘head motif’ from the Gloria tibi Trinitas Mass by the early Tudor composer, John Taverner, who was the first Director of Music at Christ Church, Oxford. The orchestra provides a screen or veil above which the solo oboe dreams and ruminates. This leads directly into the fourth and final movement which begins in the depths once more, interrupting the oboe’s held note from the end of the third movement. The waters’ increasing intensity and power are represented throughout by a moto perpetuo of quick, steady semiquavers. Near the close, the woodwind play O Nata Lux by Thomas Tallis, the great Tudor composer who, with his wife Joan, is buried in St Alfege’s. Beneath this, the lower strings continue the fast semiquaver movement of the river and, above, the violins are heard as a halo of harmonics. At the close, the oboe rises, opening out to the future, and celebrating its voyage, while the orchestra fades as the river meets the sea. A Hymn to the Thames lasts approximately 17 minutes.
SKU: PO.UME14
ISBN 9781877564864.
Completed while Ritchie was Composer-in-Residence with the Dunedin Sinfonia in 1993, Boum is named after a mysterious echo heard by characters in E.M. Forster's novel A Passage to India. The echo comes to symbolise the mysteries of life and death, and was a starting point to a general theme of existentialism and human struggle that pervades Ritchie's symphony.An eclectic range of influences can be heard across Boum's four movements. A languid, Eastern-sounding violin theme in the first movement is influenced by gamelan music, referencing the pelog scale. Inspired by traditional music of the Cook Islands, the jaunty second movement is a vigorous scherzo dominated by the sound of log-drum and tom-toms. The third movement is a lament for the victims of the Bosnian war, its evocative opening inspired by the wailing of a Maori karanga, while the fourth movement can be thought of as a symphonic dance, its pulse and motivic ideas reminiscent of rock music.
SKU: AP.38505
UPC: 038081439747. English.
A beautiful exploration of programmatic music and tonality/modality in four movements! Although all four snapshots of Wisconsin appear to be in the key of G (one sharp), closer examination finds four contrasting tonal centers and modes, allowing students to experience varying keys/modes and their inherent expressive tendencies, while using similar pitches and finger patterns.
SKU: AP.36-A183248
ISBN 9798892704335. UPC: 659359535086. English.
Wolfgang Amadeus Mozart (1756-1791) wrote the SERENADE No. 5 in D Major, K. 204/213a on August 5, 1775 for ceremonies at the University of Salzburg. Concurrently writing his five violin concertos, the composer chose to feature a solo violin in three of the movements. While it retains a seven-part structure, an impromptu violin concerto is cleverly couched within the work. As he did with most of his serenades for orchestra, Mozart crafted a symphony using the other four movements. Instrumentation: 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set. Reprint edition.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A183202
UPC: 659359530821. English.
SKU: AP.36-A183201
ISBN 9798892704328. UPC: 659359524264. English.
SKU: SU.27020085
Jacob vs. Angel is a piece about crisis of conscience, ambiguity, and misinterpretation expressed through the depiction of a major battle, the goal of which is never made entirely clear. Based on the biblical story, the work is highly programmatic, with each of the six movements reflecting a corresponding stanza from the titular poem by Alice Weaver Flaherty. The piece was originally composed as a vehicle for virtuoso organist Heinrich Christensen, and later orchestrated. The first movement introduces the main musical material--a five note motive, the intervals of which are reorganized to create melodic and harmonic development throughout the piece. The second, third, and fourth movements depict the brutal fight between Jacob and the angel, and lead one to the next without pause. The fifth movement is about the post-battle scene, and the final movement is an epilogue, reframing the ideas from the previous movements. The music elucidates various actions from the Flaherty poem—sand skittering across the desert, aggressive acts of violence and sensuality between the protagonists, the beating of wings, feathers blowing in the wind, etc. But beyond the music's more literal elements, the work is designed to express an abstract state of mind, a sense of unease, and anticipation of what is yet to come. —Graham Gordon Ramsay2(2) 1,1 2 2; 2221; 7perc, hp, cel; stgs Duration: 24'Composed: 2023 Published by: Distributed Composer Jacob vs Angel was composed originally as a solo concert organ work in 2007; the orchestral version was completed in 2023. A live performance of the organ version can be seen at. Performance materials available on rental:.
