Orchestra SKU: LO.30-3220L Composed by Thomas Fettke. Arranged by Thomas ...(+)
Orchestra
SKU:
LO.30-3220L
Composed
by Thomas Fettke.
Arranged by Thomas
Grassi. Choral, cantatas.
Christmas. Score and
parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3220L. Published by
Lorenz Publishing Company
(LO.30-3220L).
UPC:
000308142389.
Brimm
ing with ancient Celtic
flavor, Stars of Glory
radiates the promise of
the light of God’s
salvation, fulfilled in
the birth of Jesus
Christ. Tom Fettke and
Thomas Grassi have
arranged a brilliant mix
of eleven traditional
carols for SATB choir,
duet, optional solo,
child’s solo, and
women’s trio.
Variously tender,
introspective, joyous,
and infectious, the
selections in this work
are connected by the
common thread of their
Celtic highlights, while
Ken Bible’s
readings beautifully
illuminate the central
theme—Jesus
Christ, the Bright and
Morning Star.
Orchestration by Michael
Lawrence for 2 Fl, Ob, 2
Cl, Bsn (sub Bass Cl), 2
Hn (sub 2 A Sax), 3 Tpt,
2 Tbn (sub 2 T Sax),
Tuba, Perc, Timp, Harp,
Pno, 2 Vln, Vla, Cello,
Bass, Digital
Strings.
Orchestra SKU: LO.30-3218L Composed by Thomas Fettke. Arranged by Thomas ...(+)
Orchestra
SKU:
LO.30-3218L
Composed
by Thomas Fettke.
Arranged by Thomas
Grassi. Choral, cantatas.
Christmas. Instrumental
parts. Lorenz Publishing
Company #30/3218L.
Published by Lorenz
Publishing Company
(LO.30-3218L).
UPC:
000308142365.
Brimm
ing with ancient Celtic
flavor, Stars of Glory
radiates the promise of
the light of God’s
salvation, fulfilled in
the birth of Jesus
Christ. Tom Fettke and
Thomas Grassi have
arranged a brilliant mix
of eleven traditional
carols for SATB choir,
duet, optional solo,
child’s solo, and
women’s trio.
Variously tender,
introspective, joyous,
and infectious, the
selections in this work
are connected by the
common thread of their
Celtic highlights, while
Ken Bible’s
readings beautifully
illuminate the central
theme—Jesus
Christ, the Bright and
Morning Star.
Orchestration by Michael
Lawrence for 2 Fl, Ob, 2
Cl, Bsn (sub Bass Cl), 2
Hn (sub 2 A Sax), 3 Tpt,
2 Tbn (sub 2 T Sax),
Tuba, Perc, Timp, Harp,
Pno, 2 Vln, Vla, Cello,
Bass, Digital
Strings.
Orchestra (Study Score) SKU: HL.51489053 (La Reine) Orchestra Study Sc...(+)
Orchestra (Study Score)
SKU: HL.51489053
(La Reine) Orchestra
Study Score. Composed
by Franz Joseph Haydn.
Edited by Hiroshi Nakano.
Study Score. Paperbound.
Henle Study Scores.
Classical. Softcover. 51
pages. G. Henle #HN9053.
Published by G. Henle
(HL.51489053).
ISBN
9790201890531. UPC:
888680950651.
6.5x9.0x0.131 inches.
Preface: Ullrich
Schneidler.
Orchestra (Study Score) SKU: HL.51489051 (La Poule) Orchestra Study Sc...(+)
Orchestra (Study Score)
SKU: HL.51489051
(La Poule) Orchestra
Study Score. Composed
by Franz Joseph Haydn.
Edited by Hiroshi Nakano.
Study Score. Paperbound.
Henle Study Scores.
Classical. Softcover. 50
pages. G. Henle #HN9051.
Published by G. Henle
(HL.51489051).
ISBN
9790201890517. UPC:
888680950583.
6.5x9.5x0.202 inches.
Preface: Ullrich
Schneidler.
Orchestra (Study Score) SKU: HL.51489055 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489055
Orchestra Study
Score. Composed by
Franz Joseph Haydn.
Edited by Hiroshi Nakano.
Study Score. Paperbound.
Henle Study Scores.
Classical. Softcover. 58
pages. G. Henle #HN9055.
