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End Of Time
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Ottorino Respighi: The Pines of Rome (Finale): Orchestra: Score & Parts
Orchestra
[Score and Parts]
Hal Leonard
Full Orchestra-Long considered to be one of the most dramatic symphonic movement...
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Full Orchestra-Long considered to be one of the most dramatic symphonic movements of all time Respighi's finale is arranged to make it accessible and effective for intermediate-level groups. The tension-building final section of this monumentalwork has been carefully scored by Stephen Bulla to give your orchestra the opportunity to perform the triumphant ?ending of all endings.? (English Horn cross-cued)
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Olivier Messiaen: Quatuor Pour La Fin Du Temps: Piano Quartet: Study Score
Orchestra
[Study Score / Miniature]
Durand
Olivier Messiaen's 1941 composition Quartet for the End of Time for B-flat Clari...
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Olivier Messiaen's 1941 composition Quartet for the End of Time for B-flat Clarinet Violin Cello and Piano.
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Brant Adams Joseph M. Martin Pamela Martin: A Time for Alleluia: Orchestra:
Orchestra
Shawnee Press
Particularly perfect for Easter this cantata can be presented in any season. A ...
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Particularly perfect for Easter this cantata can be presented in any season. A Time for Alleluia celebrates the life and work of Christ; walking us through the seasons he lived among us. This materful work is highlyrecommended. Approximate time: 45 minutes.Includes: Prepare Ye the Way; Come Follow Me; The King of Sorrows; Empty Now; and more.
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Hans Abrahamsen: Four Pieces For Orchestra: Orchestra: Score
Orchestra
Wilhelm Hansen
Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programm...
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Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject
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Canons (SCHNEBEL DIETER)
Orchestra
[Study Score / Miniature]
Schott
Music Of Our Time. Par SCHNEBEL DIETER. In this work Schnebel attempts to apply ...
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Music Of Our Time. Par SCHNEBEL DIETER. In this work Schnebel attempts to apply the idea of the Baroque canon - as exemplified in Bach’s ‘Art of Fugue’ - to modern concepts of tonal colouring. The ‘Motu proprio’ of the 7 mixed groups of orchestral instruments intensifies within 28 short emotional sections to the Baroque ‘Motu contrario’. In ‘Diapason’, literally translated ‘in the octave’ but in the ancient Greek music tradition taken to mean ‘through or across everything’ among other things, the orchestra is arranged into 13 groups according to families of instruments and tonal colour. Schnebel alternately uses the term ‘fugue’ in the strict sense of the Baroque period and in its more general, purely architectonic meaning./ Répertoire / Orchestre
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Ravel Le Tombeau De Couperin/valses Nobles Et Sentimentales - Orchestra
Orchestra
[Sheet music]
Dover Publications
Description This volume contains a pair of works originally written for piano...
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Description This volume contains a pair of works originally written for piano by Ravel, and later orchestrated by him. Le Tombeau De Couperin is a four-piece suite written between 1914 and 1917, dedicated to close friends who died in World War I. Valses Nobles Et Sentimentales pays homage to the work of Franz Schubert. These eight uninterrupted Waltzes abound in Schubertian characteristics. Songlist Le Tombeau De Couperin [Ravel, Maurice] Valses Nobles Et Sentimentales
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Elliott Carter: A Symphony of Three Orchestras: Orchestra: Score
Orchestra
Associated
Score-Born in New York City on 11 December 1908 Elliott Carter began to be seri...
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Score-Born in New York City on 11 December 1908 Elliott Carter began to be seriously interested in music in high school and was encouraged at that time by Charles Ives. He attended Harvard University where he studied with Walter Piston and later went to Paris where for three years he studied with Nadia Boulanger. He then returned to New York to devote his time to composing and teaching.With the explorations of tempo relationships and texture that characterize his music Carter has been one of the prime innovators of 20th-century music. The challenges of works such as the Symphony Of Three Orchestras are richly rewarding.
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Om Lys Og Lethed
Orchestra
[Score]
Wilhelm Hansen
Par GLERUP RUNE. My violin concerto would never have been written if I had not m...
