| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Harbor Music String Quartet: 2 violins, viola, cello [Score] Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (study). With Standard notation. Duration 11 minutes. Theodore Presser Company #164-00222S. Published by Theodore Presser Company (PR.16400222S). UPC: 680160037841. This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher. $25.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Clint Needham : Viola Music Viola Theodore Presser Co.
By Clint Needham. For viola. Contemporary. Solo part. Duration 9 minutes. Publis...(+)
By Clint Needham. For viola. Contemporary. Solo part. Duration 9 minutes. Published by Theodore Presser Company
$11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Selections from Star Wars: Episode I The Phantom Menace Orchestra [Score] - Intermediate Belwin
Orchestra - Grade 3.5 SKU: AP.FO9912C Arranged by Jerry Brubaker. Full Or...(+)
Orchestra - Grade 3.5 SKU: AP.FO9912C Arranged by Jerry Brubaker. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Concert Full Orchestra. Light Concert; Movie. Score. 44 pages. Duration 7:24. Belwin Music #00-FO9912C. Published by Belwin Music (AP.FO9912C). UPC: 654979000365. English. The world has waited years, and finally, last May, the motion picture event of the century exploded on the screen. Jerry Brubaker presents a highly creative mix of these great themes from the power-packed John Williams' score: Star Wars (Main Theme), Anakin's Theme, Augie's Great Municipal Band, Duel of the Fates, and the End Credits. Every orchestra in the world will be playing this one! (7:24). $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Down to the Sea in Ships (from the NBC TV Film Project 20) Concert band [Score and Parts] - Intermediate/advanced Belwin
(I. The Way of the Ship, II. Mists and Mystery, III. Songs in the Salty Air, IV....(+)
(I. The Way of the Ship, II. Mists and Mystery, III. Songs in the Salty Air, IV. Waltz of the Clipper Ships, V. Finale, introducing the S.S. Eagle March). Composed by Robert Russell Bennett (1894-1981). Concert Band. Concert Band; Part(s); Score. Belwin Classic Band. TV. Grade 5. 540 pages. Published by Belwin Music
$150.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Down to the Sea in Ships (from the NBC TV Film Project 20) Orchestra [Score] - Intermediate/advanced Belwin
(I. The Way of the Ship, II. Mists and Mystery, III. Songs in the Salty Air, IV....(+)
(I. The Way of the Ship, II. Mists and Mystery, III. Songs in the Salty Air, IV. Waltz of the Clipper Ships, V. Finale, introducing the S.S. Eagle March). Composed by Robert Russell Bennett (1894-1981). Concert Band. Concert Band; Score. Belwin Classic Band. TV. Grade 5. 88 pages. Published by Belwin Music
$15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music from Star Wars: The Rise of Skywalker Concert band - Easy Hal Leonard
Score Only Concert Band (Score) - Grade 2 SKU: HL.4006546 Composed by Joh...(+)
Score Only Concert Band (Score) - Grade 2 SKU: HL.4006546 Composed by John Williams. Arranged by Paul Murtha. Discovery Plus Concert Band. Disney, Movies. Softcover. 24 pages. Published by Hal Leonard (HL.4006546). UPC: 840126912463. 9.0x12.0x0.05 inches. Episode IX of the Star Wars saga (The Rise of Skywalker) has proven a fan favorite and effectively wraps up the popular film series. The music again plays a key role featuring beloved character themes from earlier films along with dramatic new material. Here's a great sounding and concise medley for younger players. $7.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Soundtrack Highlights from Star Wars: The Last Jedi Concert band - Easy Hal Leonard
Score Only Concert Band (Score) - Grade 3 SKU: HL.4005454 Composed by Joh...(+)
Score Only Concert Band (Score) - Grade 3 SKU: HL.4005454 Composed by John Williams. Arranged by Michael Brown. Young Concert Band. Movies. Softcover. Published by Hal Leonard (HL.4005454). UPC: 888680734343. 9.0x12.0x0.069 inches. From the blockbuster movie Star Wars: The Last Jedi, John Williams continues to display his mastery of music for film. This dynamic medley includes poignant new themes along with familiar older melodies as some of our favorite characters return for this episode. $7.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Appassionatango Guitar Classical guitar [Score] - Advanced Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4286 Composed by Patrick Roux. Score. L...(+)
Guitar solo - Advanced SKU: DZ.DZ-4286 Composed by Patrick Roux. Score. Les Productions d'OZ #DZ 4286. Published by Les Productions d'OZ (DZ.DZ-4286). ISBN 9782898522031. Appassionatango is a work written in the style of tango nuevo. It lasts approximately 8'30 and consists of 4 interconnected episodes that reflect the various passionate characteristics of this music: fiery and rhythmic (episode 1), fast-paced and captivating (episode 2), nostalgic and melancholic (episode 3), a synthesis and amalgamation of themes explored throughout the piece culminating in a virtuosic and explosive finale (episode 4). It's a piece filled with emotion, energy, and changes in character that wonderfully capture the essence of tango nuevo passion!