Published by G. Henle
(HL.51489055).
ISBN
9790201890555. UPC:
888680950590.
7.0x9.0x0.25 inches.
Preface: Ullrich
Schneidler.
Orchestra (Study Score) SKU: HL.51489054 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489054
Orchestra Study
Score. Composed by
Franz Joseph Haydn.
Edited by Klaus Lippe and
Sonja Gerlach. Study
Score. Paperbound. Henle
Study Scores. Classical.
Softcover. 66 pages. G.
Henle #HN9054. Published
by G. Henle
(HL.51489054).
ISBN
9790201890548. UPC:
888680950606.
7.0x9.0x0.287 inches.
Preface: Ullrich
Schneidler.
Orchestra (Study Score) SKU: HL.51489052 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489052
Orchestra Study
Score. Composed by
Franz Joseph Haydn.
Edited by Klaus Lippe and
Sonja Gerlach. Study
Score. Clothbound. Henle
Study Scores. Classical.
Softcover. 60 pages. G.
Henle #HN9052. Published
by G. Henle
(HL.51489052).
ISBN
9790201890524. UPC:
888680950682.
7.0x9.0x0.238 inches.
Preface: Ullrich
Schneidler.
Orchestra (Study Score) SKU: HL.51489050 (L'ours) Orchestra Study Scor...(+)
Orchestra (Study Score)
SKU: HL.51489050
(L'ours) Orchestra
Study Score. Composed
by Franz Joseph Haydn.
Edited by Klaus Lippe and
Sonja Gerlach. Study
Score. Paperbound. Henle
Study Scores. Classical.
Softcover. 66 pages. G.
Henle #HN9050. Published
by G. Henle
(HL.51489050).
ISBN
9790201890500. UPC:
888680950699.
7.0x9.0x0.251 inches.
Preface: Ullrich
Schneidler.
Orchestra SKU: BT.ALHE31401 Composed by Wolfgang Amadeus Mozart. Classica...(+)
Orchestra
SKU:
BT.ALHE31401
Composed
by Wolfgang Amadeus
Mozart. Classical. Study
Score. 68 pages. Heugel &
Cie #ALHE31401. Published
by Heugel & Cie
(BT.ALHE31401).
French.
The
Symphony No.39 In E Flat
K.543 was finished in
Vienna on 26th June 1788.
Together with the
symphonies in G minor and
C major Jupiter (all
three were composed in
less than a month), it
marks the summit of
Mozart's achievementin
symphonic form. Although
this symphony breaks no
new ground as regards the
use of orchestral
instruments, it is
nevertheless one of the
first examples of modern
orchestration, because
the resources of each
instrument and thevarious
combinations of timbre
are here exploited with
great skill.This
miniature score is an
excellent resource for
perusal or private study
of this work.
Orchestra (Score) SKU: HL.49015919 Introduzione dall'Oratorio: Santa E...(+)
Orchestra (Score)
SKU:
HL.49015919
Introduzione
dall'Oratorio: Santa
Elena al Calvario.
Composed by Leonardo Leo.
Edited by Richard
Englaender. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Study Score.
21 pages. Eulenburg
Edition #ETP 538.
Published by Eulenburg
Edition (HL.49015919).
ISBN
9790200204605.
2
Faksimile * Preface *
Sinfonia: * I. Allegro *
II. Larghetto e cantabile
* III. Allegro.
Orchestra SKU: CF.PO192S On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192S
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown.
Condensed score. Carl
Fischer Music #PO192S.
Published by Carl Fischer
Music (CF.PO192S).
ISBN 9781491157367.
UPC:
680160915927.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra SKU: CF.PO192F On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192F
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown. Full
score. Carl Fischer Music
#PO192F. Published by
Carl Fischer Music
(CF.PO192F).
ISBN
9781491157374. UPC:
680160915934.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
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.
Study Score.
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 80
pages. Duration 900
seconds. Boosey & Hawkes
#M060136009. Published by
Boosey & Hawkes
(HL.48024880).
ISBN
9781784545154. UPC:
840126918670.
7.25x10.25x0.319
inches.
This
publication presents
under one cover various
short works for sundry
orchestral scorings.
