SKU: HL.293395
ISBN 9781540050984. UPC: 888680936129. 9.0x13.75x2.61 inches.
This cantata is a celebration of light. Filled with time-honored carols and expressive original songs, this work will dazzle and inspire. The first half of the cantata is dedicated to hopeful prophecies associated with the coming Light of the World. With the birth of Jesus, the second part moves forward to declare the tidings of great joy and is crowned with an opportunity for the congregation to join in singing, Joy to the World. Brant Adams and Robert Sterling shine as orchestrators of this truly festive work. Glorious! Songs include: A Festive Call to Christmas; Celebration of Light; Come, Golden Light; Dazzling Joy; Beautiful Name; Dreamer of Stars; Angel Song; Silver and Shadows; Joyous Carols of Christmas. Score and Parts for Full Orchestra (fl 1-2, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn, 1-2, tba, timp, perc 1-2, hp, pno, vn 1-2, va, vc, db) available as a Printed Edition and as a digital download. Score and Parts for Consort (fl, cl, tpt 1-2, tbn, perc, kybd str) available as a Printed Edition and as a digital download.
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€.
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.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: AP.50777S
ISBN 9781470669355. UPC: 038081588179. English.
This melody is instantly recognizable, and your students will love playing it. From the classic films Willie Wonka and the Chocolate Factory, Charlie and the Chocolate Factory, and Wonka. This arrangement, by Chris M. Bernotas, is ideally suited for your young orchestra. There are chromatic notes, simple shifts, and engaging parts for all. A fun way to introduce your students to the world of Wonka! (1:25).
SKU: AP.50777
ISBN 9781470669348. UPC: 038081588162. English.
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: CL.CTS-7867-01
One of Claude T. Smith's last completed works, Raise Your Voice in Song was commissioned by the Nebraska Music Educators Association for the 50th Anniversary on NMEA! It was written for the 1986 All-State Band, Choir and Orchestra for their combined performance on November 22, 1986 in Hastings, NE. This majestic work lends itself as a finale, for full orchestra, or a combined performance with choir. There are two sets of lyrics (secular and Christmas).
SKU: SU.32040140
2222; 4331; timp, 2 perc, pno; stgs Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC Like a modern Pictures at an Exhibition…. Ha Shamayim is an original piece for orchestra that was inspired by photographs taken by the Hubble space telescope. Each section is inspired by one photo; the title of each section is the title that NASA gave to the photograph. The words Ha Shamayim are Hebrew for The Heavens. They are written in Genesis 1:1, In the beginning God created the heavens and the earth. The words are also seen in Psalm 19. Section I: Warped Edge-On Galaxy ESO 510-G13 The piece begins in outer space with its glistening stars. Glissandi are used to depict the strange but beautiful warp seen in the photograph. Section II: Galaxy Fires at Neighboring Galaxy Suddenly the piece erupts as one galaxy fires blue gas at its neighbor. They engage in a cosmic battle. Section III: Youthful-looking Galaxy May Be an Adult The adolescent galaxy is personified by a humorous, gawky melody reminiscent of teenage boys who walk on feet that are still too big. Occasionally there is an argument with an authority figure, but the joy of exploring the universe quickly returns. Section IV: Star Birth in Galaxy M83 The dramatic photograph looks like a womb with veins. The music begins on one note, then it begins to explore the initial swelling and stretching. It morphs into an energetic fast theme, still growing. Ultimately it becomes glorious and expansive, like the new star. Section V: String of ‘Cosmic Pearls’ Surrounds an Exploding Star The first theme is a happy circle dance inspired by the circle of white dots in the photograph. The second theme is noble and joyful. It is reminiscent of the melody in the famous chorus in Haydn’s The Creation with the words from Psalm 19, The heavens are telling the glory of God. The music then has flashbacks to the earlier sections, and ends in triumph. The five sections in Ha Shamayim are continuous with no breaks. Difficulty Level: 5 (Advanced/Professional) See composer website for audio sample. Performance materials available on rental only:.
