SKU: HL.48180234
This edition of Ports of Call by Jacques Ibert, features the scores for the whole orchestra. This romantic piece for large orchestra was composed in 1922 and is inspired by the author?s experience in the Mediterranean Sea when he was in the navy. Slightly Impressionist, this piece is one of those who made is international reputation. Jacques Ibert (1890-1962) also composed many symphonic suites, operas and seven orchestras, including Angelique (1926) and Divertissement (1930). He also was in charge of the Accademie de France in the Villa Medicis (Roma) and was later administrator for the Paris Opera.
SKU: HL.244904
8.25x12.0x0.508 inches.
Quilting, co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic, is my first stand alone work for orchestraand is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris.During my time there, I thought a lot about what it means to compose symphonic music as a young American in the 21st century, when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century. I began to think of the American crafts-tradition of quilting as a foilto the high-art tradition of European orchestral composition. As the score for my new work began to take shape, I started thinking about the manuscript itself as an object, its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great American tradition of quilting. I imagined about how conducting an orchestra can feellike stitching a piece together, or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries, the African-American quilting tradition is especially fascinating, and the quilts tell the stories of the women and communities who made them. The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder', 'drunkards path', 'solomon's puzzle', and (my favorite for its relevance to this piece) 'the road to California. - Bryce Dessner.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: HL.14010856
ISBN 9780711960879. 0.575 inches.
Fuego Fatuo has an interesting history. Manuel De Falla (1876-1946), often regarded as the greatest Spanish composer of the 20th century, wanted to write an opera based around themes from Chopin, whomhe greatly admired. The stage work was never finished; however, several attempts have been made to arrange the work for orchestra, most successfully by the Catalan conductor Antoni Ros-Marba.
Despite its history,this orchestral suite is far from being a mere mish-mash of Chopin melodies; it is more of a meditation on Chopin's work in general, with the focus on the harmonic and textural elements which De Falla drew from his work.It forms a fascinating insight into the mind of a great musician.
SKU: AP.41218S
UPC: 038081504711. English.
It was always fun to sing this Italian song in elementary school music classes---who could resist the swinging tarantella rhythms, which made you want to sing and dance together? No need to resist, join the fun! (3:10).
About Orchestra Expressions
Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.
SKU: HL.49046988
ISBN 9781705174333. UPC: 842819115281. 8.25x11.75x0.695 inches.
SYNOPSIS Aribert Reimann's 'Trilogie lyrique' is based on three plays by Maurice Maeterlinck: In L'Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. Who is sitting in our midst? he asks. He is the only one who cansee the presence of death. Interieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirsto the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queens servants, who ful?l her demand and snatch the sleeping boy from his sisters'arms. Commentary 'In comparison with his Medea for example with its stormy outbreaks of emotion and violence, Reimann's score is worked in an impressive refinement of sound. It begins with rumbling, hesitating and expressive music in the first section, demanding highly ingenious sound effects from the lower strings including tapping and faltering glissandos in its noisy expression of mortal fear. Inthe second part, the woodwind formation plays at times almost in chamber music fashion and is then suddenly painfully shrill. The third part luxuriates and rages in its rich, full orchestration. The manner in which Reimann displays his mastery in textural shading, the invention of sounds welling up and fading away, the rhythmic and melodic capacity of suffering and the music's inner violence are all utterly compelling.'(Wolfgang Schreiber, Opernwelt, November 2017).
SKU: BR.SON-618
Sibelius No. Zero?
ISBN 9790004803202. 10 x 12.5 inches.
Whoever is looking for orchestral works in several movements by Sibelius before the seven officially numbered symphonies will run into Kullervo op. 7, as well as Lemminkainen op. 22. Sibelius follows a cyclical concept in these four tone poems, so that Lemminkainen, owing to its time of origin, can truly be labeled as his Symphony No. Zero. The previously unprinted early versions, presented in the respective volume of the Complete Edition for the first time, can be dated to the year 1895/96. The first revision was made in 1897, after the world premiere. Only after this premiere did Sibelius write his First Symphony before he again revised the Lemminkainen scores some of them much later and had them published.
SKU: HL.14008415
UPC: 884088808242. 8.5x11.0x0.261 inches.
This work, written by Maxwell Davies in 1983 for chamber orchestra, was commissioned to celebrate the quartercentenary of Edinburgh University. The first performance was given by the Scottish Chamber Orchestra conducted by Edward Harper in October 1983. Duration c. 29mins. This work was thought through in outline following a visit to the ruined pre-Reformation church of Hoy in Orkney, on a fine Spring afternoon after Maxwell Davies had played the harmonium for the tiny congregation in its large bleak Victorian replacement. The old church was surrounded by the graves of centuries, the more recent ones with familiar names, largely of people who lived in houses now ruinous - crofters, fishermen, clerics, sea-captains. Next to it stood the chief farmhouse, the Bu, going back to Viking times. He thought of the lives and deaths encompassed there, expressed through hundreds of years of music in the church, and in the big barn of the farm. The plainsongs 'Dies Irae' and 'Victimae Paschali Laudes' are used throughout the work - the first concerning the Day of Judgement, from the Mass for the Dead, the second particular to Easter Sunday and the Resurrection. These are subject to constant transformation - the intervallic contour slowly changes from one into the other, and their notes are made to dance through Renaissance astrological 'magic square' patterns. The orchestra consists of double woodwind, two horns, two trumpets and strings.
