| Twelve Sonatinas Op. 3, Vol. 1 Keyboard Edition HH
Keyboard SKU: HH.HH450-SOL Composed by George Berg. Edited by Michael Tal...(+)
Keyboard SKU: HH.HH450-SOL Composed by George Berg. Edited by Michael Talbot. Keyboard. Playing score. Edition HH Music Publishers #HH450-SOL. Published by Edition HH Music Publishers (HH.HH450-SOL). ISBN 9790708146575. At the heart of George Berg’s oeuvre are his seven collections of keyboard music. His sonatinas for harpsichord were a by-product of his teaching, appearing in three volumes between 1759 and 1762. Technically fairly simple, these are lively, inventive and finely polished works. Berg’s sonatinas are as well suited to the piano as the harpsichord sonatas of Domenico Scarlatti from which they draw so much inspiration, provided that the player makes sparing (or no) use of the sustaining pedal and avoids over-fussy dynamic variation. $15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Concerto [full score and parts] Alea Publishing
Composed by Geraldine Green. Classical; 21st century. Complete set of parts, co...(+)
Composed by Geraldine Green. Classical; 21st century. Complete set of parts, conductor's score. Composed 1992. Duration 23 minutes. Published by Alea Publishing (A7.ALEA1067A).
$80.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Toccata sequenziale sopra "ut re mi fa" Keyboard Zimbel Press
Keyboard SKU: SU.80101352 For Keyboard. Composed by Carson Cooman....(+)
Keyboard SKU: SU.80101352 For Keyboard. Composed by Carson Cooman. Keyboard. Score. Zimbel Press #80101352. Published by Zimbel Press (SU.80101352). Keyboard Duration: 5' Composed: 2014 Published by: Zimbel Press The formal inspiration for this piece came from early Italian keyboard toccatas (those of Frescobaldi are probably the most famous today, though there are certainly many others). However, the early influences do not come exclusively from a single source. The toccatas of Hassler, the ricercari of Steigleder, the fantasias of Cornet and Kerckhoven, the fugues of Couperin, and anonymous late medieval keyboard music all are thrown into the mix, and blended with a contemporary use of mixed modality. This piece may be played on any keyboard instrument (organ, piano, harmonium/reed organ, harpsichord, clavichord, or electronic keyboard). $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto [piano reduction w/solo part] Bass Clarinet, Piano Alea Publishing
Composed by Geraldine Green. For bass clarinet and piano. Classical; 21st centur...(+)
Composed by Geraldine Green. For bass clarinet and piano. Classical; 21st century. Solo part and piano reduction. Composed 1992. Duration 23 minutes. Published by Alea Publishing
$20.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Desert Forests Carl Fischer
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bassoon 3, Celesta, Ce...(+)
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bassoon 3, Celesta, Cello, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Contrabassoon, Cymbal, Glockenspiel, Gong, Harp, Horn, Horn 1, Horn 2, Horn 3, Horn 4, Piano, Piccolo 1 and more. SKU: CF.O5445 Composed by Henry Brant. SWS. Large Score. With Standard notation. Composed 1983. Duration 15 minutes. Carl Fischer Music #O5445. Published by Carl Fischer Music (CF.O5445). ISBN 9780825840449. UPC: 798408040444. 9 X 14 inches. Written for the late Robert Shaw and the Atlanta Symphony Orchestra in 1983, Desert Forests is one of the most successful of Brant's spatial works for conventional-sized symphony orchestra. The score mandates that the higher woodwinds (piccolos, flutes, oboes, clarinets) be stationed in a balcony at the back of the hall and the trumpets and trombones in boxes or balconies on opposite sides of the hall. There is also an optional improvised piano-obbligato. A recommended seating diagram for the stage instruments (also unusually arranged) is included in the score and was used to great effect in the performances conducted by Kurt Masur with the New York Philharmonic in May 1994. This extraordinary work expands the idea of bitonality and spatiality as a structural device to create a fifteen minute exercise in ecstatic polyphony, inspired, according to the composer by a visit to a forest of saguro cactus in Saguro National Monument, near Tucson, Arizona. Complete performance materials are available on rental. $80.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cathedral Grove Concert band - Intermediate Hal Leonard
Concert Band (Score) - Grade 3 SKU: HL.4003170 Composed by Robert Buckley...(+)
Concert Band (Score) - Grade 3 SKU: HL.4003170 Composed by Robert Buckley. MusicWorks Grade 3. 12 pages. Duration 840 seconds. Published by Hal Leonard (HL.4003170). UPC: 884088651466. 9.0x12.0x0.044 inches. “Cathedral Grove” is a magnificent park on Vancouver Island in British Columbia, Canada, containing some of the oldest and largest trees in the world. It is the towering, majestic pillars of these ancient giants and the quiet serenity of this place that inspired this music. Evocative and impressionistic in nature, Robert Buckley's writing depicts the richness of the colors and textures, and the diffused light shining through the canopy of leaves above. At times hauntingly lyrical, and other times prayer-like and reverent, but always filled with awe and beauty. (Includes optional part for acoustic guitar or harp). Dur: 3:05. $7.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Songs from a Silent Land Concert band, Choral [Score and Parts] Hal Leonard
Soprano and Symphonic Winds. Composed by Michael Daugherty (1954-). Michael ...(+)
Soprano and Symphonic Winds.
