Orchestra SKU: SU.91770911 Opera in Two Acts, Based on the novel by St...(+)
Orchestra
SKU:
SU.91770911
Opera
in Two Acts, Based on the
novel by Stephen King.
Libretti by Mark
Campbell. Composed by
Paul Moravec.
Vocal/Choral, Opera,
Orchestra, Piano
Reduction. Piano Vocal
Score. Subito Music
Corporation #91770911.
Published by Subito Music
Corporation
(SU.91770911).
Libretto by
Mark Campbell 2222; 4231;
timp, 2perc, hp; stgs
Duration: 1:40:00
Composed: 2015 Published
by: Subito Music
Publishing All rights of
any kind with respect to
this work and any part
thereof, including but
not limited to stage,
performance, mechanical
reproduction, printing
and selling, are strictly
reserved. License to
perform this work in
whole or in part must be
secured in writing from
the publisher –
Subito Music Corp. Terms
will be quoted on
request.
(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald...(+)
(The Journey from
Darkness to Light). By
Lloyd Larson. Arranged by
Mary Mcdonald. Orchestra.
For Flute, Clarinet, 2
Trumpet, Horn, 2
Trombone, Percussion,
Piano, Synthesized
Strings. Cantata. Choral:
Advent. Orchestral Score
and Parts. Published by
Lorenz Publishing Company
Esprit de Corps Orchestre - Intermédiaire Edward B. Marks Music Company
Full Orchestra - Grade 5 SKU: HL.4491221 Score and Parts. Composed...(+)
Full Orchestra - Grade 5
SKU: HL.4491221
Score and Parts.
Composed by Robert Jager.
Symphony Pops. Patriotic.
Conductor Score (Full
Score) and Parts.
Published by Edward B.
Marks Music (HL.4491221).
UPC: 884088872649.
10.5x14
inches.
Performa
nce time - ca.
4:30
Originall
y written for concert
band (and commissioned by
the U.S. Marine Band),
Esprit de Corps is
a fantasy-march that
serves as a tribute to
both the Marine Corps and
the Marine Band. Composed
immediately after the
1983 bombing of the
Marine barracks in
Beirut, Lebanon, the
composer chose to forego
an elegiac tribute in
favor of a work that
reflects the positive
spirit of the Corps, full
of energy and dynamism.
Even the tempo marking,
?Tempo di Bourgeois,?
reflects the dramatic and
spirited conducting of
Col. John R. Bourgeois,
conductor of the Marine
Band at the time of
composition.
Orchestra SKU: LO.30-2351L Composed by Mary McDonald. Arranged by Mark Ha...(+)
Orchestra
SKU:
LO.30-2351L
Composed
by Mary McDonald.
Arranged by Mark Hayes.
Choral. Sacred Anthem,
General, Stewardship.
Orchestral score and
parts. Lorenz Publishing
Company #30/2351L.
Published by Lorenz
Publishing Company
(LO.30-2351L).
Orchestra (Full Score) SKU: HL.1190014 For Orchestra. Composed by ...(+)
Orchestra (Full Score)
SKU: HL.1190014
For Orchestra.
Composed by Waldo de los
Rios. E.B. Marks.
Concert. Softcover.
Edward B. Marks Music
#MP077076. Published by
Edward B. Marks Music
(HL.1190014).
(Featuring: Morning Mood / In the Hall of the Mountain King). Composed by Edvard...(+)
(Featuring: Morning Mood
/ In the Hall of the
Mountain King). Composed
by Edvard Grieg
(1843-1907). Arranged by
Richard Meyer. Orchestra.
Full Orchestra; Part(s);
Score. Highland First
Philharmonic. Form:
Transcription. Masterwork
Arrangement; Romantic.
Grade 2.5. 212 pages.
Published by
Highland/Etling
A Christmas Cantata for choir and Narrator. Composed by John Purifoy. Cho...(+)
A Christmas Cantata
for choir and
Narrator. Composed by
John Purifoy. Choral,
cantatas. Christmas,
Sacred. Orchestration.
Lorenz Publishing Company
#30/1497L. Published by
Lorenz Publishing Company
(LO.30-1497L).