SKU: AP.38500
UPC: 038081438900. English.
This suite is comprised of four movements whose composers hail from Finland, Sweden, Denmark, and Norway. Full of teaching opportunities, the contrasting movements include both dance tunes and folk songs stylized in the Romantic idiom. Musically sophisticated beyond the technical demands, each movement stands alone, or can be played together to make a substantial and satisfying concert or contest selection.
SKU: AP.BSO00100C
UPC: 029156048827. English.
This suite has four movements: March, Waltz, Ballad, and Allegro. This is typical Washburn, and the contrast of the movements of the suite provides interest for performer and audience alike. Appealing but not difficult.
SKU: HL.1455263
ISBN 9781638879329. UPC: 196288209393. 9.0x12.0x0.545 inches.
Composed during the summer and fall of 1974, Barnes' FIRST SYMPHONY, Op. 35 was his master's thesis at The University of Kansas. It was premiered in the spring semester of 1976 by their Symphonic Band, Robert E. Foster conducting. The following year, the symphony was awarded the American Bandmasters Ostwald Composition prize, which led to a second performance (of only the first two movements) by the Northwestern Wind Ensemble at the American Bandmasters convention with Col. Jack Cline (U.S Marine Band) conducting. Following this performance, Barnes submitted the work to several publishers, all of which declined on the basis it was too long and difficult to be marketable. For this reason, Barnes set the work aside and there it remained until 2022, when an offer came from the Osaka Shion Wind Orchestra to record all nine of Barnes'symphonies to help celebrate their 100th anniversary. Barnes seized the opportunity, engraving all four movements, with revisions and corrections, an effort that took seven days a week for two months to complete. As a result, after almost fifty years, all nine of the Barnes symphonies are finally available for performance.
SKU: PO.PE041
ISBN 9781877218415.
Based on the story of the Maori god of earthquakes, Ruaumoko sees Farr channelling the elemental forces of nature across four movements based on the four seasons. Tender woodwind playing is followed by perilous swirling contours and booming percussion, while elsewhere chiming pitched percussion, surging brass drones and interlocking choirs propel this dynamic work towards a triumphant finale.
SKU: AP.49029
ISBN 9781470645441. UPC: 038081561172. English.
Everyone's Guide to the String Orchestra, arranged by Douglas Wagner, is a fantastic selection to feature each section of the ensemble. They all have their very own time to shine in the spotlight with this uniquely scored arrangement of themes from four movements of Saint-Saëns' The Carnival of the Animals. Program as a straight-forward concert number or as a piece incorporated into a recruitment presentation. Medley titles (in order of appearance) are as follows: The Swan (cello section feature) * Lion's Royal March (viola section feature) * The Elephant (string bass section feature) * Finale (violin section feature). (3:10).
SKU: AP.49029S
ISBN 9781470645458. UPC: 038081561189. English.
SKU: AP.49434
ISBN 9781470650629. UPC: 038081571409. English.
A stunning arrangement of the incredible masterwork Peer Gynt Suite No.1, Op. 46! It is perfect for string orchestra alone, or with added instruments up to a full orchestra. This setting, by Chris M. Bernotas, offers the opportunity to explore the entire suite. All four movements are presented in approachable keys and are abridged to the perfect length and difficulty level for your next concert. (5:30).
SKU: HL.51481550
UPC: 196288207269. 10.0x12.75x0.236 inches.