Appassionatango est une Åuvre écrite dans le style du tango nuevo. D'environ 8'30, elle traverse 4 épisodes enchainés qui reflètent les différents caractères passionnés de cette musique, soit fougueux et rythmique (épisode 1), rapide et enlevant (épisode 2), nostalgique et mélancolique (épisode 3), synthèse et amalgame des thèmes exploités tout au long de la pièce avec finale virtuose et explosive (épisode 4). Une Åuvre avec beaucoup d'émotion, d'énergie et de changement de caractères qui traduit à merveille toute la passion du tango nuevo! $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lennox Berkeley: Five Pieces for Violin and Orchestra Op.56 (Violin/Piano) Violin and Piano Chester
Violin and Piano (Violin) SKU: HL.14004213 Composed by Lennox Berkeley. M...(+)
Violin and Piano (Violin) SKU: HL.14004213 Composed by Lennox Berkeley. Music Sales America. Classical. Book [Softcover]. Composed 2002. 56 pages. Chester Music #CH55778. Published by Chester Music (HL.14004213). 9.0x12.0x0.175 inches. Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season. This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked 'allegro', uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Trio Faber Music Limited
Piano trio SKU: AP.12-0571530826 Composed by Torsten Rasch. Masterworks; ...(+)
Piano trio SKU: AP.12-0571530826 Composed by Torsten Rasch. Masterworks; Solo Small Ensembles; String Ensemble - Mixed; Trio. Faber Edition. 20th Century; Masterwork. Score and Part(s). Faber Music #12-0571530826. Published by Faber Music (AP.12-0571530826). ISBN 9780571530823. English. Formally, the Trio has a classical shape. The first movement is in sonata form, with an expanded recapitulation. The second movement combines a forceful Presto and an eerie, unworldly trio episode, both recapitulated, and 'squeezed together' in a short coda. The third movement is a rather free Adagio, with the three players used more as soloists than elsewhere in the work. The finale is a kind of rondo with variations, in which all the subsidiary themes are derived from the preceding movements. Thematically and in terms of tempo, all the movements are closely linked. $41.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cello Concerto Orchestra [Study Score / Miniature] Chester
Cello; Orchestra (Study Score) SKU: HL.280392 Cello and Orchestra Stud...(+)
Cello; Orchestra (Study Score) SKU: HL.280392 Cello and Orchestra Study Score. Composed by Brian Elias. Music Sales America. Classical. Softcover. 68 pages. Duration 1500 seconds. Chester Music #CH83886. Published by Chester Music (HL.280392). UPC: 888680971069. 8.5x11.75x0.281 inches. The Cello Concerto is in four main sections that are played without a break. As with most of my work, the music throughout is generated from the ideas presented in the fi rst few bars, and these ideas and their variants appear freely in the different sections. Recurring material and references to earlier sections are used deliberately to create not only a sense of unity but also an impression of familiarity that aspires to induce a dream-like perception of the passing music, a kind of spiral. The piece opens with a slow introduction that gradually quickens into the first main section, an allegro. The form of the second section, which is in a lighter mood, is based on an early 13th century verse form, the Sestina, which consists of six stanzas of sixlines each, followed by an envoi. The words that end each line in the first stanza are rotated in a strictly prescribed pattern* to give the line-endings of the remaining stanzas; in this adaptation, each line consists of four bars, and the repetitions ensue according to the plan. The intricate repetition inherent in this form can also be seen as a form of spiral. The third section is an extended slow movement interrupted by a quicker episode that refers to the fi rst section. Generally lighter and in a similar vein to the second section, the final section includes a reference to the slow movement before returning to the lighter music that ends the piece. This work is dedicated to Natalie Clein. $47.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphonic Movement "Blumine" to Symphony No. 1 Breitkopf & Härtel
Violin 1 (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-15 Textcr...(+)
Violin 1 (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-15 Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). First edition based on the copy of the score revised by Mahler Hamburg 1893 Symphony; Romantic; Late-romantic. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 5642-15. Published by Breitkopf and Haertel (BR.OB-5642-15). ISBN 9790004343678. 10.5 x 14 inches. The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.
First edition based on the copy of the score revised by Mahler Hamburg 1893. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphonic Movement "Blumine" to Symphony No. 1 Breitkopf & Härtel
Double bass (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-27 Tex...(+)
Double bass (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-27 Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). First edition based on the copy of the score revised by Mahler Hamburg 1893 Symphony; Romantic; Late-romantic. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 5642-27. Published by Breitkopf and Haertel (BR.OB-5642-27). ISBN 9790004343715. 10.5 x 14 inches. The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.