SKU: BR.PB-5654
ISBN 9790004215517. 10 x 12.5 inches.
Farewell Tod und Verklarung marks a turning point in Richard Strauss's corpus of tone poems: Even before the November 1889 premiere of his previous work Don Juan, Strauss had finished his third work in this genre. He leads the listener with great clarity through the dying hour of a person who had pursued the highest ideals. The present Urtext edition evaluates for the first time all the corrections that Strauss made in the galley proofs of the work's full score and parts, correlating these to the music text. The preface provides insight into the genesis and reception history, while the detailed Critical Report systematically documents all of the editorial decisions.
SKU: FG.55011-444-9
ISBN 9790550114449.
Einojuhani Rautavaara (1928-2016) was one of Finland's internationally most successful composers. He made his major breakthrough with the Symphony No. 7, Angel of Light, in the 1990s, but his output includes numerous classic operas, concertos, chamber music and choral works. Over his extensive career, he progressed from Neo-Classicism to strict dodecaphony to free-tonal Neo-Romanticism, combining modernism with mystical romanticism in his later works. According to the composer, the role of the composer is to be mediator, a midwife, who helps the music become alive on its own terms; Listen to what the music wants to tell you, he told his composition students, sense where it wants to go. Rautavaara rose to great international fame with the success of his Symphony No. 7, Angel of Light (1995) powered by the prize-winning recording (Helsinki Philharmonic, Segerstam, Ondine label) later the same year. Many high-profile international commissions followed, creating yet more prize-winning recordings. To mark the 25th anniversary of the work's premiere - in its original form as the Bloomington Symphony - by the Bloomington Symphony Orchestra and conductor David Pickett, Fennica Gehrman is publishing an entirely new edition of the symphony based on all available sources, including the composer's manuscript and his markings in various printed scores. This is a large-sized conductor score with extensive analysis of the work and its genesis.
SKU: FG.55011-651-1
ISBN 9790550116511.
The collective memory does not extend beyond three generations. This facilitated the new rise of the extreme right in Europe in the 2010s. Young men without a meaningful purpose in their lives are particularly susceptible to neo-Nazi ideologies. Adult sons still living with their parents channel their resentment into self-declared superiority, becoming entitled braggarts with a supposed motive to disparage anyone who is of a different colour or from a different country. Such a home made National Socialist is the nomil character underlying in orchestral work Junker Twist.
SKU: KJ.JSO372C
UPC: 8402704686.
Big Ole was the legendary first settler of Minnesota. He was a Norwegian Viking who came over on a ship and made a trek to what is now Alexandria, Minnesota, where a 25-foot statue of Big Ole now proudly stands. This enchanting work pays homage to Big Ole! It's rhythmic, lyrical, and simply fun for players and audiences. Duration: 6:31.
SKU: HL.48024524
ISBN 9781784542566. UPC: 888680925741. 8.25x11.75x0.212 inches.
Composer's Notes: “In writing this work I wanted to compose something which was both timeless and contemporary, both sacred and secular. The title (Sacred Songs) is therefore slightly misleading as the three poems are concerned with political repression in Latin America and are deliberately coupled with traditional religious texts to emphasise a deeper solidarity with the poor of that sub-continent. It was my interest in Liberation Theology which made me combine the poems of the Mothers of the Plaza de Mayo in Argentina with the texts of the Latin mass in Búsqueda (an earlier music-theatre work) and has now led me to attempt a similar synthesis of ideas in Cantos Sagrados. The voices in Ariel Dorfman's poems belong to those who suffer a particular type of political repression: the 'disappearance' of political prisoners. Ana Maria Mendoza's poem about the Virgin of Guadeloupe tackles the same problem by asking a more fundamental cultural and historical question.â€.
SKU: KJ.JSO372F
UPC: 8402704685.
SKU: BR.PB-5552-07
ISBN 9790004213629. 6.5 x 9 inches.
Wolfgang Amadeus Mozart wrote his Hafner Symphony K. 385 in the summer of 1782 on the occasion of the elevation into the nobility of his friend and patron Sigmund Hafner. Next to the well-known movements, this version (A) also contained the March K. 408/2 (385a) and possibly a second, no longer extant minuet. Called Hafner=Musique by Mozart, the work was unquestionably a serenade at first. In early 1783 Mozart then reduced the Hafner Music for his subscription concert at the Vienna Burgtheater on 23 March 1783 to a four-movement symphony. This is the form in which the work was first printed in 1785 (Version B). For a further performance, Mozart added flute and clarinet parts to the symphony. In 1805, this version (C) was published by Andre in Offenbach, who thus began making it known.The primary sources of the present Breitkopf Urtext edition are the autographs to K. 385 and K. 408/2 (385a). It thus becomes possible for the first time to play all three versions of the Hafner Music, since the variants of Versions A and B can be easily discerned through indications in footnotes and notes in small print.
SKU: BR.PB-5373
ISBN 9790004212417. 10 x 12.5 inches.
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.49027096
ISBN 9790001023061.
This valuable though seldom played early work from his Salzburg period contains the entire youthful charm of Mozart. It can be played without wind instruments whose parts are included in the strings. In this case, even the piano or harpsichord can be added as sound filler as was often done by Mozart himself when he conducted a work sitting at the respective instrument.
SKU: HL.49001676
ISBN 9790001023054. 0.271 inches.
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