Composed by Michael
Daugherty (1954-). Michael
Daugherty Music.
Contemporary. Softcover. 100
pages. Published by Hal
Leonard
$45.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Upriver Concert band Theodore Presser Co.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L). UPC: 680160600151. 11 x 14 inches. I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Upriver Concert band Theodore Presser Co.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130). ISBN 9781598064070. UPC: 680160600144. 9x12 inches. Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’. In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Peter Maxwell Davies: Naxos Quartet No. 4 - Children's Games (Score) String Quartet: 2 violins, viola, cello Chester
String Quartet SKU: HL.14008374 Composed by Sir Peter Maxwell Davies. Mus...(+)
String Quartet SKU: HL.14008374 Composed by Sir Peter Maxwell Davies. Music Sales America. Classical. Score. Composed 2006. 24 pages. Chester Music #CH68629. Published by Chester Music (HL.14008374). ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches. The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Youth Album for Piano Piano solo [Sheet music] - Easy AMA Verlag
by Manfred Schmitz. For Piano. solos. AMA Verlag. Contemporary. Level: Beginning...(+)
by Manfred Schmitz. For Piano. solos. AMA Verlag. Contemporary. Level: Beginning-Intermediate. Book. Size 9x12. 216 pages. Published by AMA Verlag.
$22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lute Stop Piano solo Stainer and Bell
Piano SKU: ST.Y215 Composed by Morgan Hayes. 6 minutes. Score. Stainer & ...(+)
Piano SKU: ST.Y215 Composed by Morgan Hayes. 6 minutes. Score. Stainer & Bell Ltd. #Y215. Published by Stainer & Bell Ltd. (ST.Y215). ISBN 9790220221309. 1st perf: Sarah Nicolls, The Warehouse, London, 12 December 2003 Lute Stop, inspired by the legendary playing of Glen Gould and Alexis Weissenberg, is the latest bravura solo from Morgan Hayes, an outstanding young British composer of piano music. The interpretative style of these performers, favouring a block-like rather than a nuanced approach to dynamics, is mirrored in the formal aspect of the piece and the extreme dynamic contrasts of its material. Sudden shifts in register, octave doublings and quiet left-hand punctuations also feature prominently in the textures, suggesting changes of registration on a harpsichord - hence the title. $10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Over F Big band [Score and Parts] Walrus Music Publishing | | |
| Naenie - Intermediate/advanced Carus Verlag
Orchestra Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 3 Trb, Timp, Arpa ad lib., ...(+)
Orchestra Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 3 Trb, Timp, Arpa ad lib., 2 Vl, Va, Vc, Cb - Level 4 SKU: CA.1039805 Composed by Johannes Brahms. Edited by Rainer Boss. Choral Score. Composed 1880/81. Op. 82. Duration 14 minutes. Carus Verlag #1039800. Published by Carus Verlag (CA.1039805). ISBN 9790007251369. Key: D major. German/English. Text: J.P. Morgan; Friedrich Schiller. Brahms' elegy Nanie op. 82, based on the poem by Friedrich von Schiller, was composed in 1880/81 following the death of the painter Anselm Feuerbach, whom Brahms greatly admired. In contrast with the poem, Brahms' Nanie ends full of hope: after earthly decline, beauty can live on in art. As in his Deutsches Requiem op. 45, in Nanie Brahms creates a musical connection between mourning and consolation in an incomparable way. Inspired by the model of classical Roman-Greek laments, the work adopts the classical verse form chosen by Schiller - surely alluding to Feuerbach's classically-inspired art. Scored for mixed chorus and orchestra, we are publishing the work in a modern Urtext edition. One or more harps can be used ad lib. The primary source is the first printed edition of 1881. The latest scholarly discoveries as well as practical requirements have been taken into consideration. Performance material is available on sale as well as a vocal score, based on Brahms's original vocal score, but in a revised performing version.
