SKU: SU.94010400
2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset.
SKU: BA.BA11534
ISBN 9790260108660. 31 x 24.3 cm inches. Preface: Mojzisova, Olga / Macdonald, Hugh.
In late September 1874, shortly after losing his hearing, Smetana started work on “VyÅ¡ehradâ€, the first symphonic poem in what would become a six-part cycle with the title “Má vlast†(My Country). It tells the eventful history of this fort in Prague.“VyÅ¡ehrad†was published by Urbánek together with “Vltava†(The Moldau), the next part in the cycle, in a version for piano duet in December 1879. The full score and parts, proofread by the composer, followed in February 1880. Hugh Macdonald has corrected many errors in this first edition. He draws on the autograph and first print of the orchestral version and also refers to the autograph and printed piano duet version.
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: PE.EP67890
ISBN 9790300747613. 297 x 420mm inches. English.
Libretto by James Fenton
In a make-believe world, based loosely on Bombay and Kashmir, the story of Haroun is a tale of a fight between the free imagination and the powers that oppose it. Haroun's father, Rashid, the Shah of Blah, is a professional and gifted story-teller, a popular figure much in demand at public events. Feeling neglected, his wife is persuaded to leave him and run away with a neighbor. After this, Rashid loses confidence in his powers of story-tellling, haunted by his son's question: 'What's the use of stories that aren't even there?' Rashid is due to speak at a political rally to be held by the sinister politician, Snooty Buttoo. He is told that if he does not come up with his usual fund of tales, his tongue will be cut out. As Rashid despairs, Haroun determines to rescue his father's talent - a project in which he learns that the Ocean of the Sea of Stories, the source of all stories, is being polluted by the enemy of all stories, the evil Khattam Shud. In a series of brilliant imagined adventures, Haroun succeeds in defeating the powers of darkness, and restoring happiness to his family, and to the city where he lives.
Salman Ruishdie's children's book, written in the aftermath of the fatwa, has an effervescent style which is full of rhymes and wordplay. The libretto stays very close to the spirit of the original, conjuring up a fantasy world in which, nonetheless, one never loses sight of harsh political reality and the great issues of freedom of speech and imagination. -- James Fenton, 1998
SKU: HL.14032192
ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).
Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.
SKU: BR.PB-5544-07
ISBN 9790004213544. 6.5 x 9 inches.
That Schumann truly dug his heels into symphonic creation becomes clear at the latest when we look not only at his four well-known symphonies, but also at the works between the genres, such as the Overture, Scherzo and Finale. Unlike the traditional symphonic form, this work has no slow movement. Schumann spoke of it as a suite which hints at a loose connection of movements and as a sinfonietta. Ultimately, he decided to name it after the headings of the three movements which also share common traits among one another. Overture, Scherzo and Finale is being published here for the first time with an Urtext score and parts. The genesis of the work was marked by corrections and revisions. Schumann subjected the work to a thorough revision after the premiere performance and, after the publication of the orchestral parts in 1846, made more changes for the first edition of the score seven years later.Urtext of Schumanns Sinfonietta.
SKU: HL.51489052
ISBN 9790201890524. UPC: 888680950682. 7.0x9.0x0.238 inches. Preface: Ullrich Schneidler.
Joseph Haydn's so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique†in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. This E-flat major Symphony, composed in 1786, is notable for its colourful use of the woodwind, which are also allowed to come to the fore in solo passages. This study edition reproduces the musical text of the Haydn Complete Edition, which isa guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.
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: BA.BA10989
ISBN 9790006575534. 31 x 24.3 cm inches. Key: C major.
Letters of the composer have come down to us only on a few of Haydn’s symphonies, amongst them the “Laudon†Symphony Hob. I:69. In one of these letters, Haydn agrees to the publisher’s suggestion to name the symphony after the widely known and favoured general Gideon Ernst von Laudon (1717-1790). By using this name, both composer and publisher hoped to increase the commercial success of the work which possibly deserved a military eponym considering its instrumentation with timpani and trumpets. Also, the symphony requires two bassoons, but no flutes, corresponding with the available musicians at the court of Esterházy between 1775 and 1776. In continuation of the collaboration between Bärenreiter and G. Henle Verlag, this edition is based on the Urtext of the Complete Edition “Joseph Haydn Works†published by G. Henle Verlag.
