SKU: HL.49010035
ISBN 9790200204926. UPC: 073999563269. 5.25x7.5x0.169 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: HL.49009941
ISBN 9790200204025. UPC: 073999781991. 5.25x7.5x0.229 inches.
SKU: HL.14027994
ISBN 9788759864593.
New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders' Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer's own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it's open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian'e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders' use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.
SKU: BR.SON-620
The American tone poems
ISBN 9790004803226. 10 x 12.5 inches.
Jean Sibelius wrote his last two tone poems Aallottaret op. 73 and Tapiola op. 112 as commissions for the United States. Aallottaret is the original Finnish title of op. 73, as is found on the autograph. Discreetly concealed behind this title, however, is the title The Oceanides, which also stems from Sibelius, and which Breitkopf & Hartel gladly placed in first position for the first edition of 1915, thus facilitating the diffusion of the work. The previously unpublished early version of Aallottaret is also presented in the volume of the Complete Edition; it had been hastily rejected shortly before the world premiere. Compared with this genesis, the origin of Tapiola , Sibelius last great symphonic poem, is relatively unspectacular: though he was under pressure to write and publish the work, Sibelius produced no different versions. There was only one printed edition from Breitkopf and no further revisions. Thanks are given to Professor Nors S. Josephson for his valuable work on this volume, the editing of which he began.
SKU: HL.14019146
ISBN 9788759855775. 12.0x16.5x0.525 inches. English.
The harmonic model for this piece is based on a subdivision of pitches in primary and secondary notes, in principle any chord can be viewed from it's structural qualities including interval content and symmetry, but it might also be conceived from a more acoustical point of view. The parallel basis for this work is a sequence of 12-tone chords repeated as a chaconne, every chord has it's Alter-Ego, an overtone series the fundamentals of which together form a bass line. By articulating the cycle differently, with always varied diagonal paths between two layers Lindberg has aimed to give the music some direction despite it's vague repetitive structure. Work for Orchestra premiered at the Queen Elizabeth Hall, London, by the London Sinfonietta under the direction of Esa-Pekka Salonen, April 1990.
SKU: 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.
SKU: PR.UE035866
ISBN 9783702476298. UPC: 803452073406.
Taras Bulba, a rhapsody for orchestra, is one of Janacek's most famous works, written around the years of World War One. The composer made major revisions to his original 1915 score, and the work was eventually premiered in 1921. This new critical edition by Jiri Zahradka is published in two versions: the new Study Score Series edition (UE036505) and the large new Conductor Score Series edition (UE035866, approx. 10 x 13).
SKU: AP.45883S
UPC: 038081423903. English.
Have the cookies left out on Christmas Eve mysteriously vanished? Does it seem like the nutcracker and toy soldier figurines have moved by themselves overnight? Are you experiencing strange visions of holiday confections dancing in your head? There's only one operative with the right skill set for holiday capers like these: Secret Agent Sugar Plum of the Holiday Sweets Division of WinterPol! This clever arrangement by Scott Watson fuses themes from Tchaikovsky's Dance of the Sugar Plum Fairy (from The Nutcracker) with classic spy music idioms, all set to a driving rock beat. Sure to be a player and audience favorite in your holiday concert! (2:20).
SKU: BA.BA07568
ISBN 9790006558285. 33 x 24 cm inches. Preface: Sylvie Bouissou. Text: Louis Fuzelier.
The new scholarly-critical edition of the score of Rameau’s “ballet hroïque†Les Indes galantes finally clears up its convoluted source history. At the first performance, on 23 August 1735, it consisted of a prologue and three acts: Le Turc gnreux, Les Incas du Prou and Les Fleurs. But Les Fleurs already proved controversial in the early performances, and from 11 September of that same year it was given a wholly new form. For the revival on 10 March 1736 Rameau and Fuzelier added an entirely new act Les Sauvages, and in the years that followed, the “ballet hroïque†was presented either complete (1743, 1751 and 1761) or abridged with a prologue, Les Incas du Prou and Les Sauvages (1751–73).With regard to the instrumental movements (dances and descriptive pieces), the present publication is based on the complete edition Opera Omnia Rameau (OOR) volumes IV/2 and IV/7 edited by Sylvie Bouissou which are currently in preparation. It includes not only the orchestral pieces in the version deemed valid by Rameau in 1736 (with version 2 of Les Fleurs and Les Sauvages), but also those from the first version of Les Fleurs (1735) as well as its 1743 and 1773 revisions. Performers are thus given a complete selection of all the orchestral numbers from one of Rameau’s central stage works for use also in concert performance.
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: AP.45892S
UPC: 038081526546. English. Traditional American.
Imagining the Alaska Klondike gold rush calls up visions of fortune seekers, turn-of-the-century dance halls, and adventure! Klondike Fiddles captures those moods in a medley of two authentic fiddle tunes from that by-gone era by Andrew H. Dabczynski. These delightful melodies---March of the Gold Miners and Crooked Stovepipe---fall under the fingers of intermediate string students, with interesting parts for all players, body percussion sounds, and challenging optional improvisation opportunities. Here's a piece that complements any concert program and will have the players and audience tapping their toes! (3:50).
SKU: AP.45892
UPC: 038081526539. English. Traditional American.
SKU: AP.41242
UPC: 038081480435. English.