Larghetto for Orchestra
is MacMillan's
orchestration (2017) of
his celebrated Miserere
for a cappella mixed
choir (2009), a setting
in Latin of Psalm 51,
'Have mercy upon me, O
God, according to thy
great mercy', the
penitential text famously
set in the 17th century
by Gregorio Allegri. The
Larghetto orchestration
was commissioned by the
Pittsburgh Symphony
Orchestra in celebration
of Manfred Honeck's 10th
Anniversary as Music
Director. Memoire
imperiale is one of a
number of variations on
General John Reids march
tune Old Gaul
commissioned from
Scottish composers to
mark the centenary in
1994 of the Faculty of
Music at Edinburgh
University. The Faculty
was established following
a bequest by General Reid
(1721-1807), a former law
student at the University
and a renowned flute
player and composer of
marches for the
BritishArmy, and he asked
that an annual concert be
organised at which one or
more of his compositions
be played. Composed in
2012 for the Britten
Sinfonia, One is a monody
in which a single line is
passed around the
instruments, painting it
with different colours as
it emerges and develops.
Lasting only a few
minutes, its singularity
is maintained until
blossoming in the lastfew
bars. For Sonny (2011,
orch 2013) and Ein
Lamplein verlosch (2018,
orch 2019) are short,
private memorial tributes
originally for string
quartet and here rescored
for string orchestra.
Hirta was composed in
2016 as part of Deccas
The Lost Songs of St
Kilda project. Nearly a
century ago, the last 36
residents were evacuated
from the most remote part
of the British Isles, St
Kilda, an isolated
archipelago off the
beautiful and rugged
western coast of
Scotland. After 86 years,
the music of St Kilda was
rediscovered, recorded in
a Scottish care home by
Trevor Morrison, an
elderly man who had been
taught piano by an
inhabitant of St Kilda.
The songs were
'reimagined' for the
Decca album by
various.
Orchestra SKU: FG.55011-444-9 Composed by Einojuhani Rautavaara. Score (l...(+)
Orchestra
SKU:
FG.55011-444-9
Composed by Einojuhani
Rautavaara. Score
(large). Fennica Gehrman
#55011-444-9. Published
by Fennica Gehrman
(FG.55011-444-9).
ISBN
9790550114449.
Eino
juhani Rautavaara
(1928-2016) was one of
Finland's internationally
most successful
composers. He made his
major breakthrough with
the Symphony No. 7, Angel
of Light, in the 1990s,
but his output includes
numerous classic operas,
concertos, chamber music
and choral works.
Over his extensive
career, he progressed
from Neo-Classicism to
strict dodecaphony to
free-tonal
Neo-Romanticism,
combining modernism with
mystical romanticism in
his later works.
According to the
composer, the role of the
composer is to be
mediator, a midwife, who
helps the music become
alive on its own terms;
Listen to what the music
wants to tell you, he
told his composition
students, sense where it
wants to go.
Rautavaara rose to great
international fame with
the success of his
Symphony No. 7, Angel of
Light (1995) powered by
the prize-winning
recording (Helsinki
Philharmonic, Segerstam,
Ondine label) later the
same year. Many
high-profile
international commissions
followed, creating yet
more prize-winning
recordings. To mark
the 25th anniversary of
the work's premiere - in
its original form as the
Bloomington Symphony - by
the Bloomington Symphony
Orchestra and conductor
David Pickett, Fennica
Gehrman is publishing an
entirely new edition of
the symphony based on all
available sources,
including the composer's
manuscript and his
markings in various
printed scores. This
is a large-sized
conductor score with
extensive analysis of the
work and its genesis.
Orchestra SKU: BT.PWM8821 Composed by Mieczyslaw Karlowicz. Classical. Sc...(+)
Orchestra
SKU:
BT.PWM8821
Composed
by Mieczyslaw Karlowicz.
Classical. Score Only.
248 pages. Polskie
Wydawnictwo Muzyczne
#PWM8821. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM8821).
Work on this
piece began in the spring
of 1899 durng Kar owiczs
studies in Berlin and he
finished it after
graduating and returning
home in June 1902. Its
premiere took place on
March 21, 1903 in Berlin,
and the Polish premiere
on April 7, 1903 in Lviv.