First edition based on the copy of the score revised by Mahler Hamburg 1893. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphonic Movement "Blumine" to Symphony No. 1 Breitkopf & Härtel
Violoncello (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-23 Tex...(+)
Violoncello (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-23 Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). First edition based on the copy of the score revised by Mahler Hamburg 1893 Symphony; Romantic; Late-romantic. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 5642-23. Published by Breitkopf and Haertel (BR.OB-5642-23). ISBN 9790004343708. 10.5 x 14 inches. The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.
First edition based on the copy of the score revised by Mahler Hamburg 1893. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphonic Movement "Blumine" to Symphony No. 1 Breitkopf & Härtel
Viola (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-19 Textcriti...(+)
Viola (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-19 Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). First edition based on the copy of the score revised by Mahler Hamburg 1893 Symphony; Romantic; Late-romantic. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 5642-19. Published by Breitkopf and Haertel (BR.OB-5642-19). ISBN 9790004343692. 10.5 x 14 inches. The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.
First edition based on the copy of the score revised by Mahler Hamburg 1893. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphonic Movement "Blumine" to Symphony No. 1 Orchestra Breitkopf & Härtel
Orchestra (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-60 Textc...(+)
Orchestra (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-60 Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). First edition based on the copy of the score revised by Mahler Hamburg 1893 Symphony; Romantic; Late-romantic. Set of parts. 192 pages. Duration 8'. Breitkopf and Haertel #OB 5642-60. Published by Breitkopf and Haertel (BR.OB-5642-60). ISBN 9790004343722. 10.5 x 14 inches. The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.
First edition based on the copy of the score revised by Mahler Hamburg 1893. $795.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphonic Movement "Blumine" to Symphony No. 1 Breitkopf & Härtel
Violin 2 (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-16 Textcr...(+)
Violin 2 (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.OB-5642-16 Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). First edition based on the copy of the score revised by Mahler Hamburg 1893 Symphony; Romantic; Late-romantic. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 5642-16. Published by Breitkopf and Haertel (BR.OB-5642-16). ISBN 9790004343685. 10.5 x 14 inches. The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.
First edition based on the copy of the score revised by Mahler Hamburg 1893. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphonic Movement "Blumine" to Symphony No. 1 Orchestra [Score] Breitkopf & Härtel
Orchestra (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.PB-5642 Textcrit...(+)
Orchestra (2.2.2.2 - 4.1.0.0 - timp.hp - str) SKU: BR.PB-5642 Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Orchestra; stapled. Partitur-Bibliothek (Score Library). First edition based on the copy of the score revised by Mahler Hamburg 1893 Symphony; Romantic; Late-romantic. Full score. 28 pages. Duration 8'. Breitkopf and Haertel #PB 5642. Published by Breitkopf and Haertel (BR.PB-5642). ISBN 9790004215395. 10.5 x 14 inches. The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.
First edition based on the copy of the score revised by Mahler Hamburg 1893. $36.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Star Wars Episode II Attack Of The Clones - Trombone Trombone [Sheet music + CD] Alfred Publishing
By John Williams. For Trombone. Instrumental Series. Movie; play along. Book & C...(+)
By John Williams. For Trombone. Instrumental Series. Movie; play along. Book & CD. 20 pages. Published by Alfred Publishing.
$10.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Olympica Concert band [Score and Parts] - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-0930469-010 Festival Overt...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-0930469-010 Festival Overture for Band. Composed by Jan Van der Roost. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 1993. De Haske Publications #DHP 0930469-010. Published by De Haske Publications (BT.DHP-0930469-010). 9x12 inches. This “Grand Overture†was commissioned by the “Nagano Community Band†- Japan- on occasion of its jubilee in 1992 and is dedicated to the band’s conductor, Ikuo Inagaki.The work is based upon three main themes, each symbolising a certain theme. The first part is characterized by its bright themes played mainly by the brass, accompanied by the woodwinds and festive percussion. This part symbolizes the jubilee which is the origin of the composition. This is followed by a bouncing allegro, in which each register of the band displays brilliant techniques. Especially the woodwinds come to the fore! This movement depicts the industriousness and enthousiasm shown by the members of the“Nagano Community Band†in the carrying out of their hobby. A third, main theme, is choral-like in character and is displayed both in the (soft) brass as well as in the warm medium register of the reeds. Here, nature’s beaty in and around the city of Nagano is musically celebrated. Following a “chamber-music episode†(featuring the flute, oboe, clarinet, alto-saxophone and horn) the initial allegro re-occurs, weaving its way towards a grandiose finale, in which the two previous themes are once again apparent. Due to its very colourful scoring and the enormous diversity of musical thoughts and ideas, this composition is a fascinating and memorable piece, worthy a jubilee overture!