All sections are featured, including the cellos and basses, in this bouncy tango. With romantic tension building in the middle section, you can make this one romantic and dramatic, or comedic by envisioning dancing bulldogs! (3:40) Correlates to Sound Innovations Book 2, Level 2. This title is available in MakeMusic Cloud.
SKU: AP.41242S
UPC: 038081480442. English.
SKU: BR.PB-5544-07
ISBN 9790004213544. 6.5 x 9 inches.
That Schumann truly dug his heels into symphonic creation becomes clear at the latest when we look not only at his four well-known symphonies, but also at the works between the genres, such as the Overture, Scherzo and Finale. Unlike the traditional symphonic form, this work has no slow movement. Schumann spoke of it as a suite which hints at a loose connection of movements and as a sinfonietta. Ultimately, he decided to name it after the headings of the three movements which also share common traits among one another. Overture, Scherzo and Finale is being published here for the first time with an Urtext score and parts. The genesis of the work was marked by corrections and revisions. Schumann subjected the work to a thorough revision after the premiere performance and, after the publication of the orchestral parts in 1846, made more changes for the first edition of the score seven years later.Urtext of Schumanns Sinfonietta.
SKU: PE.EP72184
ISBN 9790577000282. English.
Text selected from the Requiem Mass, D.H. Lawrence, Percy Bysshe Shelley and the Old Testament
First performance 3rd December 2003 at St. Martin-in-the-Fields
Subsequent revisions have been small, mainly consisting of a brand new Benedictus (to replace one which, in the original performance, had beeen borrowed from a liturgical setting of the Mass), the expansion of the Dies Irae and the creation of a bigger orchestration, as an alternative to the chamber scoring, to make the most of the forces available at the second performance, in St. Petersburg.
SKU: BR.PB-14615
The study score (,,Studien-Edition) is available at G. Henle Verlag.
ISBN 9790004214909. 10 x 12.5 inches.
The Famous One in the Leading EditionBeethoven spent a relatively long time on his 5th Symphony. Thus, first sketches can already be found from as early as 1804, four years before the work was premiered in Vienna in December 1808. Not only impressive is its striking opening theme, letting everyone know immediately that this is Beethoven being played, but also its nickname symphony of fate. Nothing in the sources prefigures the much-cited fate, musically knocking here at the door. The autograph of the score and the set of parts prepared from it, including Beethoven's revisions, serve as the main sources of this Urtext edition, together with the missing copy of the score, now extant only incomplete in photographs, and the original edition of the parts authorized by Beethoven. The new performance material is based on the recently published volume of the New Beethoven Complete Edition.
SKU: AP.48043S
UPC: 038081554266. English.
Chasing Shadows by Michael Kamuf features soaring melodies, driving rhythms, and bold harmonies which work together to create cinematic overtones. The use of syncopated rhythms throughout will help reinforce your orchestra's understanding of subdivision. A perfect selection for concerts and festivals that both students and audiences will enjoy! This title is available in MakeMusic Cloud. (3:00).
SKU: AP.48043
UPC: 038081554259. English.
SKU: BR.PB-5298-07
ISBN 9790004211786. 6.5 x 9 inches.
Mozart's last symphony offered editor Cliff Eisen a clear-cut basis for his work: its autograph score is the sole authentic source to have survived. In order to remain as close as possible to the performance practice of Mozart's time, the editor has tried to keep as much as possible of the composer's idiosyncratic notation style, since a consistently modernized music text would hardly allow any conclusions on the interpretative nuances envisioned by Mozart. The preface confirms the brilliance and expertise of Mozart expert Cliff Eisen, who offers a wealth of fascinating findings on interpretation, genesis and early reception.Mozart's last symphony offered editor Cliff Eisen a clear-cut basis for his work: its autograph score is the sole authentic source to have survived.
SKU: HL.49045859
ISBN 9783795711535. UPC: 888680784324. 7.5x10.5x0.419 inches.
SKU: HL.49015462
ISBN 9790001084208. 8.25x11.75x0.188 inches.
Orchester I: 3 (1., 2. auch Picc.) * 3 (3. auch Engl. Hr.) * 3 (1. auch Es-Klar., 3. auch Bassklar.) * 2 * Kfg. - 4 (2. u. 4. auch Wagnertb. in F) * 3 * 3 (1 Tenor-, 2 Basspos.) * 1 - P. S. (Glsp. * Vibr.) - Hfe. - Str. (2 (4) * 2 (4) * 2 (4) * 2 * 2)Orchester II: Str. (9 * 8 * 8 * 4 * 2)[Orch. II spielt eine selbststandige Komposition fur Streichorchester, die unter dem Titel Blendwerk auch als eigenes Stuck aufgefuhrt werden kann.]Orchester I: 3 (1., 2. auch Picc.) * 3 (3. auch Engl. Hr.) * 3 (1. auch Es-Klar., 3. auch Bassklar.) * 2 * Kfg. - 4 (2. u. 4. auch Wagnertb. in F) * 3 * 3 (1 Tenor-, 2 Basspos.) * 1 - P. S. (Glsp. * Vibr.) - Hfe. - Str. (2 (4) * 2 (4) * 2 (4) * 2 * 2)Orchester II: Str. (9 * 8 * 8 * 4 * 2)[Orch. II spielt eine selbststandige Komposition fur Streichorchester, die unter dem Titel Blendwerk auch als eigenes Stuck aufgefuhrt werden kann.].
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