Orchestra (Score) SKU: HL.14008392 Caroline Mathilde Act I (Concert Su...(+)
Orchestra (Score)
SKU:
HL.14008392
Caroline Mathilde Act
I (Concert Suite).
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Book
[Softcover]. Composed
1999. 74 pages. Chester
Music #CH60949. Published
by Chester Music
(HL.14008392).
ISBN
9780711936942.
The
story centres on the
English princess Caroline
Mathilde (1751-1775),
sister of George III, who
at the age of 15 was sent
to Denmark to marry the
17-year-old eccentric and
schizophrenic Danish
King, Christian VII. The
ballet portrays her
unhappy marriage, the
King's growing madness
and her fatal love-affair
with Struensee, the
King's influential
physician, which leads to
their arrest, his
execution and her exile,
at the age of 20,
separated from her two
young children. In
keeping with the period,
and perhaps also with the
traditions of Romantic
ballet, the music is
relatively simple in
harmony and form, and
most of the action is
conveyed in set-piece
dances. The suite, which
consists essentially of
the second half of Act I,
begins with one of these,
a bristling interplay of
wind and string ensembles
in D major, portraying in
the ballet a curious
nuptial game with the
king and princess on
movable pedestals. The
slow music that follows
has to do with the king's
healing by Dr. Struensee
and the new queen's
unquiet reverie (oboe and
cor anglais solos). Then
the suite, like the act,
is capped by a pair of
pas-de-deux, the first
savage and bizarre for
the royal couple, the
second rich and
passionate for the queen
and the miracle-working
doctor. Score
(miniature). Duration c.
25mins.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Harpsichord; String Orchestra (Study Score) SKU: HL.51487584 Study Sco...(+)
Harpsichord; String
Orchestra (Study Score)
SKU: HL.51487584
Study Score.
Composed by Claude
Debussy. Edited by Peter
Jost. Henle Music Folios.
Classical. Softcover. 48
pages. G. Henle #HN7584.
Published by G. Henle
(HL.51487584).
UPC:
196288122449.
6.75x9.5x0.187
inches.
Debussy
wrote these two short
dances to a commission
from the
instrument-making firm of
Pleyel, which was keen to
use famous names in the
marketing of its
newly-developed chromatic
harp. The dances are also
playable without problem
on the pedal harp, which
was to replace the
chromatic harp on the
concert platform. The
archaic style of the
pieces, including modal
harmonies, used to
express a
“sacred†rite
and a
“profaneâ€
dance of joy, points to
the enthusiasm for
antiquity of Debussy
himself and of the
artistic world around
1900. This is Henle's
first critical edition of
the pieces, and is based
on careful checking of
the autograph and first
edition.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra SKU: SU.91770915 Opera in Two Acts, Based on the novel by St...(+)
Orchestra
SKU:
SU.91770915
Opera
in Two Acts, Based on the
novel by Stephen King.
Libretti by Mark
Campbell. Composed by
Paul Moravec.
Vocal/Choral, Opera,
Libretto. Libretto.
Subito Music Corporation
#91770915. Published by
Subito Music Corporation
(SU.91770915).
COMPLETE
Libretti Music by
Paul Moravec Libretti
by Mark Campbell
Based on the novel by
Stephen
King Instrumentation:
2222; 4231; timp, 2perc,
hp; stgs Duration:
1:40:00 Composed:
2015 Published by:
Subito Music
Publishing.
String Thang Orchestre [Conducteur] - Facile Alfred Publishing
Orchestra - Grade 2-3 SKU: AP.49068S Composed by Mark Wood. Performance M...(+)
Orchestra - Grade 2-3
SKU: AP.49068S
Composed by Mark Wood.
Performance Music
Ensemble; Single Titles;
String Orchestra. Mark
Wood Series. Pop/Rock;
Rock. Score. Duration
2:45. Alfred Music
#00-49068S. Published by
Alfred Music (AP.49068S).
ISBN 9781470647834.
UPC: 038081567051.
English.
This
multi-level piece
includes a full set of
parts for grade 2 as well
as a full set for grade 3
ensembles. Mix and match
the parts as you
need---perfect for
mixed-ability ensembles!
