Composed by Nancy Galbraith (1951-). For Piano and Concert Band (solo piano; 3,1...(+)
Composed by Nancy
Galbraith (1951-). For
Piano and Concert Band
(solo piano; 3,1 2 3,bass
clarinet 2 2 alto sax,
tenor sax, baritone sax;
4331, euphonium; 5
percussion, contrabass).
Study Score. Duration
21'. Published by Subito
Music Corporation
For Piano. Includes a high-quality printed music score and a compact disc contai...(+)
For Piano. Includes a
high-quality printed
music score and a compact
disc containing a
complete version with
soloist, in split-channel
stereo (soloist on the
right channel); then a
second version in full
stereo of the orchestral
accompaniment, minus the
soloist. Published by
Music Minus One.
Piano/harpsichord and
orchestra (solo: pno -
3(picc).3(cor ang).2.2 -
4.2.3.1 - timp.perc - hp
- cel - str)
SKU:
BR.EB-11450
Impresiones sinfonicas
- Urtext. Composed by
Manuel de Falla. Edited
by Ullrich Scheideler.
Orchestra; Softbound.
Edition Breitkopf.
In
Cooperation with G. Henle
Verlag
Solo concerto;
Symphonic poem;
Late-romantic; Early
modern. Piano reduction.
68 pages. Duration 23'.
Breitkopf and Haertel #EB
11450. Published by
Breitkopf and Haertel
(BR.EB-11450).
ISBN
9790201814506. 9.5 x 12
inches.
Composed by
Manuel de Falla during
his lengthy residence in
Paris, these three
symphonic impressions for
piano and orchestra are
an expressive work
bringing the southern
Spanish gardens, which
are laid out in the
European and
Arabic-Moorish tradition,
to life. The influence of
contemporary French music
is noticeable in this
composition. Despite many
modifications, involving
among other things, the
scoring, number of
movements, as well as
layout and content, the
basic idea of a nocturnal
impression is retained
from the outset. The work
was finished - and
likewise the orchestral
material - only shortly
before its premiere on 9
April 1916, which was a
great success. World War
I prevented its
publication, though
further performances
followed, played then
from manuscript material.
The Urtext edition
presented by Ullrich
Scheideler takes as the
main source the first
edition of the score. The
Critical Report gives
detailed information
about the source
situation.
Kaintuck' Piano et Orchestre [Conducteur] Carl Fischer
(Poem for Piano and Orchestra - Full Score). By William Grant Still (1895-1978)....(+)
(Poem for Piano and
Orchestra - Full Score).
By William Grant Still
(1895-1978). Orchestra.
For Flute I, Flute II,
Flute III, Piccolo, Oboe
I, Oboe II, English Horn,
Clarinet I, Clarinet II,
Clarinet III, Bass
Clarinet, Bassoon I,
Bassoon II, Horn I, Horn
II, Horn III, Horn IV,
Trumpet I, Trumpet II,
Trumpet III, Tenor I,
Tenor II, Tenor III,
Tuba, . Full score
(large). Standard
notation. 48 pages.
Published by Carl Fischer
(Eulenburg Audio Score
Series, Vol. 65). By
Frederic Chopin
(1810-1849). Edited by
Michael Stegemann. Study
Score. Study Score.
Softcover with CD. 102
pages. Hal Leonard
#EAS165. Published by Hal
Leonard
Piano/harpsichord and
orchestra (solo: pno -
3(picc).3(cor ang).2.2 -
4.2.3.1 - timp.perc - hp
- cel - str)
SKU:
BR.PB-15153
Impresiones sinfonicas
- Urtext. Composed by
Manuel de Falla. Edited
by Ullrich Scheideler.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
In
Cooperation with G. Henle
Verlag
Solo concerto;
Symphonic poem;
Late-romantic; Early
modern. Full score. 92
pages. Duration 23'.
Breitkopf and Haertel #PB
15153. Published by
Breitkopf and Haertel
(BR.PB-15153).
ISBN
9790004215586. 10 x 12.5
inches.
Composed by
Manuel de Falla during
his lengthy residence in
Paris, these three
symphonic impressions for
piano and orchestra are
an expressive work
bringing the southern
Spanish gardens, which
are laid out in the
European and
Arabic-Moorish tradition,
to life. The influence of
contemporary French music
is noticeable in this
composition. Despite many
modifications, involving
among other things, the
scoring, number of
movements, as well as
layout and content, the
basic idea of a nocturnal
impression is retained
from the outset. The work
was finished - and
likewise the orchestral
material - only shortly
before its premiere on 9
April 1916, which was a
great success. World War
I prevented its
publication, though
further performances
followed, played then
from manuscript material.
The Urtext edition
presented by Ullrich
Scheideler takes as the
main source the first
edition of the score. The
Critical Report gives
detailed information
about the source
situation.