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Par GLERUP RUNE. My violin concerto would never have been written if I had not met Isabelle Faust. At a time when I had not written a single note for several months, doubting if I would ever write anything again, her interest and energy was the cause of new inspiration. Just as important was her special way of playing - with intellect, heart and a rare, delicate sensibility. Her personality and musicianship struck a chord in me, in my music, which gave my thoughts a new direction. The violin concerto marks a change in my music towards a simpler and lighter expression. An expression that also contains detached glimpses from my childhood's endless summers by the North Sea. Birds, high and slow on a blue sky, and the evening quietly descending. The special light, the distant sounds. But also the confusion, repetitions and dead ends of the world. An expression that, more than in my previous music, is 'About Light and Lightness.' - Rune Glerup, 2021 / Date parution : 2023-10-31/ Répertoire / Orchestre
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Nicolas Bacri: Concerto Amoroso 'Le printemps' (2005) opus 80/2
Français
Orchestra
[Sheet music]
Chant du Monde
Solo for Oboe or Violin-'The title only appears frivolous to those who have live...
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Solo for Oboe or Violin-'The title only appears frivolous to those who have lived little. With the passage of time the seasons that pass the differences in quantity and quality of light of temperature and weather become of ever greater importance in the meaning of our individual existence. This transformation follows the path of our lives and often mimes in front of our very own eyes incredulous and wondrous events that we can only experience once in a lifetime: our birth our blossoming our aging and our death. Such a subject could well take up ten years of my life. This was the case. Nevertheless everything started very innocently with a proposition from my friend François Leleux to write him a double concerto that he could play with Natalia Gutman initially named ‘Musica Concertante’. It was with this second proposition from François for another double concerto this time with Lisa Batiashvili that the idea came to me for a cycle of four concertos with each time a different instrument from the string quartet to join the oboe. The automnal colours of the cello are a perfect match for the retrospective nature of the first completed concerto in the cycle. ‘concerto nostalgico l’automne’ whilst the love and the first child of the Leleux-Batiashvili couple could only bring Spring to mind hence the ‘Concerto amoroso le printemps’ was born. When Jean-Marc Bador asked me to be an associate of the Ensemble Orchestral de Paris for two years it was quite naturally that I thought of completing this cycle for François Leleux with winter ‘Concerto tenebroso’ created in January 2010 with Lise berthaud playing the viola. All that remained was for me to conclude with a work that reunited all four protagonsits. It was summer the ‘Concerto luminoso’ which took on this role’.
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Peter Maxwell Davies: Maxwell's Reel With Northern Lights: Orchestra: Miniature
Orchestra
[Sheet music]
Chester
Miniature Score.This work was commissioned by the Royal Philharmonic Orchestra. ...
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Miniature Score.This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 13th May 1998 London. This piece is based on a genuine old tune 'Maxwell's Strathspey' which the composer found inan 1824 collection of Scottish melodies and which unfolds at the start of the piece on solo cello. Variations and a bold up-tempo to the quick dance we know as a reel ultimately yield to the magic that has been promised right atthe start: the northern lights take over at the end of the piece. Its inspiration comes from a walk to a community event in Hoy Hall during which Davies saw the lights in the sky pulsing in and out of time with the sounds comingfrom the hall. Duration 12 minutes. Conductor's score and orchestral parts are available on hire.
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Ludwig van Beethoven: Coriolan Overture Op.62: Orchestra: Instrumental Work
Orchestra
[Study Score / Miniature]
G. Henle
Coriolan Ouverture op. 62-Urtext edition study score for Ludwig Van Beethoven's ...
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Coriolan Ouverture op. 62-Urtext edition study score for Ludwig Van Beethoven's Coriolan Overture Op.62.Beethoven's Coriolan Overture Op.62 was inspired by the tragic legend of the Ancient Romanhero Coriolanus.This story enjoyed popularity in the early 1800s as the subject of a play by the Austrian writer Heinrich Joseph von Collin. By the time that Beethoven composed this overture in 1807 however the playhad long since been taken off the programme. Apparently it no longer mattered to the composer whether his music was performed in conjunction with the play or not and he thus wrote one of the earliest and to-date best-lovedconcert overtures in musical history.The text of the Beethoven Complete edition was carefully reviewed for this Henle Urtext study edition and there is a new preface.
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Malcolm Arnold: Symphony No.5 Op.74 (Study Score): Orchestra: Score
Orchestra
[Study Score / Miniature]
Novello & Co Ltd.
Commissioned by the Cheltenham Festival Society Malcolm Arnold's Fifth Symphony...