String Thang by
Mark Wood is based on the
twelve-bar blues. The
blues has deep roots in
American history,
developed out of the work
songs and chants of
African-American slaves.
The Great Migration of
the first half of the
20th century saw freed
slaves and their
descendants move to
northern and eastern
parts of the U.S., taking
their music with them.
The blues took on
different forms; in turn
it helped to create rock,
jazz, hip-hop, and other
popular genres. A
twelve-bar blues uses a
repeating chord
progression which allows
musicians to express
themselves creatively
with each recurrence. If
anything defines the
blues, it is the use of
blue notes---pitches that
don't usually belong in a
given key---and elements
of improvisation. String
Thang uses both blue
notes in the main tune
and the solo violin's
part, as well as
improvisational
principles in the solo.
For string orchestra with
optional rock rhythm
section parts.
(2:45)
Orchestra - Grade 2-3 SKU: AP.49068 Composed by Mark Wood. Performance Mu...(+)
Orchestra - Grade 2-3
SKU: AP.49068
Composed by Mark Wood.
Performance Music
Ensemble; Single Titles;
String Orchestra. Mark
Wood Series. Pop/Rock;
Rock. Score and Part(s).
Duration 2:45. Alfred
Music #00-49068.
Published by Alfred Music
(AP.49068).
ISBN
9781470647827. UPC:
038081567044.
English.
This
multi-level piece
includes a full set of
parts for grade 2 as well
as a full set for grade 3
ensembles. Mix and match
the parts as you
need---perfect for
mixed-ability ensembles!
String Thang by
Mark Wood is based on the
twelve-bar blues. The
blues has deep roots in
American history,
developed out of the work
songs and chants of
African-American slaves.
The Great Migration of
the first half of the
20th century saw freed
slaves and their
descendants move to
northern and eastern
parts of the U.S., taking
their music with them.
The blues took on
different forms; in turn
it helped to create rock,
jazz, hip-hop, and other
popular genres. A
twelve-bar blues uses a
repeating chord
progression which allows
musicians to express
themselves creatively
with each recurrence. If
anything defines the
blues, it is the use of
blue notes---pitches that
don't usually belong in a
given key---and elements
of improvisation. String
Thang uses both blue
notes in the main tune
and the solo violin's
part, as well as
improvisational
principles in the solo.
For string orchestra with
optional rock rhythm
section parts.
(2:45)
Composed by Antonin Dvorak (1841-1904). Edited by Robert Simon. This edition: ur...(+)
Composed by Antonin
Dvorak (1841-1904).
Edited by Robert Simon.
This edition: urtext
edition. Paperback.
Barenreiter Urtext.
Score. Opus 45, No. 1.
Baerenreiter Verlag
#BA10401. Published by
Baerenreiter Verlag
(BA.BA10401).
Orchestra - Grade 1.5 SKU: AP.48036 Composed by Mark Hillegass, Jr. Perfo...(+)
Orchestra - Grade 1.5
SKU: AP.48036
Composed by Mark
Hillegass, Jr.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Baroque;
Programmatic. Score and
Part(s). 152 pages.
Duration 3:10. Belwin
Music #00-48036.
Published by Belwin Music
(AP.48036).
UPC:
038081557021.
English.
Perfect
for beginner and early
intermediate orchestras,
Temple Raider by Mark
Hillegass, Jr. features
driving, heart-pounding,
mystical, and
adventure-like melodies.
This piece is great for
introducing syncopation,
articulations, dynamic
contrast, and tempo
changes and has students
working on all four
strings in 1st position.
Temple Raider also
features the use optional
percussion that can be
played by one performer.
(3:10).
Orchestra - Grade 1.5 SKU: AP.48036S Composed by Mark Hillegass, Jr. Perf...(+)
Orchestra - Grade 1.5
SKU: AP.48036S
Composed by Mark
Hillegass, Jr.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Baroque.
Score. 12 pages. Duration
3:10. Belwin Music
#00-48036S. Published by
Belwin Music (AP.48036S).
UPC: 038081557038.
English.
Perfect
for beginner and early
intermediate orchestras,
Temple Raider by Mark
Hillegass, Jr. features
driving, heart-pounding,
mystical, and
adventure-like melodies.
