SKU: PR.11641867L
UPC: 680160683215.
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.
SKU: PR.11641867S
UPC: 680160683208.
SKU: HL.49047172
UPC: 196288143406.
When the 24-year-old Richard Strauss, assistant conductor in Munich, began the composition of his third tone poem in the summer of 1888, he saw himself close to the aspiration prescribed by his mentor Alexander Ritter: to become the successor of Richard Wagner as a musical dramatist. Strauss had already been working on the text of his first opera Guntram for a year and additionally devoted himself to programmatic orchestral works oriented to the musical language of Liszt and Wagner in order to prepare himself compositionally for his new task. With the aid of Strauss and other musicians including Ludwig Thuille and Friedrich Rösch who had been gathering for “Ritter's round table†in Munich between 1886 and 1889, RitterÂ’s intention was to achieve success on a broad front with the New German School following the death of its two protagonists Wagner and Liszt. We do not know whether Ritter and his supporters jointly planned Strauss's compositional path towards opera, determined the subjectsof his prospective tone poems and considered various strategies of their musical realization, but the influence of this group shouldnot be underestimated. It cannot be ruled out that the number of three tone poems was fixed, as was their sequence of composition, which would progressively achieve its zenith in an increasing orientation to Liszt and Wagner. The circle could possibly have also discussed initial links to literary subjects (Macbeth and Don Juan) and ultimately the abstention from this practice in the third and final tone poem. The subject of the work, or rather in StraussÂ’s formulation its “poetic modelâ€, has occasionally been interpreted from an autobiographical aspect. Strauss however did not experience serious illness until May 1891 and once more in June 1892, long after Tod und Verklärung had been composed. Even without an external reason, the material would have been only too attractive for an admirer of Wagner and Liszt like Strauss, not to mention for his mentor Alexander Ritter. The concept of 'death and transfiguration' had already played a central role in LisztÂ’s symphonic poems Tasso and Prometheus.
SKU: HL.14025075
ISBN 9780853609421. 8.5x11.75x0.5 inches.
'I responded to this exciting but rather daunting commission by writing a very lively and I hope very accessible piece, which, I decided before I started composing, should be full of tunes. I wrote it in memory of my dear friend Sheila MacCrindle, who died in 1993... although this partita is in her memory, it never occurred to me to make it gloomy or dirge-like; that is not how I remember her.' Richard Rodney Bennett. Commissioned by British Telecommunications plc in co-operation with the Association of British Orchestras 95/96 season. Facsimile Study Score. Duration: c.17 mins. The full score and material is available for hire from Novello.
SKU: AP.12-0571540104
ISBN 9780571540105. English.
Inspired by Oliver Sacks's fascinating exploration of atypical mental states, Five Hallucinations, Carl Vine's trombone concerto, was premiered in October 2016 by Michael Mulcahy and the Chicago Symphony Orchestra under James Gaffigan. Each movement of the 20-minute concerto is based on a different hallucination, from the ominous Doppelgänger to the rather absurd The Lemonade Speaks.
SKU: HL.49006362
ISBN 9790001068932. UPC: 073999352177. 10.5x13.25x0.099 inches.
The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823.In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers - a vision Beethoven shared with him.In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions - for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for.In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity.The score of this offical anthem is exclusively available from the Schott publishing house.(1 Piccolo-Flote, 2 Floten, 2 Oboen, 2 Fagotte, 1 Kontrafagott, 1 Klarinette in Es, 3 Klarinetten in B, 1 Bass-Klarinette in B, 2 Alt-Saxophone in Es, 1 Tenor-Saxophon in B, 1 Bariton-Saxophon in Es, 3 Trompeten in B, 2 Kornette in B, 2 Horner in F, 3 Posaunen, 2 Flugelhorner in B, 3 Tenorhorner in B, 1 Bariton, 2 Tuben, Pauken, Kontrabass).
SKU: LO.30-3177L
UPC: 000308139914.
Starting with a contemplative opening and building to a powerful climax, this dynamic anthem will enhance any worship or concert experience. Your congregation and choir will be inspired by this affirmation of faith!
SKU: BR.PB-5698
ISBN 9790004216354. 10 x 12.5 inches.
Joachim Raff's Fifth Symphony Lenore op. 177, composed in 1872, reveals the composer as a representative of the middle ground between Neo-German aesthetics and the symphonic tradition. It owes its name to G. A. Burger's ballade, which is the programmatic basis of the final movement. Using this literary model, Raff oriented himself to the Berlioz program symphonies and the Liszt symphonic-poem concept, on the one hand, but on the other, he let the three preceding movements follow traditional symphonic form. Raff conducted the Lenore symphony's premiere in December 1872 in a concert by the Furstliche Hofkapelle in Sondershausen. The concert went to his satisfaction, although the audience evidently did not know what to make of the work: [...] and the symphony [...] was played before this faintly musical party. Essentially for the greater glory of God and my edification, less for that of the said public, which seems to have been rather horrified by it. His friend Hans von Bulow had, however, a great pleasure in hearing the symphony the following year in Berlin. In her preface, the editor Iris Eggenschwiler provides detailed information about the work's genesis, documents Raff's ideas and intentions, and facilitates a comprehensive orientation within the historical context. Breitkopf & Hartel is now presenting for the first time with this symphony an orchestral work by Raff in a modern Urtext edition, thus also continuing its collaboration with the Joachim-Raff-Gesellschaft.In collaboration with the Joachim-Raff-Archiv Lachen (CH).
SKU: HL.49006360
ISBN 9790001068918. UPC: 073999351262. 8.25x11.75x0.004 inches.