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Commissioned by the Cheltenham Festival Society Malcolm Arnold's Fifth Symphony Op.74 was composed in 1960 and first performed in 1961 (the year of his fortieth birthday). The work was composed towards the end of a period of intense compositional activity. Surrounded by controversy and criticism for its unashamed Neo-Romantic style at the time of composition it is now rightly heralded as a work of art. Edited by Millan Sachania.
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Claude Debussy: Prelude to the Afternoon of a Faun for Orchestra: Trumpet: Study
Orchestra
Barenreiter
?Prélude á l?aprés-midi d?un faune? often referred to as the first compositi...
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?Prélude á l?aprés-midi d?un faune? often referred to as the first composition of the ?modern? era is one of Debussy?s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources and several important ones are drawn upon for the first time in Bärenreiter?s new scholarly-critical edition.?Most of the currently available editions are based on the first edition from 1895 which however contains many engraver errors. When the corresponding orchestral parts are also taken into consideration countless discrepancies are revealed.?Bärenreiter?s Urtext edition incorporates readings of a printed copy of the scorefrom c. 1908 which shows corrections and emendations by the composer. These important changes found in no other source include metronome markings different pitches and additional notes as well as added tempo and articulation markings which all subtly enhance Debussy?s finely sculpted work. There is even a breath mark added to the famous solo flute passage which opens the work.?Scholarly critical edition with many corrections in the score and orchestral partsClear presentation of orchestral parts in an enlarged format 25.5 cm x 32.5 cm
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Richard Strauss: Study Scores Of The Complete Stage Works: Orchestra: Study
Orchestra
[Score + CD]
Boosey and Hawkes
This collection brings together all 18 of Richard Strauss' stage works includin...
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This collection brings together all 18 of Richard Strauss' stage works including eight which are available in study score format for the very first time. Each volume includes information on the orchestration and the original cast together with a facsimile page of the autograph full score of each work. The set includes: The early works Guntram and Feuersnot The ballets Josephs Legende and Schlagobers The complete stage music Der Bürger Als Edelmann (originally written as part of the first version of Ariadne Auf Naxos) The rarely performed operas DieAgyptische Helena Friedenstag and Die Liebe Der Danae.
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Edward Elgar: Serenade For Strings Op.20: String Ensemble: Score
Orchestra
[Score]
Barenreiter
With Christopher Hogwood’s new edition of Elgar’s much loved Seren...
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With Christopher Hogwood’s new edition of Elgar’s much loved Serenade a scholarly-critical edition of the work is now available for the first time. As with other Elgar works modern editions of the Serenade have always suffered from an enormous number of inconsistancies between the score and parts and unclear divisi and unison passages. The editor has clarified these discrepancies drawing on Elgar’s version of the work for Piano four hands (the original version) and the recently discovered autograph manuscript of the first movement. The edition also contains a facsimile showing the original ending of thethird movement as well as an informative foreword (Ger/Eng) and a critical commentary (Eng).The first scholarly-critical Urtext edition of this popular work for string orchestra.Foreword (Ger/Eng) and critical commentary (Eng).With facsimile pages.Full score and performance material (BA9041) available for sale.
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Bernard Herrmann: Portrait Of Hitch: Orchestra: Study Score
Orchestra
[Study Score / Miniature]
Novello & Co Ltd.
Herrmann wanted to write a musical portrait of his friend and colleague Alfred H...
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Herrmann wanted to write a musical portrait of his friend and colleague Alfred Hitchcok so choose motifs from the movie The Trouble With Harry one of Hitchcockâ??s more personal and humorous films. This single-movement work for Orchestra employs some of the more familiar elements of Herrmannâ??s compositional style: short musical phrases repeated and then repeated again in other positions sharp use of dynamics among them. From the first note the creepiness begins.Bernard Herrmann was among the very greatest of all composers of music for cinema and there are many who avow that he was the greatest of all. A very short list of the films for which this award-winning composercreated soundtracks includes Citizen Kane The Man Who Knew Too Much Vertigo Jason and Argonauts Fahrenheit 451 Obsession and Taxi Driver. He had a long and fertile association with Alfred Hitchcock during the most productive period of Hitchcockâ??s career and with Orson Welles from the time of the Mercury Theatre on the Air. In addition to his conducting and composing work for the entertainment world Herrmann wrote concert pieces including a symphony opera and cantata.