This piece is great for
introducing syncopation,
articulations, dynamic
contrast, and tempo
changes and has students
working on all four
strings in 1st position.
Temple Raider also
features the use optional
percussion that can be
played by one performer.
(3:10).
Composed
by Franz Joseph Haydn.
Edited by Andreas
Friesenhagen. This
edition: urtext edition.
Stapled. Score. Hob.
I:88. Duration 23
minutes. Baerenreiter
Verlag #BA10980_00.
Published by Baerenreiter
Verlag (BA.BA10980).
ISBN 9790006562831. 31
x 24.3 cm inches. Key: G
major. Text Language:
German, English. Preface:
Andreas
Friesenhagen.
This
edition clarifies a
performance aspect of
Haydn’s Symphony
in G major that has long
been misunderstood: in m.
1 of the second movement
(Largo) the viola,
violoncello and several
wind instrument parts are
marked
“soloâ€,
indicating that they play
important motifs or
themes and ought to stand
out. Contrary to
other editions, the
“soloâ€
marking in the
violoncello should not be
construed as indicating a
solo instrument with the
remaining cellos doubling
the basses. Rather, the
cellos should play as a
section so as to stand
out all the more
clearly.
Continuin
g the collaboration
between Bärenreiter
and the Henle publishing
company in large-scale
choral works, operas and
symphonies, this edition
is based on the Henle
Complete Edition of the
“Works of Joseph
Haydnâ€. The
complete performance
material for several
“Sturm und
Drang†symphonies
and all of the London and
Paris symphonies is now
available from
Bärenreiter.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
Orchestra SKU: HL.48182754 Composed by Olivier Messiaen. Leduc. Post-1900...(+)
Orchestra
SKU:
HL.48182754
Composed
by Olivier Messiaen.
Leduc. Post-1900.
Softcover. 442 pages.
Alphonse Leduc #AL24364.
Published by Alphonse
Leduc (HL.48182754).
UPC: 888680948856.
12.5x16.5
inches.
“Oliv
ier Messiaen (1908-1992)
is known for his unique
composition style.
Incorporating complex
rhythms, harmony,
melodies and his passion
for ornithology, his The
Transfiguration of Our
Lord Jesus Christ for
Choir, Seven solo
instruments and Orchestra
is no exception to the
composer's popular,
distinctive style.
Composed between
1965-1969, The
Transfiguration of Our
Lord Jesus Christ is
based on the account of
Jesus' Transfiguration,
found in the Gospels of
Matthew, Mark and Luke.
The work requires a huge
200 performers and with
14 movements, a typical
performance lasts about
an hour and a half. The
Transfiguration of Our
Lord Jesus Christ
incorporates Messiaen's
popular compositional
techniques, such as his
modes of limited
transposition, and the
use of birdsong. Texts
are largely based on the
Bible. The
Transfiguration of Our
Lord Jesus Christ is
essential to all advanced
musicians seeking to
expand and vary their
ensemble repertoire on a
large-scale.&rdquo.
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Study Score. 40
pages. Duration 10'.
Breitkopf and Haertel #PB
5549-07. Published by
Breitkopf and Haertel
(BR.PB-5549-07).
ISBN
9790004213599. 6.5 x 9
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. 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.
Leoš
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
“symphonyâ€
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 Dunajâ€
– 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?<
/p>
MUSICOLOGICA
LLY 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
Orchestra SKU: HL.48187753 Composed by Wolfgang Amadeus Mozart. Leduc. Cl...(+)
Orchestra
SKU:
HL.48187753
Composed
by Wolfgang Amadeus
Mozart. Leduc. Classical.
Study Score. Heugel & Cie
#HE31554. Published by
Heugel & Cie
(HL.48187753).
UPC:
888680868024.
5.5x7.5x0.173
inches.
Following
nearly 4 years without
having composed a new
symphony, although still
writing opera overtures
and works from orchestral
serenades, Mozart
composed the ?Paris?
Symphony. Mozart received
the commission from
Joseph Legros, when him
and his mother were in
Paris in 1778.Mozart
composed the work for the
largest orchestra he?d
written for until then in
a symphony, marking the
first time which he had
used Clarinets in one of
his symphonies. Mozart
had taken pains to write
the work in a style that
would appeal to the
French and, despite a
dismal rehearsal, the
first performance was
well received.Available
here is a study score of
Mozart?s Symphony No.31
in D ?Paris? K.297, which
is ideal for study and
perusal usage..