SKU: LO.30-2651L
UPC: 000308125962.
With pulsating energy, Pepper Choplin's creative genius vividly conveys the excitement and the tension of the crowd as Jesus rode through the Jerusalem streets. There are opportunities for soloists in this anthem and the option of using trumpet and percussion or full orchestra for accompaniment. Questions from the people are answered with shouts of affirmation in this perfect choice for Palm Sunday. (From the cantata Come, Touch the Robe SATB--55/1123L; SAB--55/1124L) The orchestra includes a Conductor's Score and parts for Flute, Oboe, Clarinet, 2 Horns, 2 Trumpets, 2 Trombones, 2 Percussion, Piano, Guitar (nylon strings), 2 Violins, Viola, Cello, and Bass.
SKU: LO.30-3592L
UPC: 000308151251.
From the pen of Pepper Choplin comes Christmas Presence, a musical telling of the Christmas story and its impact on our lives and the lives of those around us. From the energetic opener, The World Awaits Your Coming, to the reflective Still They Are Here, this work inspires us to dwell on the important and profound way that Christmas brings us together through the joy of Christ’s birth. Beautiful original melodies and thoughtful texts are paired with and inspired by favorite carols of old in a unique and creative way. The finale features an inspiring call to action: Go into the world to be a Christmas Presence, bringing hope, peace, and love to a world in need..
SKU: LO.30-3590L
UPC: 000308151237.
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: 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: 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.BA10983
ISBN 9790006565573. 31 x 24.3 cm inches. Key: G major. Preface: Armin Raab.
Haydn’s Symphony in G major Hob. I:81 comes from a series of three symphonies completed in late 1784 (nos. 81, 80 and 79, presumably in that order). No autograph score survives for Hob. I:81, thus our Urtext edition is based on copyists’ manuscripts and first editions. As with so many of his symphonies, Haydn wrote this one to provide new music for his employer, Prince Nikolaus Esterházy.Continuing the collaboration between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. Bärenreiter has now published the complete performance material for several Sturm und Drang symphonies and all the London and Paris symphonies (Nos. 81 to 104).
SKU: BR.SON-621
Chamber music by Jean Sibelius - a welcome addition to the chamber music repertoire for strings with piano.
ISBN 9790004803233. 9 x 12 inches.
This volume presents partly less known, but undoubtedly interesting and highly welcome additions to the chamber music repertoire for violinists and cellists in the reliable Urtext of the Complete Edition. The violin was Sibelius's instrument. He was active as a violinist mainly during his studies at the Helsinki Music Institute from 1885-1889 and for a short time thereafter. The present volume contains Jean Sibelius's opus-numbered works for violin or cello and piano, 36 compositions in total. Most of the works of this volume were created at the beginning of the 20th century and remained unpublished until the early 1920s. Sibelius composed far less music for the cello than for the violin. Malinconia (Op. 20), published in 1911, remained his only opus-numbered work exclusively for cello and piano. This volume also includes Two Pieces (Op. 77) and Four Pieces (Op. 78) as versions for violin with piano and for cello with piano.Chamber music by Jean Sibelius - a welcome addition to the chamber music repertoire for strings with piano.
SKU: AP.49118
UPC: 038081563473. English.
This version of Defenders of the Realm by Jeremy Bell is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys. Inspired by fantasy-themed movies where heroes find the strength to fight and overcome great odds, Defenders of the Realm by Jeremy Bell recreates the big, epic soundtrack of a Hollywood movie for young bands. Ranges and rhythms create an impressive-sounding piece appropriate for developing musicians. (3:10) Percussion Accompaniment Track Downloads :with click without click.This title is available in MakeMusic Cloud.
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