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A Wreath of Carols: Orchestra: Parts
Orchestra
Shawnee Press
What a find! This outstanding medley of many well-loved holiday carols will fill...
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What a find! This outstanding medley of many well-loved holiday carols will fill the need for the familiar in your holiday concert leaving time for the other Shawnee Press gems you'd like to program. Cleverly assembled andarranged by Greg Gilpin and orchestrated by Stan Pethel “A Wreath of Carols” basically sings itself weaving the colors and sparkle of the season throughout. The majestic ending will have the audience on their feetapplauding and in the holiday spirit. Fantastic!
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Gerald Finzi: The Fall of the Leaf Op. 20: Orchestra
Orchestra
[Score]
Boosey and Hawkes
Elegy-New edition to mark the 50th anniversary of the composer's death. Original...
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Elegy-New edition to mark the 50th anniversary of the composer's death. Originally intended as the final movement of a projected chamber symphony Finzi worked on this Elegy for Orchestra from 1929 until 1942. The title is borrowed from a dance in the Fitzwilliam Virginal Book. The orchestration was completed by Howard Ferguson soon after Finzi's untimely death.This new edition was prepared under the editorial oversight of Jeremy Dale Roberts.
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Hans Zimmer: Pirates of the Caribbean: At World's End: Orchestra: Score & Parts
Orchestra
[Score and Parts]
Hal Leonard
Symphonic Highlights-With some brilliant new themes along with familar strains f...
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Symphonic Highlights-With some brilliant new themes along with familar strains from the first two films this third and final chapter promises to be the best yet. Hans Zimmer's powerful musical backdrop sets the adventure level at an all-time highfor those orchestras who love to play film music. Includes: Hoist the Colors Drink Up Me Hearties I See Dead People in Boats and Up Is Down.
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Mozart W.a. - La Flute Enchantee Kv 520 - Fac-simile
Orchestra
[Score]
Barenreiter
Mozart, Wolfgang Amadeus The Magic Flute K. 620 Facsimile of Mozart's autograp...
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Mozart, Wolfgang Amadeus The Magic Flute K. 620 Facsimile of Mozart's autograph score The Seven Great Operas in Facsimile Editions of Mozart?s Autograph Scores ?Idomeneo?, ?Die Entführung aus dem Serail?, ?Le nozze di Figaro?, ?Don Giovanni?, ? Così fan tutte ?, ?Die Zauberflöte ?, ?La clemenza di Tito? ? Mozart?s seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Through happy coincidence, all seven opera scores have survived almost complete in Mozart?s manuscript. The Packard Humanities Institute (PHI, Los Altos , California ) has now embarked on producing a facsimile edition of the seven autograph scores. Mozart scholars, libraries and of course all lovers of Mozart?s stage works now have the opportunity of acquiring these priceless manuscripts in flawless reproductions. At the same time, all risks about preserving Mozart?s legacy for the world of music are taken care of. The Packard Humanities Institute (PHI) charitable foundation, known for its philanthropic programmes in the arts and sciences, has forged an ideal cooperation for the Mozart project. Under the scholarly direction of an editorial board (Ulrich Konrad , David Packard, Wolfgang Rehm , Christoph Wolff; General editor Dietrich Berke) the International Mozarteum Foundation Salzburg and the libraries where Mozart?s manuscripts are held are working together with the Packard Humanities Institute. The production of the volumes is exquisite, for the digitalization of the manuscripts has been undertaken using the latest technology, which allows for an astounding level of authenticity and precision in detail. The printing follows the uncompromisingly high standards demanded by the edition. All seven volumes include essays on the history of literature and ideas by Hendrik Birus , Hans Joachim Kreutzer and Robert Miller as well as musicological introductions by leading Mozart scholars in German and English. The facsimile edition will be distributed by Bärenreiter- Verlag . - consolidation of Mozart manuscripts held in different places - highest level of precision in reproduction and authenticity of colour through use of the latest technology - unique offer thanks to project sponsorship by the Packard Humanities Institute (Los Altos, California) Precision in reproduction thanks to cutting edge technology In preparing the manuscripts for reproduction, equipment was used in line with the highest technical standards currently available. Mozart?s original manuscripts of the seven operas are held by several libraries. For five of the operas, the different acts have even ended up in different libraries following World War II. Thus, the autograph of Act I of ? Così fan tutte ? is in the Jagiellonian Library in Kraków and the second act in the Staatsbibliothek zu Berlin ? Preußischer Kulturbesitz . In order to achieve a uniformly high level of precision in reproduction and authenticity of colour both within a work and for all seven editions, the use of the same technical equipment in all the different places was a prerequisite. Specialist from the Salzburg firm ? Kirchberger Photography? were employed, were provided with the latest equipment by the Packard Humanities Institute and also given special additional training in the modern technology by specialists in the USA. Proofs of each edition were compared with the original in each location and improved until the likeness could not be bettered in all details. Mozart?s music and text notation is reproduced extremely clearly, and even those places where Mozart corrected or had rubbed out marks he had already made, appear in these editions in a previously unmatched transparency.