Orchestra SKU: BT.ALHE31554 Composed by Wolfgang Amadeus Mozart. Classica...(+)
Orchestra
SKU:
BT.ALHE31554
Composed
by Wolfgang Amadeus
Mozart. Classical. Study
Score. 42 pages. Heugel &
Cie #ALHE31554. Published
by Heugel & Cie
(BT.ALHE31554).
French.
Followin
g nearly 4 years without
having composed a new
symphony, although still
writing opera overtures
and works from orchestral
serenades, Mozart
composed the
_x001A_Paris_x001A_
Symphony. Mozart received
the commission from
Joseph Legros,when him
and his mother were in
Paris in 1778.Mozart
composed the work for the
largest orchestra
he_x001A_d written for
until then in a symphony,
marking the first time
which he had used
Clarinets in one of his
symphonies. Mozart
hadtaken pains to write
the work in a style that
would appeal to the
French and, despite a
dismal rehearsal, the
first performance was
well received.Available
here is a study score of
Mozart_x001A_s Symphony
No.31 in D
_x001A_Paris_x001A_
K.297, whichis ideal for
study and perusal
usage.
Orchestra SKU: PO.UME19S Composed by Anthony Ritchie. Perfect. Full score...(+)
Orchestra
SKU:
PO.UME19S
Composed by
Anthony Ritchie. Perfect.
Full score. Promethean
Editions #UME19S.
Published by Promethean
Editions (PO.UME19S).
ISBN
9781877564802.
Symp
hony No.5 (Childhood)
marks somewhat of an
evolution in Ritchie's
writing, as he further
embraces the minimalist
techniques that have
influenced his previous
work. Beautiful,
expressive solo passages
emerge, particularly for
oboe, while elsewhere the
orchestra becomes
swirling and thunderous
as if mimicking the
chaotic action of a
packed playground,
creating an affecting
portrait of this magical
first stage of life.
Orchestra (Full Score) SKU: HL.132274 Chopin National Edition 20A, Vol...(+)
Orchestra (Full Score)
SKU: HL.132274
Chopin National
Edition 20A, Vol.
XVd. Composed by
Frederic Chopin. Edited
by Jan Ekier. PWM.
Classical. Book Only.
Polskie Wydawnictwo
Muzyczne #51600027.
Published by Polskie
Wydawnictwo Muzyczne
(HL.132274).
UPC:
884088971083.
9.25x12.0x0.194
inches.
In this
most perfect of Chopin's
rondos the orchestra
becomes an expressive and
important partner for the
piano soloist. The solo
piano version is
published in 00132229.
The two piano reduction
is published in 00132232.
The National Edition of
the Works of Fryderyk
Chopin Published by PWM
Exclusively Distributed
by Hal Leonard
Corporation Co-Editors
Jan Ekier and Pawel
Kaminski The objective of
the National Edition is
to present Chopin's
complete output in its
authentic form, based on
the entire body of
available sources.
Sources were analyzed
with up-to-date
scientific and
musicological
methodology. The National
Edition was based on
sources originated from
the composer, mainly
autographs, copies of
autographs and first
editions with the
composer's corrections,
and pupils' copies with
Chopin's annotations. In
cases when original
sources were lacking, the
closest possible
materials were used.
Collecting the source
materials was a laborious
task which took years of
effort. The
characteristics of
sources, the links and
discrepancies between
them as well as the
reasons for particular
editorial decisions are
discussed in the Source
Commentary in each
volume. The Performance
Commentary appended to
each volume includes: the
realization of ornaments,
comments on pedal
markings (the original
markings sometimes are
inadequate, due to the
difference in sound
between pianos used in
Chopin`s times and modern
pianos), suggestions as
to the harmonic legato (a
performance technique
often used by Chopin and
now forgotten). About the
National Edition Full
Introduction to the
Polish National Edition
of the Works of Fryderyk
Chopin.
