SKU: NR.105024

Fur Orchester, opus 56, 1941 Partitur (2Bande)
Sinfonie uber nordkaukasische Volkslieder.

SKU: NR.104868

Fur Orchester, opus 15, 1914 Partitur (2B%0nde).

SKU: NR.104880

Fur Orchester, opus 18, 1917-1918 Partitur (2B%0nde).

SKU: NR.104909

Fur Orchester, opus 36, 1933 Partitur.

SKU: NR.104873

Fur Orchester, opus 17, 1917-1918 Partitur (2B%0nde).

SKU: NR.104911

Fur Orchester, opus 37, 1933 Partitur (2Bande).

SKU: CF.C1232

ISBN 9781491160923. UPC: 680160919529. Transcribed by John Stafford Smith.

The celebratory and dramatic rendition of The Star-Spangled Banner by Sean O'Loughlin, first arranged for brass and percussion, is now beautifully scored for full orchestra. O'Loughlin's popular arrangement has become a favorite of both the Oregon Symphony and Baltimore Symphony brass players, being played at sporting events including Portland Trailblazers NBA basketball games, Baltimore Orioles baseball games, and Baltimore Ravens football games.With fanfare flourishes and colorful touches, this grand arrangement gives each section an opportunity to play the melody, making for a truly dynamic experience.

SKU: HL.48024880

ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.

This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.

SKU: NR.104765

Fur Orchester, opus 10, 1910-1943 Partitur,Izbrannye sochineniia ; 7.

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.