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John Adams: Shaker Loops (revised): Orchestra: Score
Orchestra
Hal Leonard
Score-Although in its own way an example of 'continuous' music Shaker Loops dif...
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Score-Although in its own way an example of 'continuous' music Shaker Loops differs from most other works of its kind because it sees so much change within a relatively short amount of time. Also it avoids the formal and temporalpurity of much 'minimal' music by not adhering to a single unbending tempo throughout allowing for a freer movement from one level of energy to another.The 'loops' are melodic material assigned to the seven instruments each of a different length and which when heard together result in a constantly shifting play amongst the parts. The four sections although they meld together evenly are really quite distinct each being characterised by aparticular style of string playing. The outside movements are devoted to 'shaking' - fast tightly rhythmicised motion of the bow across the strings. The 'slews' of Part 2 are slow languid glissandi heard floating within analmost motionless pool of stationary sound whereas Part 3 is essentially melodic with cellos playing long lyrical lines (also loops) against a background of muted violins.
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Per Nørgård: Symphony No. 5: Orchestra: Score
Orchestra
Wilhelm Hansen
Full Score-Full orchestra score for Per Nørgård's Symphony No. 5 (1987-90 rev...
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Full Score-Full orchestra score for Per Nørgård's Symphony No. 5 (1987-90 rev.1991). Manuscript copy. Programme note: My 5th Symphony was commissioned by the Danish Radio Symphony Orchestra and premiered on December 6th 1990 by and dedicated to the Danish Radio Symphony Orchestra and conductor Esa-Pekka Salonen. After the premiere in 1990 I decided to revise the beginning (and only the beginning) of the work. The first pages of the score were discarded and about 20 seconds of new music was written in the summer of 1991. The new and final versionwas premiered on 1st of May 1992. The symphony progresses without pauses between movements often in several layers of tempo with mutual ´golden section´proportions. The listener´s experience of form in the work will therefore depend on the directions of his own attention. But so far as overall divisions are concerned four sections (perhaps five) - running into each other - can be traced: an expansive cascading introduction a kind of scherzo an chaconne-like adagio and a kind of finale again with the phenomenon of ´cascades´ as a main idea. However as the course is from time to time thrown into chaos by convulsive twitching and crises other experiences of form are opened out within a spectrum from wild to cautious from dramatic to contemplative in a universe of tempi which can suggest the title of a book of poems by the Danish Michael Strunge (1958-1986): ´Velocity of life.´ A listener described the symphony as “a walk with a fire-breathing dragon” and a reviewer described it with words like “a pacifist in times of war”. Anyway words and programme note are – as Carl Nielsen said about titles – only “road signs” for personal experiences in the area of music itself. Per Nørgård
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Dufourt Hugues - On The Wings Of The Morning - Conducteur
Orchestra
Lemoine, Henry
Création 30/11/2012 - Cologne (Allemagne), Philharmonie - Nicolas Hodges (piano...