Orchestra (Score) SKU: HL.132289 Chopin National Edition Vol. XVe....(+)
Orchestra (Score)
SKU:
HL.132289
Chopin
National Edition Vol.
XVe. Composed by
Frederic Chopin. Edited
by Jan Ekier. PWM.
Classical. Book
[Softcover]. Polskie
Wydawnictwo Muzyczne
#51600012. Published by
Polskie Wydawnictwo
Muzyczne (HL.132289).
ISBN 9788392036524.
UPC: 884088971236.
9.25x12.0x0.277
inches.
The
historical version of the
score is what Chopin
agreed to have published,
for various reasons, but
it is contaminated by
involvement of foreign
editorial input. The
performance full score
00132241 or its 2 piano
reduction 00132132242 are
practical editions that
are considered more
authoritative for
performance. The National
Edition of the Works of
Fryderyk Chopin Published
by PWM Exclusively
Distributed by Hal
Leonard Corporation
Co-Editors Jan Ekier and
Pawel Kaminski The
objective of the National
Edition is to present
Chopin's complete output
in its authentic form,
based on the entire body
of available sources.
Sources were analyzed
with up-to-date
scientific and
musicological
methodology. The National
Edition was based on
sources originated from
the composer, mainly
autographs, copies of
autographs and first
editions with the
composer's corrections,
and pupils' copies with
Chopin's annotations. In
cases when original
sources were lacking, the
closest possible
materials were used.
Collecting the source
materials was a laborious
task which took years of
effort. The
characteristics of
sources, the links and
discrepancies between
them as well as the
reasons for particular
editorial decisions are
discussed in the Source
Commentary in each
volume. The Performance
Commentary appended to
each volume includes: the
realization of ornaments,
comments on pedal
markings (the original
markings sometimes are
inadequate, due to the
difference in sound
between pianos used in
Chopin`s times and modern
pianos), suggestions as
to the harmonic legato (a
performance technique
often used by Chopin and
now forgotten). About the
National Edition Full
Introduction to the
Polish National Edition
of the Works of Fryderyk
Chopin.
Score Orchestra (Full Score) SKU: HL.132241 Chopin National Edition(+)
Score Orchestra (Full
Score)
SKU:
HL.132241
Chopin
National Edition.
Composed by Frederic
Chopin. Edited by Jan
Ekier and Pawel Kaminski.
PWM. Classical. Book
[Softcover]. Polskie
Wydawnictwo Muzyczne
#51600013. Published by
Polskie Wydawnictwo
Muzyczne (HL.132241).
ISBN 9788392036517.
UPC: 884088970758.
9.25x12.0x0.257 inches.
Chopin National Edition
(ed. Jan Ekier and Pawel
Kaminski).
Called
Concerto No. 2, it was
written before what is
known as Concerto No. 1
(Op. 11). The piece is
also available in other
Urtext National Editions.
00132292 is the version
for one piano. 00132242
is the two piano
reduction. 00132289 is a
historical version of the
full score. The National
Edition of the Works of
Fryderyk Chopin Published
by PWM Exclusively
Distributed by Hal
Leonard Corporation
Co-Editors Jan Ekier and
Pawel Kaminski The
objective of the National
Edition is to present
Chopin's complete output
in its authentic form,
based on the entire body
of available sources.
Sources were analyzed
with up-to-date
scientific and
musicological
methodology. The National
Edition was based on
sources originated from
the composer, mainly
autographs, copies of
autographs and first
editions with the
composer's corrections,
and pupils' copies with
Chopin's annotations. In
cases when original
sources were lacking, the
closest possible
materials were used.
Collecting the source
materials was a laborious
task which took years of
effort. The
characteristics of
sources, the links and
discrepancies between
them as well as the
reasons for particular
editorial decisions are
discussed in the Source
Commentary in each
volume. The Performance
Commentary appended to
each volume includes: the
realization of ornaments,
comments on pedal
markings (the original
markings sometimes are
inadequate, due to the
difference in sound
between pianos used in
Chopin`s times and modern
pianos), suggestions as
to the harmonic legato (a
performance technique
often used by Chopin and
now forgotten). About the
National Edition Full
Introduction to the
Polish National Edition
of the Works of Fryderyk
Chopin.