Olympica is gebaseerd op drie hoofdthema’s. Het eerste thema wordt gekenmerkt door een stralende thematiek in het koper, omspeeld door het hout en feestelijk slagwerk. Dan volgt een pittig en virtuoos allegro, waarin met namede houtblazers uitgebreid aan bod komen. Het derde thema is koraalmatig van karakter. Na een kamermuziekpassage komt het allegro terug, dat uitmondt in een grootse finale. De kleurrijke instrumentatie en veelzijdigheid van dezecompositie maken een sprankelend optreden mogelijk.
Die olympischen Winterspiele 1998, die nach 26 Jahren wieder einmal in Japan stattfanden, sind unvergessen: Mit 2302 Teilnehmer war eine Rekordteilnehmerzahl erreicht und die deutschen Sportler kehrten mit einer Rekordanzahl von 29 Medaillen nach Hause. Das Blasorchester der Austragungsstadt Nagano gab im Hinblick auf dieses große Ereignis Olympica in Auftrag - ein farbig instrumentiertes Werk mit abwechslungsreichen musikalischen Ideen, das fasziniert!
En 1998, vingt-six ans après Sapporo, les Jeux Olympiques d'hiver firent leur retour au Japon. Nagano vivait et vibrait au rythme des exploits sportifs. Avec un chiffre record de 2304 athlètes venant de 72 nations, le dernier rendez-vous planétaire olympique du XXe siècle fut un succès. Pour célébrer cet événement l’Orchestre d’Harmonie de la ville de Nagano passe commande Jan Van der Roost. Le résultat est prestigieux. Ce sera Olympica : une œuvre fascinante aux multiples couleurs. $223.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Wild Flowers Violin Bote and Bock
Violin SKU: HL.48023884 For Violin. Composed by Ursula Mamlok. Boo...(+)
Violin SKU: HL.48023884 For Violin. Composed by Ursula Mamlok. Boosey & Hawkes Chamber Music. Classical. Softcover. 6 pages. Bote & Bock #M202534540. Published by Bote & Bock (HL.48023884). 9.25x12.0x0.053 inches. This composition for solo violin was written in 1987 for the violinist Roger Zahab who performed the world premiere in New York. As is typical of Ursula Mamlok, the work of about 5 minutes' duration is very short. In one movement, divided into five short sections, she sums up her musical cause in an extremely virtuoso manner: A powerful opening theme, which varies several times, is followed by a quiet, lyrical passage which uses similar musical ideas, however. In the following, the formal contrast disappears due to the increasing fusion of opening theme and slower episode before the main theme is taken up again in the final section in a very dramatic form. $10.99 - See more - Buy online | | |
| Test Pieces For Orchestral Auditions - Trombone Trombone Peters
(Excerpts From The Operatic And Concert Repertoire) Compiled by Armin Rosin, Ebe...(+)
(Excerpts From The Operatic And Concert Repertoire) Compiled by Armin Rosin, Eberhard Pleyer. For trombone or bass trombone. With introductory text. 20th century, classical period, romantic period and reference. 29 pages. 9x12 inches. Published by C.F. Peters.
(1)$31.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fantaisie Brillante Op. 20 on Themes from Faust (Gounod) Violin and Piano PWM (Polskie Wydawnictwo Muzyczne)
(Violin and Piano). Composed by Henri Wieniawski (1835-1880). For Violin, Piano ...(+)
(Violin and Piano). Composed by Henri Wieniawski (1835-1880). For Violin, Piano Accompaniment. PWM. Softcover. 40 pages. Polskie Wydawnictwo Muzyczne #7823030. Published by Polskie Wydawnictwo Muzyczne
$11.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Star Wars: Episode VII - The Force Awakens
Piano solo - Intermediate Hal Leonard
Composed by John Williams. Piano Solo Songbook. Softcover. Published by Hal L...(+)
Composed by John Williams.
Piano Solo Songbook.
Softcover. Published by Hal
Leonard
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Star Wars: Episode VII - The Force Awakens Piano solo - Easy Hal Leonard
Composed by John Williams. Easy Piano Songbook. Softcover. 72 pages. Publishe...(+)
Composed by John Williams.
Easy Piano Songbook.
Softcover. 72 pages.
Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mozart - Sonata K 330 C Also Known As K 300 H Piano solo G. Henle
Piano SKU: HU.HN602 Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttr...(+)
Piano
SKU: HU.HN602
Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Piano Solo, Piano and Keyboard, Repertoire, Solos. Piano Sonata C major K. 330 (300h). Classical. Softcover Book. 17 pages. G. Henle #HN602. Published by G. Henle (HU.HN602).
12.2 x 9.3 x 0.1 inches.
$12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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