The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823.In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers - a vision Beethoven shared with him.In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions - for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for.In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity.The score of this offical anthem is exclusively available from the Schott publishing house.
SKU: HL.49006355
ISBN 9790001068864. UPC: 884088033194. 9.0x12.0x0.081 inches.
SKU: HL.49006358
ISBN 9790001068895. UPC: 073999351248. 8.25x11.75x0.005 inches.
SKU: HL.49006357
ISBN 9790001068888. UPC: 073999351255. 8.25x11.75x0.004 inches.
SKU: HL.49006361
ISBN 9790001068925. UPC: 073999351286. 8.25x11.75x0.004 inches.
SKU: HL.49006359
ISBN 9790001068901. UPC: 073999351279. 8.25x11.75x0.008 inches.
SKU: HL.49006356
ISBN 9790001068871. 8.25x12.0x0.088 inches.
SKU: BA.BA08866-90
ISBN 9790006577200. 27 x 19 cm inches. Text: Gautier de Montdorge, Antoine-César / Bersin, Louise-Angélique.
The ballet â??Les Fêtes d'Hbâ? deals with the talents that are usually the subject of the Opra and are placed at the service of love on stage: poetry and declamation (1st entre, La Posie), song and harmony (2nd entre, La Musique) and finally dance and choreography (3rd entre, La Danse); hence the alternative title of the ballet â??Les Talents lyriquesâ?. In this ballet opera, Rameau consistently gives priority to the female roles. The prologue glorifies Hb, the goddess of youth, and her alliance with love, while â??La Posieâ? praises the poetress Sappho, who sings almost throughout, and â??La Musiqueâ? concentrates on the omnipresent princess Iphise; finally, â??La Danseâ? has as its main character the shepherdess Ã?gl, who excels in dance and song.Since the premiere, the text of the libretto has been perceived as rather unbalanced. Rameau compensates for these poetic shortcomings with musical boldness and innovations of the highest order. Be it the overture that throws Lully's model overboard, the varied choral movements such as that of the Thessalians â??Que jusqu'au fond de nos grottes profondesâ?, the virtuoso arias such as Sappho's air â??Un jour pass dans les tourmentsâ? or the magnificent monologues for Iphise and Tirte â?? the originality and beauty of the music testify to incredible ingenuity.Audio sample on Youtube
SKU: HL.14043216
ISBN 9781783056200. English.
Michael Nyman's Musique A Grande Vitesse (MGV) translates as ‘high speed music’ and was commissioned by the Festival de Lille for the inauguration of the TGV North EuropeanParis-Lille line in 1993.
This piece of sheet music runs continuously, but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which isonly heard in its 'genuine' form when the piece reaches its destination.
Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural -constantly change their identity as they pass through different musical 'environments'.
The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and aharmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A)begins the second section, featuring Brass, in D flat.
The topography of MGV should be experienced without reference to planning, description or timetables. Its tempo changes and unpredictable slowings downbear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably theband (amplified in live performance) lays down the tracks on which MGV runs.
SKU: PO.PEV01
ISBN 9781776607013.
Recognised as one of the major musical figures of his time, Ralph Vaughan Williams incidental music for Gilbert Murray's English translation of Euripides Iphigenia in Tauris is now available for purchase. A preview of the production appearing in The Globe remarked of Vaughan Williams musical setting: This music is no experiment in style. It would seem, rather, as though the composer had disclaimed all styles and all schools, and found direct inspiration in the material of the poet's inspiration, and the result is something of undeniable beauty. .
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.49001770
ISBN 9790001021197. UPC: 073999293562. 9.25x12.0x0.07 inches.
Though A.E. Brachvogel's portrayal of the failed genius in his biography about W.F. Bach drew an impressive picture of the inner turmoil of the eldest Bach son's personality, it is rather unproductive for the understanding of his music. However, legends often or mostly contain a core of truth: There is no doubt that the highly gifted musician failed because of the overwhelming example of his father (as composer) particularly since he was on the threshold from one epoch to another.In the adagio, both flute parts rising above the string orchestra are assigned a quality of expression that can already be related to the sentimental age whereas the second movement, a more or less strict string fugue, is rooted in the tradition-conscious baroque period.
SKU: SU.90810130
Instrumentation: 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 3tbn(bs), tba; timp, 4perc, pno; strings Duration: 7' Full Score & Parts: available on rental Composed: 2003 Published by: Subito Music Publishing Composer's Note: Maintaining a persistent beat throughout, Fantasy for Orchestra begins with a dramatic and highly energetic theme stated immediately in the violins. The range of expression is wide, moving from dance-like rhythms -- making use of irregular meters -- to rather dreamy textures. Throughout much of the work, even in the softer, more fantasy-like middle section, the use of percussion -- gongs, cowbells, and various drums -- is prevalent. --N.G.
SKU: BA.BA10980
ISBN 9790006562831. 31 x 24.3 cm inches. Key: G major. Text Language: German, English. Preface: Andreas Friesenhagen.
This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “soloâ€, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo†marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly.Continuing the collaboration between Bärenreiter and the Henle publishing company in large-scale choral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydnâ€. The complete performance material for several “Sturm und Drang†symphonies and all of the London and Paris symphonies is now available from Bärenreiter.
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: KN.9121
UPC: 822795091212.
Originating as a peasant dance in the Dauphine region of southeastern France and requiring dancers to raise rather than slide their feet, the gavotte became popular in European courts during the Baroque era. In this setting of Gossec's famous Gavotte In D, simple rhythms and interesting ornaments make it perfect for any concert program. Duration 3:15. Available in SmartMusic.
SKU: HL.48024683
ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.
TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