(Piano Solo with Orchestral Reduction). Composed by Don Freund. For Orchestra, P...(+)
(Piano Solo with
Orchestral Reduction).
Composed by Don Freund.
For Orchestra, Piano. LKM
Music. Lauren Keiser
Music Publishing
#X412016. Published by
Lauren Keiser Music
Publishing
(For Piano and Orchestra (Solo Part)). By Johann Wenzel Anton Stamitz. Edited by...(+)
(For Piano and Orchestra
(Solo Part)). By Johann
Wenzel Anton Stamitz.
Edited by Rudolf Walter.
For piano and orchestra
((2),2,0,0-2 ad
lib.,0,0,0 - Strings).
Orchestral music.
Concerto. Score (solo
part). 40 pages.
Published by Doblinger
Music Publishers. Score
(solo part). concerto.
Piano and Wind Ensemble (Morgan Reflections)Piano solo with reduction SKU: SU...(+)
Piano and Wind Ensemble
(Morgan Reflections)Piano
solo with reduction
SKU: SU.94010541
For Piano and Wind
Ensemble (Morgan
Reflections)Piano solo
with reduction.
Composed by James Lee
III. Keyboard,
Piano/Harpsichord,
Woodwinds, Woodwind
Ensemble, Orchestra,
Piano Reduction. Score.
Subito Music Corporation
#94010541. Published by
Subito Music Corporation
(SU.94010541).
Solo Piano part
with piano reduction.
Instrumentation:
solo pno: picc, 2fl ob
3cl,bcl bn 2asx 2tsx bsx;
4tpt 4hn 3tbn euph tba;
timp 5perc; cb
Duration: 24'
Composed: 2015
Published by: Subito
Music Publishing
Performance materials
available on rental only
from the Subito Music
Rental Library.
Peanuts Gallery Piano et Orchestre [Reduction] Theodore Presser Co.
For Piano and Orchestra (Solo Piano and Piano Reduction). By Ellen Taaffe Zwilic...(+)
For Piano and Orchestra
(Solo Piano and Piano
Reduction). By Ellen
Taaffe Zwilich. For Piano
Solo, Piano Reduction.
Junior Class I-B piece
for the One Hand Piano
Music for the Concerto
Event with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010. Solo part
with piano reduction.
Composed 1996. 31 pages.
Duration 13:00. Published
by Theodore Presser
Company
Concerto for Piano and Wind Ensemble (1966) by Verne Reynolds. Concert Band. Con...(+)
Concerto for Piano and
Wind Ensemble (1966) by
Verne Reynolds. Concert
Band. Concert Band.
Donald Hunsberger Wind
Library. 6 . Conductor
Score. 152 pages.
Published by Alfred Music
Publishing
By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. For piano/orche...(+)
By Ludwig van Beethoven
(1770-1827). Edited by
Jonathan Del Mar. For
piano/orchestra. This
edition: Urtext edition.
Paperback. Score.
English/German. No. 1,
Op. 15. Published by
Baerenreiter Verlag
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Stu...(+)
Piano and orchestra
SKU:
FG.55011-372-5
Composed by Matthew
Whittall. Study score.
Fennica Gehrman
#55011-372-5. Published
by Fennica Gehrman
(FG.55011-372-5).
ISBN
9790550113725.
Imag
es of the sea figure
prominently throughout my
life and memories: from
holidays on the Atlantic
coast during my Canadian
childhood to my current
Baltic home, and the
imagined, only later
experienced Mediterranean
of my ancestral heritage.
As an immigrant (son of
an immigrant) bound to
two northern countries,
the sea is emblematic of
my twin homelands, from
the expanses of water
surrounding them to those
separating them. A Mari
usque ad Mare. The sea is
also an enduring image of
the unknown, of expanses
unexplored, of the raw
power of nature and, for
too many currently, of
terror holding a hope of
refuge - or the pain of
loss. Such disparate
ideas were captured for
me in the seascapes of
the New York painter
MaryBeth Thielhelm, whom
I met in 2008 during a
residency on the Gulf of
Mexico. Her vast,
abstract, nearly
monochromatic depictions
of imaginary seas in
wildly varying moods were
the catalyst for a
concerto where the piano
is frequently far from a
hero battling a
collective, but rather
acts as a channel for
elemental forces surging
up from the orchestra,
floating - sometimes
barely so - on its
constantly shifting
surface. There are few
themes to speak of,
beyond a handful of
iconic ideas that
periodically cycle
upward. Rather, the
piano's material is
largely an ornamentation
of the more primal
rhythmic and harmonic
impulses from the
orchestra below - a
poetic interpretation, if
you will, of the more
immediate experience of
facing the vastness of
some unknown body of
water. The title
Nameless Seas is borrowed
from one of Thielhelm's
exhibitions, as are those
of the four movements,
which are bridged
together into two halves
of roughly equal weight -
one rhapsodic and free,
the other more
single-minded and direct,
separated only by a short
breath. The opening
movement, Nocturne, is
predominantly calm, if
brooding, darkness and
light alternating
throughout. Lyrical
arabesques sparkle over
gently lapping
cross-currents in the
strings and mirrored
timpani, the piano's full
power only rarely
deployed. The waves
gradually build, drawing
in the full orchestra for
a meeting of forces in
Land and Sea, a brighter,
more warmly lyrical scene
that unfolds in series of
dreamlike, sometimes even
nostalgic visions, which
for me carry strong
memories of sitting on
rocks above surging
Atlantic waves. The third
movement, Wake, is a
fast, perpetual-motion
texture of glinting,
darting rhythms and
sudden shafts of light,
with a prominent part for
the steel drums, limning
the piano's quicksilver
figurations. An ecstatic
climax crashes into a
solo cadenza that grows
progressively calmer and
more introspective rather
than virtuosic. Much of
the tension finally
releases into Unclaimed
Waters, a drifting,
meditative seascape in
which the piano is
progressively engulfed by
a series of ever-taller
waves, ultimately
dissolving into a
tolling, rippling
continuum of sound.