The symphony has a
classic, four-movement
structure, but in terms
of architecture it is
much closer to symphonic
poems. It consists of the
movements: 1. Andante.
Allegro 2. Andante non
troppo 3. Vivace 4.
Allegro maestoso. ''In
terms of orchestration
and instrumentation
technique it represents
Kar owiczs early,
academic period. The
composer still used
double wind enriched with
piccolo flute, unlike in
his later orchestral
works the symphonic
poems. The orchestration
of the work indicates
that the composer was
guided by Tchaikovskys
symphonic model. Kar
owicz here still
willingly operates with
various sound blocks of
entire instrumental
groups, treating them in
a choral manner, with
tight chordal pillars''
(Leszek Polony). Before
the Polish premiere the
composer gave a
comprehensive literary
programme of the work in
the Lviv newspaper S owo
Polskie, in which he
referred to each
consecutive movement of
the Symphony. In his last
words he wrote, ''We hear
a hymn of revival, at
first quiet and sweet,
then wider and wider, and
fuller. Already the time
has come; to hear the
fanfare. Only one more
step! And although the
spirits fall again in
doubt, we hear a powerful
and solemn hymn of
rebirth.''.
Featuring: Sleigh Ride
/ Rockin' Around the
Christmas Tree / Let It
Snow! Let It Snow! Let It
Snow! / Santa Claus Is
Comin' to Town.
Composed by Various.
Arranged by Michael
Story. Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Beginning String
Orchestra. Form: Medley.
Christmas; Secular;
Winter. Score. 16 pages.
Duration 4:00. Alfred
Music #00-43755S.
Published by Alfred Music
(AP.43755S).
UPC:
038081496283. English.
Various.
Featuring
a set of four
arrangements that can be
performed individually or
as a complete program.
Each piece reinforces
specific musical
objectives. (4:00).
Orchestra (2.2.2.2.dble
bsn.serp - 2.2.3.0 - timp
- str)
SKU:
BR.PB-5581
Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Thomas Schmidt.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphony; Romantic. Full
score. 140 pages.
Duration 30'. Breitkopf
and Haertel #PB 5581.
Published by Breitkopf
and Haertel (BR.PB-5581).
ISBN 9790004213919. 10
x 12.5 inches.
A
Programmatic Declaration
of BeliefFelix
Mendelssohn Bartholdy
composed his Reformation
Symphony for the
celebrations marking the
300th anniversary of the
Confessio Augustana, the
Protestant declaration of
faith. Owing to various
and only partially
explained reasons, there
was no performance in
1830, the year in
question; it was only two
years later that the
composer conducted the
premiere of his work, now
heavily revised, in
Berlin. There was only
one more performance in
Mendelssohn's lifetime,
this one conducted by
Julius Rietz in
Dusseldorf; the composer
had since distanced
himself from his
opus.Conceived for the
concert hall, the
symphony formulates its
theological references
through the integration
of various motives. This
occurs in the finale, for
example, in which
Mendelssohn quotes the
Luther chorale Ein feste
Burg in the flute, from
where it builds up to a
triumphant principal
theme. The strong
extra-musical aspect must
have been one of the
reasons for the
composer's later
avoidance of this score,
especially since
Mendelssohn was becoming
increasingly skeptical
about explicitly
programmatic music in the
instrumental domain. Next
to the Dusseldorf
performance material of
1837, two scribal copies
have been examined for
the first time; they
transmit the main stages
of the version of
1830.
Orchestra (2.2.2.2.dble
bsn.serp - 2.2.3.0 - timp
- str)
SKU:
BR.PB-5598-07
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphony; Romantic. Study
Score. 132 pages.
Duration 30'. Breitkopf
and Haertel #PB 5598-07.
Published by Breitkopf
and Haertel
(BR.PB-5598-07).
ISBN
9790004214954. 6.5 x 9
inches.
