| MGV (Musique a Grande Vitesse) Orchestra Chester
Orchestra (Full Score) SKU: HL.14043216 Orchestra Full Score. Comp...(+)
Orchestra (Full Score) SKU: HL.14043216 Orchestra Full Score. Composed by Michael Nyman. Music Sales America. Classical, Contemporary. Softcover. 160 pages. Chester Music #CH60952. Published by Chester Music (HL.14043216). ISBN 9781783056200. English. Michael Nyman's Musique A Grande Vitesse (MGV) translates as ‘high speed music’ and was commissioned by the Festival de Lille for the inauguration of the TGV North EuropeanParis-Lille line in 1993. This piece of sheet music runs continuously, but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which isonly heard in its 'genuine' form when the piece reaches its destination. Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural -constantly change their identity as they pass through different musical 'environments'. The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and aharmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A)begins the second section, featuring Brass, in D flat. The topography of MGV should be experienced without reference to planning, description or timetables. Its tempo changes and unpredictable slowings downbear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably theband (amplified in live performance) lays down the tracks on which MGV runs. $60.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Water Music in F major HWV 348-350 Orchestra [Score] Breitkopf & Härtel
Orchestra (1(picc).2.0.1. - 2.2.0.0. - str - bc) SKU: BR.PB-4371 Forme...(+)
Orchestra (1(picc).2.0.1. - 2.2.0.0. - str - bc) SKU: BR.PB-4371 Former name Concerto grosso No. 25 - Urtext. Composed by George Frideric Handel. Edited by Wilhelm Pfannkuch. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Handel composed his Water Music for none other than King George I who requested a concert for guests invited to his pleasure cruise on the Thames. Concerto grosso; Baroque. Full score. 92 pages. Duration 45'. Breitkopf and Haertel #PB 4371. Published by Breitkopf and Haertel (BR.PB-4371). ISBN 9790004202920. 9 x 12 inches. According to the Daily Courant, the premiere took place as follows: On Wednesday Evening, at about 8, the King took to Water at Whitehall in an open Barge, wherein were Dutchess of Bolton, The Dutchess of New Castle, the Countess of Godolphin, Madam Kilmaseck, and the Earl of Orkney. And went up the River towards Chelsea. Many other of Barges with Person of Quality attended, and so the great Number of Boats, that the whole River in a manner was couver'd; a City Company's Barge was employ'd for the Musick, wherein were 50 Instruments of all sorts, Who play'd all the way from Lambeth (while the Barges drove with the Tide without Rowing, as far as Chelsea) the finest Symphonies, compos'd express for this Occasion, by Mr Hendel: which his Majesty liked so well, that he caus'd it to be play'd over three times in going and returning. At Eleven his Majesty came again into Barge, and return'd the same Way, the Musick continuing to play till he landed.
Handel composed his Water Music for none other than King George I who requested a concert for guests invited to his pleasure cruise on the Thames. $71.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphony No. 4 Orchestra Breitkopf & Härtel
Orchestra (solo: S - 4(2picc).3(cor ang).3(Eb-clar.Bb-clar).3 (dble bsn) - 4.3.0...(+)
Orchestra (solo: S - 4(2picc).3(cor ang).3(Eb-clar.Bb-clar).3(dble bsn) - 4.3.0.0 - hp.timp.perc(4) - str) SKU: BR.OB-5634-60 Final Version 1911 - Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Set of parts. 1076 pages. Duration 55'. Breitkopf and Haertel #OB 5634-60. Published by Breitkopf and Haertel (BR.OB-5634-60). ISBN 9790004345085. 10.5 x 14 inches. Of all his symphonies, Mahler gave the Fourth, his favorite and problem child, his most particular attention. The Heavenly Life, a humoresque composed in 1892 for soprano and piano, which he already wanted to use in the final movement of the Third Symphony under the title What the Child Tells Me, ultimately became the nucleus and final movement of the Fourth. Even after publication in 1901, Mahler kept repeatedly refining the orchestration. His maxim not without my retouching led to a whole series of revised reprints. It is probably no coincidence that Mahler performed especially the Fourth Symphony in his last two New York concerts in February 1911, using this opportunity to review once again the score and parts. This performance material with his retouching served as the main source for the new edition. Furthermore, included for the first time were corrections and annotations in conjunction with performances of the Fourth, which Mahler entered into the scores of conductors such as Mengelberg and Wickenhauser. PB 5664 has been awarded the Presto Sheet Music Award 2020. $2387.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Die Donau Orchestra Barenreiter
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos Janacek. Arranged by LeoÅ¡ Faltus and MiloÅ¡ Å tedron. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek H/3. Complete edition, Score, Set of parts. Duration 40 minutes. Baerenreiter Verlag #BA06861_00. Published by Baerenreiter Verlag (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 Leoš 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 Miloš Štedron and Leoš 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 Špálová, 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
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