Tchaikovsky spent the summer and autumn of 1880 at his sister's country estate in Kam'ianka, Ukraine, where he sought peace and relaxation. But after a short time the desire to work took hold of him again. âI'm sketching a symphony or string quintet just now; I don't know where it's going yet,â he wrote to his friend and patroness Nadezhda von Meck. In the end it turned out to be a Serenade for String Orchestra, which numbers among his most beautiful inspirations and is today a central work in the genre. The four movements captivate with their diverse moods â be it the Mozartian first movement âin the form of a sonatinaâ, the elegant Waltz, the melancholy âElegiaâ or the rousing Finale. For this new source-critical edition it was possible to consult the autograph in Moscow as well as the early printed editions into which Tchaikovsky sometimes entered a number of minor revisions. Clear the stage for the new reference edition of this indispensable work of the string-orchestra repertoire!
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: HL.48024551
ISBN 9781784544393. UPC: 888680916695. 7.25x10.0x0.472 inches. Text: Jacopone de Todi.
Composed in 2015, Stabat Mater was commissioned by the Genesis Foundation for Harry Christophers and The Sixteen. Scored for mixed chorus and string orchestra, it is a long-awaited sequel to the early masterpiece Seven Last Words from the Cross (1993), for the same forces; indeed, the later work begins with the pianissimo 'dying breaths' with which the earlier score so unforgettably closes. Cast in four movements, Stabat Mater has a duration of 53 minutes. Following the premiere London's Financial Times commented that the composer speaks of a 'painful world of loss, violence, and spiritual desolation'. Both sides of MacMillan are to be found here, the devotional and the painter of bold, dramatic canvases - the former in the ethereal writing for solo and ensemble voices, the latter in the lacerating blows and feverish anxieties depicted in the string ensemble..
SKU: SU.50029650
Published by: Seesaw Music.
SKU: BR.PB-5583
ISBN 9790004213933. 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 parts may have found their way into the Lemminkainen pieces which he started composing during that time. Definitely the overture had, it is now known and loved as The Swan of Tuonela. Lemminkainen became popular from the beginning and has attained a fixed position in the concert repertoire.
SKU: HL.49027996
ISBN 9790001022491.
The suite from the cycle 'Ploner Musiktag' (1932) was structured according to the exact instrumentation directions of the composer and completed with a percussion part ad lib. Particular attraction is caused by the different instrumentation of the four movements which, how-ever, takes into consideration the conditions of school practice.
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: HL.1190014
ISBN 9781705192542. UPC: 196288131816.
Osvaldo Nicolás Ferraro Gutiérrez (1934-1977), better known as Waldo de los RÃos, was an Argentine composer best remembered for his knack for making pop music out of European classical music. His South American Suite (Suite SudAmericana) is in four movements: 1. Paraguay (Nanduty; Jungle Night; Epic), 2. Argentina (Los Colorados; The Shadow of the Tiger; The Tryst), 3. Peru (Cuzco Ruins; Lima; The Giants), and 4. Uruguay (The Wagon; Gaucho Song; Carnival).
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: 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.49044408
ISBN 9790001141031. 8.25x11.75x0.384 inches.
4 (2. auch Picc., 3. auch Picc. u. Altfl., 4. auch Altfl. u. Bassfl.) * 1 * Ob. d'am. * 2 Engl. Hr. (2. auch Heckelphon) * 4 (3. auch Bassklar., 4. auch Bassklar. u. Kb.-Klar.) * 4 (4. auch Kfg.) - 6 * 4 * 4 * 0 - P. S. (3 hg. Beck. * 3 Tamt. * 4 Thai Gongs * Trinidad Steel Drum * Wassergong [tief] * Crot. * 7 Bong. * 12 Tomt. [chrom.] * Schellentr. * O-Daiko * Log Drums * kl. Tr. * gr. Tr. mit Beck. * Tempelbl. * 3 Woodbl. * 2 Sistr. * Guiro * Mar. * Ratsche * Kast. * Frusta * 2 Flex. * Donnerblech [bronze] * Glsp. * Vibr. * Marimba) (5 Spieler) - Hfe. * Cel. * Klav. - Str.
SKU: BA.BA07686
ISBN 9790006507351. 35 x 27.1 cm inches.
World Premiere 04/06/1998, Grenchen (Schweiz).
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