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Création 30/11/2012 - Cologne (Allemagne), Philharmonie - Nicolas Hodges (piano), WDR sinfonieorchester Köln, Ilan Volkov (direction) Commanditaire Westdeutscher Rundfunk Köln Dédicace à Nicolas Hodges Notice Le titre de ce concerto est emprunté à l'ouvrage classique de l'archéologue et philologue américaine Emily Dickinson Townsend Vermeule, Aspects of Death in Early Greek Art and Poetry (1979). Le chapitre V s'intitule : On the Wings of the Morning : the Pornography of Death. Il s'agit de cas de mort subite, de disparitions soudaines, du rapt des mâles par quelque femme-oiseau ou femme-lion - Harpies, Sphinges ou Sirènes -, créatures monstrueuses dont l'attrait est fatal. Les adorateurs de Dionysos ont souvent remarqué l'aisance et la grâce provocante de ces enjôleuses qu'un geste de brusque sauvagerie rapproche tout de même de la panthère. Pour la victime éblouie, l'envolée vers les cimes culmine en une étreinte funeste. Un battement d'ailes, une jonchée d'ossements, tel est le tableau de la pornographie de la mort. On the wings of the morning est une allusion aux incertitudes du temps présent, à ses Furies modernes. Ce concerto pour piano ne recherche pas l'effet pittoresque et n'a pas de caractère illustratif. L'évocation des bacchantes de l'Hadès est simplement l'occasion d'une fantasmagorie du demi-jour où les ombres jouent sur les surfaces tendues. L'orchestre se comporte comme une masse tumultueuse dont la dynamique conflictuelle est dominante. L'association des pupitres de clarinettes et de trombones, conçue comme un matériau paradoxal, donne sa tonalité d'ensemble à l'oeuvre : amères présences, prosaïsme lugubre, voûtes sans écho. Le temps n'est plus qu'un écheveau de moments transitoires. Le pianiste se trouve dans la situation du forçat des Palmiers Sauvages de Faulkner, condamné à pagayer sur le Mississippi en crue. Le Déluge, les apparitions démoniaques, le vent, le froid font son ordinaire. Sa tâche est de coudoyer les abîmes. L'esprit de ce piano n'est ni constructiviste ni combinatoire. C'est un esprit de survie, concentré sur l'intensification du matériau et la plasticité du mouvement. Commande de la Westdeutscher Rundfunk de Cologne, ce concerto pour piano et grand orchestre est dédié à Nicolas Hodges. Hugues Dufourt
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Joseph M. Martin Pamela Martin: A Prayer for Our Time: Orchestra: Parts
Orchestra
Shawnee Press
Uses: Patriotic MemorialComposed the week of September 11 2001 this anthem is ...
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Uses: Patriotic MemorialComposed the week of September 11 2001 this anthem is an impassioned cry for peace and a testimony of trust in the providence of God. Incorporating The Navy Hymn theme the new textlifts our eyes to the God who restores protects and defends. This best-seller has been used in national memorial gatherings and is available with several accompaniment options to maximize flexibility for directors in theirprogramming options.
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Franz Joseph Haydn: Symphony No.8 In G Major Hob.I: Orchestra: Parts
Orchestra
Barenreiter
Haydn's Symphony No.8 is the final piece in his triptych on the times of the day...
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Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
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Franz Joseph Haydn: Symphony No.8 In G Major Hob.I: Orchestra: Part
Orchestra
Barenreiter
Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his tripty...
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Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
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Franz Joseph Haydn: Symphony No.8 In G Major Hob.I: Orchestra: Score
Orchestra
[Sheet music]
Barenreiter
With 2 violino concertato-Haydn's Symphony No.8 is the final piece in his tripty...
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With 2 violino concertato-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
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Franz Joseph Haydn: Symphony No.8 In G Major Hob.I: Orchestra: Part
Orchestra
Barenreiter
Haydn's Symphony No.8 is the final piece in his triptych on the times of the day...
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Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
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Franz Joseph Haydn: Symphony No.8 In G Major Hob.I: Orchestra: Part
Orchestra
Barenreiter
Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his tripty...
(+)
Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale
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Musikvermittlung - Wozu?
Orchestra
Schott
Musikvermittlung hat sich zu einem festen Bestandteil unserer Musikkultur entw...
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Musikvermittlung hat sich zu einem festen Bestandteil unserer Musikkultur entwickelt. In den Aufsätzen dieses Buches werden Umrisse und Aufgaben der künstlerischen Disziplin beschrieben, Arbeitsfelder, Ausbildungsfragen und Adressaten thematisiert, Methoden und neue Medien gesichtet, kritische Aspekte und Qualitätskriterien erörtert sowie historische Prozesse und zukunftsweisende Perspektiven aufgezeigt - Bestandsaufnahme und Neureflexion einer offenen und offensiven Musikvermittlung, die dem Musikleben neue Impulse verleiht. / Orchestre
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