SKU: AP.36-A213048
ISBN 9798892705271. UPC: 659359875526. English.
Richard Strauss (1864-1949) wrote his VIOLIN CONCERTO IN D MINOR, Op. 8, between 1881 and 1882, and it remained his only foray in that genre. Composed while a teenager and still in school. While still very much a product of the Romantic era tradition, the work is not considered as distinctive as the works he would produce only a few years later, and Strauss himself later ridiculed the work. Still, with inventive and bold writing in the solo and hints of his mature harmonic style to come, there is much to enjoy in the work, including its warmth, youthful sincerity, and lyrical expression, so that it should not be dismissed as mere juvenilia, either by contemporary audiences or Strauss himself. The chamber version of the concerto was first performed in Vienna on December 5, 1882, with the dedicatee Benno Walter on the violin while Strauss played his own piano reduction. The premiere for the orchestral version would take place seven years later in Cologne on March 4, 1890, with Walter again performing the solo with an orchestra conducted by Franz Wüllner. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin.
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-A213001
ISBN 9798892705264. UPC: 659359870385. English.
SKU: AP.36-A213002
UPC: 659359873225. English.
SKU: BA.BA08811
ISBN 9790006539840. 33.1 x 26.5 cm inches. Text Language: Italian. Preface: Betzwieser, Thomas. Text: Giambattista Casti.
A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. A German Singspiel ensemble performed Mozart’s “Schauspieldirektor†whilst Antonio Salieri’s “Prima la musica e poi le parole†was performed by the Italian court singers and musicians. This charming opera satire belongs to the genre of “metamelodramma†in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the librettist, composer and prima donna, appear as characters on the stage and are presented in a humorous self-reflection. In this ‘theatre about theatre’ Salieri parodies the music from Giuseppe Sarti’s “Giulio Sabino†in his insert arias, thus playing on the music which was totally familiar with the audience of the time. By reflecting on the musical-dramatic style of that period and discussing whether ‘the word’ or ‘the music’ should take priority, this masterpiece is considered to be an early forerunner to Richard Strauss’s “Capriccioâ€.The new edition of the score is published as part of “opera – Spectrum of European Music Theatre in Separate Editionsâ€. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into this newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti’s “Giulio Sabino†have also been incorporated.• Urtext vocal score based on the historical-critical hybrid score published as part of “opera – Spectrum of European Music Theatre in Separate Editions†edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).• Original Italian libretto with singable German translation• Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodramma and intertextuality etc.• Includes an extensive appendix to the quotations taken from Giuseppe Sarti’s “Giulio Sabinoâ€â€¢ Idiomatic piano reduction
SKU: AP.35973S
UPC: 038081411804. English.
As the title suggests, this piece offers an opportunity for players to create a rich and elegant sound by using long, full bows with slurred note passages. Written in 3/4 time using the keys of C and D, there is a short solo section to allow your 1st chair players to shine. All parts stay in 1st position except the 1st violins who have a few notes in 3rd position. There are some accidentals, pizzicato and divisi throughout, and all parts share the melodic lines. A beautiful piece for developing expressive playing in your group!
SKU: AP.33712S
UPC: 038081394527. English.
As the title suggests, this fun grade 1.5 piece features ever-changing time signatures that will intrigue and challenge the young string orchestra. There are four mood shifts in the piece, suggested by a student narrator who stands up and declares simply Once upon a time, Suddenly, Luckily, and Happily ever after. But what, exactly, is the story? That's up to your students and your audience to decide! This charming piece is simple rhythmically and note-wise, but a great way to get your orchestra counting. Sure to spark everyone's imagination! This title is available in MakeMusic Cloud.
SKU: BA.BA10974
ISBN 9790006522767. 31 x 24.3 cm inches. Key: B-flat major. Language: German/English. Preface: Andreas Friesenhagen.