A
Programmatic Declaration
of BeliefFelix
Mendelssohn Bartholdy
composed his Reformation
Symphony for the
celebrations marking the
300th anniversary of the
Confessio Augustana, the
Protestant declaration of
faith. Owing to various
and only partially
explained reasons, there
was no performance in
1830, the year in
question; it was only two
years later that the
composer conducted the
premiere of his work, now
heavily revised, in
Berlin. There was only
one more performance in
Mendelssohn's lifetime,
this one conducted by
Julius Rietz in
Dusseldorf; the composer
had since distanced
himself from his
opus.Conceived for the
concert hall, the
symphony formulates its
theological references
through the integration
of various motives. This
occurs in the finale, for
example, in which
Mendelssohn quotes the
Luther chorale Ein feste
Burg in the flute, from
where it builds up to a
triumphant principal
theme. The strong
extra-musical aspect must
have been one of the
reasons for the
composer's later
avoidance of this score,
especially since
Mendelssohn was becoming
increasingly skeptical
about explicitly
programmatic music in the
instrumental domain. Next
to the Dusseldorf
performance material of
1837, two scribal copies
have been examined for
the first time; they
transmit the main stages
of the version of
1830.
Orchestra - Grade 1 SKU: AP.46680S Composed by Various. Arranged by Dougl...(+)
Orchestra - Grade 1
SKU: AP.46680S
Composed by Various.
Arranged by Douglas E.
Wagner. MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Beginning String
Orchestra. Light Concert;
Masterwork Arrangement.
Score. 12 pages. Belwin
Music #00-46680S.
Published by Belwin Music
(AP.46680S).
UPC:
038081533261. English.
Various.
A (Very)
Short History of Music is
an amazing grade 1 medley
of a representative
example from each major
period of Western music
using mostly half and
quarter notes. Seamlessly
presented by Douglas E.
Wagner, players and
audiences alike will
experience approximately
ten centuries of music
history in two and a half
minutes. This title is
available in MakeMusic
Cloud.
Orchestra - Grade 2.5 SKU: AP.41223 Composed by Various. Arranged by Jack...(+)
Orchestra - Grade 2.5
SKU: AP.41223
Composed by Various.
Arranged by Jack Bullock.
Full Orchestra;
Performance Music
Ensemble; Single Titles.
Belwin Intermediate
String/Full Orchestra.
Christmas; Winter. Score
and Part(s). 240 pages.
Duration 5:40. Belwin
Music #00-41223.
Published by Belwin Music
(AP.41223).
UPC:
038081504728. English.
Various.
One suite
provides ultimate
flexibility! Select from
Joy to the World, Deck
the Hall, Chanukah, or
Silent Night and perform
any or all either as
string orchestra, full
orchestra, brass quintet,
or woodwind quintet. All
in one chart! Wow!
(5:40).
Orchestra SKU: SU.27020085 For Orchestra. Composed by Graham Gordo...(+)
Orchestra
SKU:
SU.27020085
For
Orchestra. Composed
by Graham Gordon Ramsay.
Orchestra. Study Score.
Subito Music Corporation
#27020085. Published by
Subito Music Corporation
(SU.27020085).
Jacob vs. Angel
is a piece about crisis
of conscience, ambiguity,
and misinterpretation
expressed through the
depiction of a major
battle, the goal of which
is never made entirely
clear. Based on the
biblical story, the work
is highly programmatic,
with each of the six
movements reflecting a
corresponding stanza from
the titular poem by Alice
Weaver Flaherty. The
piece was originally
composed as a vehicle for
virtuoso organist
Heinrich Christensen, and
later orchestrated. The
first movement introduces
the main musical
material--a five note
motive, the intervals of
which are reorganized to
create melodic and
harmonic development
throughout the piece. The
second, third, and fourth
movements depict the
brutal fight between
Jacob and the angel, and
lead one to the next
without pause. The fifth
movement is about the
post-battle scene, and
the final movement is an
epilogue, reframing the
ideas from the previous
movements. The music
elucidates various
actions from the Flaherty
poem—sand
skittering across the
desert, aggressive acts
of violence and
sensuality between the
protagonists, the beating
of wings, feathers
blowing in the wind, etc.
But beyond the music's
more literal elements,
the work is designed to
express an abstract state
of mind, a sense of
unease, and anticipation
of what is yet to come.
—Graham Gordon
Ramsay2(2) 1,1 2 2; 2221;
7perc, hp, cel; stgs
Duration: 24'Composed:
2023 Published by:
Distributed Composer
Jacob vs Angel was
composed originally as a
solo concert organ work
in 2007; the orchestral
version was completed in
2023. A live performance
of the organ version can
be seen at. Performance
materials available on
rental:.