It has been a great
privilege to realize such
a long-held dream as this
piece, and to write it
for not one, but two
great pianists.
Risto-Matti Marin and
Angela Hewitt, both of
whose friendship and
support have been
unfailing and humbling,
share the dedication.
Nameless Seas was
commissioned by the
PianoEspoo festival and
Canada's National Arts
Centre, with the
premieres in Ottawa and
Helsinki led by Hannu
Lintu and Olari Elts.
Thanks are due also to
the Jenny and Antti
Wihuri fund, whose
generous grant provided
me with much-needed time,
and Escape to Create in
Seaside, Florida, the
source to which I
returned to do a large
part of the work.
Piano and Wind Ensemble Piano Solo w/ reduction SKU: SU.90810022 For P...(+)
Piano and Wind Ensemble
Piano Solo w/ reduction
SKU: SU.90810022
For Piano and Wind
Ensemble Piano Solo w/
reduction. Composed
by Nancy Galbraith.
Keyboard,
Piano/Harpsichord,
Woodwinds, Wind Ensemble,
Orchestra, Piano
Reduction. Part. Subito
Music Corporation
#90810022. Published by
Subito Music Corporation
(SU.90810022).
Instrumentation
: Piano and Wind
Ensemble Duration:
20' ' Composed: 2000
Published by: Subito
Music Publishing.
Piano and Orchestra SKU: HL.14030961 Composed by Bent Sorensen. Music Sal...(+)
Piano and Orchestra
SKU: HL.14030961
Composed by Bent
Sorensen. Music Sales
America. Classical.
Score. 96 pages. Edition
Wilhelm Hansen #KP00980.
Published by Edition
Wilhelm Hansen
(HL.14030961).
ISBN
9788759857458.
English.
Score of
the Danish Composer's
Concerto for Piano and
Orchestra written in
1996. Bent Sorensen
writes: 'The title of
this piano concerto came,
as usual, very early to
me, when my thoughts
about the work had
started to circulate, but
before 'real' music was
written down. I held on
to the Italian title,
even though its
association with Vivaldi
had no influence on my
music, and even when
German, French, English,
and Danish titles
covering almost the same
content -'Nachtmusik',
'Nocturne', 'By Night',
'Om Natten', were just
about to get the upper
hand. The piano concerto
has, then, in my opinion,
something to do with
night, but to describe
this further is at least
as difficult to me as it
is to defend the final
Italian title against
those which were
rejected. The Piano
Concerto is in two
movements. The first,
swarming, is perhaps the
mystery of the night, and
the second perhaps the
dreams of the night; with
this, however, I have
already given the
concerto a more
programmatic content than
I can defend. Each
movement ends with a
cadenza and perhaps the
last of those - the
ending of the work that
is - is inspired by a
sequence from Bruce
Chatwin's wonderful book
'The Viceroy of Ouidah':
Or the Amazons howling.
'No, No, No. It was not
the leopard that killed
him. Not the buffalo that
killed him. It was night.
Night that killed
him!'.
Piano & Orchestra SKU: SU.28110010 For Piano & Orchestra. Composed...(+)
Piano & Orchestra
SKU:
SU.28110010
For
Piano & Orchestra.
Composed by Steven R.
Lebetkin. Keyboard,
Piano/Harpsichord,
Orchestra, Piano
Reduction. Accompanied by
orchestra, Concerto.
Study Score. Subito Music
Corporation #28110010.
Published by Subito Music
Corporation
(SU.28110010).
Accessible
Classical concerto
similar to Prokofiev
First Symphony, in a 21st
century language Piano &
Orchestra Duration: 24'
Composed: 2016 Published
by: Distributed Composer
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