Haydn’s “Sturm und Drang†symphonies along with the London and the Paris symphonies belong to his most popular works today. The “Sturm und Drang†works contain not only masterpieces such as the already published “Farewell-Symphony†and the “Maria Theresia†symphony but also gems such as the recently published “La Passione†symphony (2013) and now the Symphony in B major No. 46.The publication of this symphony represents a continuation of the collaboration between Bärenreiter and the Henle publishing company in the areas of large vocal compositions, operas and symphonic works. The Symphony in B major is based on the Henle Complete Edition of the “Works of Joseph Haydn†and is published with a full score and large format performing material on sale.
SKU: HL.14000916
ISBN 9788759859179. 12.0x16.5x0.538 inches. English.
Stratifications was composed by Hans Abrahamsen in 1973-75 and was premiered in the summer 1977 by the Iceland Symphony Orchestra at the Young Nordic Music Festival in Reykjavik. Programme note: The stratifications referred to in the title unfold two different levels. There is the stratification of the time dimension produced by the opposition of contrasting parts, at the same time the polyphony, the presence of several simultaneously sounding layers, is of great importance to the music. By garish colours and clear-cut outlines a polyrhythmic simultaneousness of simple melodies is produced with more gestic music and other material which give a peculiar set piece-like effect inthe sound picture. The new simplicity details are here woven together in a new kind of complex whole. Stratifications begins with a series of concretistic masklike pictures of the music. It is like seeing lantern slides. But this fictive form crackles and the music gets attentive and real. The music is in a night-mare condition, where it is not getting anywhere in spite of a great dynamic display. But finally is liberating itself and rising in triumph.
SKU: AP.41193S
UPC: 038081471730. English.
This is a set of four individual arrangements of classic popular songs, each of which introduce or reinforce specific musical objectives. In addition, this collection is designed to serve as a complete or partial repertoire for any concert program. These highly recognizable tunes with identifiable teaching objectives can be performed in one concert or distributed throughout the year. There are piano accompaniment and percussion parts included, which are both completely optional. The percussion part is easy enough for your string players to perform.
SKU: BA.BA05822-01
ISBN 9790006567454. 33 x 26 cm inches. Preface: Brown, Bruce Alan.
To conclude Series II (Dance Dramas) from the Gluck Complete Edition (GGA), this volume of Christoph Willibald Gluck's earliest contributions to the genre comprises six ballet scores from 1759 (La Promenade, Les Jardiniers, Les Turcs, Les Savoiards, Les Amours de Flore et Zphire, and Le Suisse) as well as the ballet music for Les Vendanges, which dates from 1761. These works belong to the compositions â also called Krumau ballets because of their musical transmission â which Gluck created in Vienna between 1759 and 1765 for the court theatres in Laxenburg and Schönbrunn as well as the Kärntnertortheater, and which are to be attributed to him as a ballet composer around the middle of the 18th century in Viennese theatre life based on the considerations presented in the general preface.Together with volumes II/3 to II/5, ballet music by Gluck is available whose sources come from the former Schwarzenberg court archive in Ceský Krumlov, Czech Republic, and which until the Velvet Revolution of 1989, lay behind the Iron Curtain remaining largely inaccessible and unexplored by Western scholars. These volumes reflect two fundamental developments in Gluck research: on the one hand, they provide a significantly expanded, historically more accurate idea of what it meant to compose for the ballet in the 18th century; on the other hand, they bring to light an immense treasure trove of sources formerly of Viennese provenance.In addition to the detailed introduction by this volumeâs editor on the ballet choreographies of Gasparo Angiolini and Carlo Bernardi, on the formation of the ballet troupes of the Viennese theatres in Gluck's early years there, on ballet types and genres, as well as a detailed account of the individual titles, the volume includes a general preface to volumes II/3 through II/5 by Bruce Alan Brown, which discusses Gluck's ballet music in Vienna in general as well as the development of research into this genre. Extensive illustrations (partly from the so-called Durazzo Collection) with reference to the choreographies enrich the discussions. The ballet works, which have survived in only one source each, appear in print for the first time in this volume of the Gluck Complete Edition.