$7.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Naenie - Intermediate/advanced Carus Verlag
Orchestra 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 3 Trb, Timp, Arpa - Level 4 SKU: CA...(+)
Orchestra 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 3 Trb, Timp, Arpa - Level 4 SKU: CA.1039809 Composed by Johannes Brahms. Edited by Rainer Boss. Set of orchestra parts.***String parts NOT included.***. Set of Orchestra Parts. Composed 1880/81. Op. 82. Duration 14 minutes. Carus Verlag #1039800. Published by Carus Verlag (CA.1039809). ISBN 9790007292942. Key: D major. German/English. Text: J.P. Morgan; Friedrich Schiller. Brahms' elegy Nanie op. 82, based on the poem by Friedrich von Schiller, was composed in 1880/81 following the death of the painter Anselm Feuerbach, whom Brahms greatly admired. In contrast with the poem, Brahms' Nanie ends full of hope: after earthly decline, beauty can live on in art. As in his Deutsches Requiem op. 45, in Nanie Brahms creates a musical connection between mourning and consolation in an incomparable way. Inspired by the model of classical Roman-Greek laments, the work adopts the classical verse form chosen by Schiller - surely alluding to Feuerbach's classically-inspired art. Scored for mixed chorus and orchestra, we are publishing the work in a modern Urtext edition. One or more harps can be used ad lib. The primary source is the first printed edition of 1881. The latest scholarly discoveries as well as practical requirements have been taken into consideration. Performance material is available on sale as well as a vocal score, based on Brahms's original vocal score, but in a revised performing version.
$56.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Madrigal Sonatas Keyboard Zimbel Press
Keyboard SKU: SU.80101322 For Keyboard. Composed by Craig A. Penfi...(+)
Keyboard SKU: SU.80101322 For Keyboard. Composed by Craig A. Penfield. Keyboard, Piano/Harpsichord. Score. Zimbel Press #80101322. Published by Zimbel Press (SU.80101322). A set of 24 three movement sonatas that can be played on any keyboard instrument (organ, piano, harmonium/reed organ, harpsichord, clavichord, or electronic keyboard). The composer writes the following: My inspiration for composing these sonatas comes as a direct result of the music of the Renaissance and early Baroque. It is an attempt by this composer to capture in his own musical vocabulary some of the 'essence' that pervades the music of these past centuries. These pieces are easy to play and extremely useful for services, recitals, or teaching. Instrumentation: Keyboard. Composed: 2012 Published by: Zimbel Press. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Naenie - Intermediate/advanced Carus Verlag
Orchestra 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 3 Trb, Timp, Arpa ad lib., 2 Vl, Va, V...(+)
Orchestra 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 3 Trb, Timp, Arpa ad lib., 2 Vl, Va, Vc, Cb - Level 4 SKU: CA.1039819 Composed by Johannes Brahms. Edited by Rainer Boss. Complete set of orchestra parts (strings 9-8-7-6-5). Set of Orchestra Parts (complete). Composed 1880/81. Op. 82. Duration 14 minutes. Carus Verlag #1039800. Published by Carus Verlag (CA.1039819). ISBN 9790007293000. Key: D major. German/English. Text: J.P. Morgan; Friedrich Schiller. Brahms' elegy Nanie op. 82, based on the poem by Friedrich von Schiller, was composed in 1880/81 following the death of the painter Anselm Feuerbach, whom Brahms greatly admired. In contrast with the poem, Brahms' Nanie ends full of hope: after earthly decline, beauty can live on in art. As in his Deutsches Requiem op. 45, in Nanie Brahms creates a musical connection between mourning and consolation in an incomparable way. Inspired by the model of classical Roman-Greek laments, the work adopts the classical verse form chosen by Schiller - surely alluding to Feuerbach's classically-inspired art. Scored for mixed chorus and orchestra, we are publishing the work in a modern Urtext edition. One or more harps can be used ad lib. The primary source is the first printed edition of 1881. The latest scholarly discoveries as well as practical requirements have been taken into consideration. Performance material is available on sale as well as a vocal score, based on Brahms's original vocal score, but in a revised performing version.
$241.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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