SKU: PR.416415720
UPC: 680160636150.
Illuminating Journey is composed to celebrate Maestro Carl St. Clair's 25th Anniversary season with Pacific Symphony. Maestro St. Clair is one of the few conductors who has dedicated his time to new music and support for living composers. I first encountered Maestro St. Clair in 2004 when I was one of the finalists for the Young Composers Competition. After I won that competition, I had an opportunity to work with Maestro St. Clair on the piece that he commissioned for the Pacific Symphony in 2005. That's the beginning of the journey of our friendship. Illuminating Journey is inspired by Maestro St. Clair's personality and the music he loved. The piece is mainly based on the pitch material from Maestro St. Clair's name CARL which can be translated as C = C, A = A, R = Re, and L = La. That pitch material already has the character of Illuminating sound for the open 5th and octave. The piece also incorporates some musical references that have some meaning for Maestro St. Clair, such as the hopefulness of the melodic intervals from West Side Story, There's a Place for Us, composed by Leonard Bernstein, who was also Maestro St. Clair's mentor. Illuminating Journey starts with the rhythmic motion of the pitch C and moves on to create a set of pitches. The note C functions as a center for the endless energy of this piece and creates a triumphant ending. I would personally like to thank Maestro St. Clair for his dedication on my music and his friendship throughout the past 10 years. The work with Maestro St. Clair and the Pacific Symphony was an early step in my career as a composer. I often mentioned that I may not be able to come this far without that part of my life. Thank you very much, Maestro St. Clair and the Pacific Symphony. Let's celebrate our Illuminating Journey together.
SKU: PR.41641572L
UPC: 680160636167.
SKU: HL.50600470
8.25x11.75x0.183 inches.
“In early 2006 I was commissioned to write a piece to be premiered in a church. Before beginning work on it, I tested the acoustics there, according to which the compositional concept developed. Somewhat later I began to compose the piece 'with the church', so to speak. During the process of composition, however, the music gradually distanced itself from the original spatial conditions and developed into a piece whose characteristics were transformed into a church-acoustical structure. 'I see your music when I hear it', a listener once said to me. Does one really see the music? Can fragrances be heard? Or can one smell colours? This 5-part composition is music in which the tones move in space on different levels, even when they are sometimes very quiet and slow; they are clear and transparent even when they are apparently dense, complicated and energetic.†(Xiaoyong Chen).
SKU: BR.EOS-20828
The world premiere of the play L'Arlesienne with the incidental music by Georges Bizet was a notable failure not only for the playwright Alphonse Daudet, but also for the composer.
ISBN 9790004784693. 10 x 12.5 inches.
The two four-movement orchestral suites, in turn, are still thrilling concert-goers all over the world, ever since their first performances in 1872 and 1880 respectively. In 1998 and 2001, Lesley A. Wright presented the score and orchestral parts of the two repertoire pieces in an Urtext edition prepared for the first time on the basis of all relevant sources. Thus not only will the yellow Urtext angel be gracing the conducting score and orchestral parts, but, next to the standardized large format and new layout of the parts, there are other user-friendly improvements, such as practical page-turns, page-turn aids and intelligent cue notes.
SKU: AP.49460
ISBN 9781470650308. UPC: 038081571089. English.
If there is one thing music educators are it is resilient! Resilience, by Chris M. Bernotas, is dedicated to all music educators in recognition of how they always adapt to the unknown and rise to every challenge. This overture is the perfect concert opener for your first-year string orchestra. Using only the notes in the key of D, and melodic parts for all, every student will shine. Violin 2 and Viola are doubled, as are Cello and String Bass, making it very flexible and perfect for any mix of instruments. Correlated to Sound Innovations, Book 2, Level 2. (1:40) This title is available in MakeMusic Cloud.
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