Chorale SATB SATB [Octavo] - Intermédiaire Alfred Publishing
Arranged by And Orch. Lloyd Larson. For Choir. (SATB). Choral Octavo. Church Ch...(+)
Arranged by And Orch.
Lloyd Larson. For Choir.
(SATB). Choral Octavo.
Church Choral Series.
Patriotic; Sacred. Level:
Level 4 (grade L4).
Choral Octavo. 16 pages.
Published by Alfred
Publishing.
(5 Piano Solos and a Medley (Intermediate / Late Intermediate Piano)). Arr...(+)
(5 Piano Solos and a
Medley
(Intermediate / Late
Intermediate Piano)).
Arranged by Dan Coates.
For
Piano. Book; Graded
Standard
Repertoire; Piano
Collection; Piano
Supplemental. Official
Songs
of the United States
Armed
Forces. Form: March;
Medley.
4th of July; Patriotic;
Recital; Summer.
Intermediate; Late
Intermediate. 20 pages.
Published by Alfred Music
(The Official Songs of the U.S. Army / Marine Corps. / Coast Guard / Navy / Air ...(+)
(The Official Songs of
the U.S. Army / Marine
Corps. / Coast Guard /
Navy / Air Force (Army
Air Corps) and America
the Beautiful). Arranged
by and orch. Lloyd
Larson. Choir Sacred. For
InstruPax. This edition:
InstruPax. Choral
(Sacred); Choral Octavo;
Worship Resources. Church
Choral Series. 4th of
July; Patriotic; Sacred;
Spring; Summer.
Instrumental
Accompaniment. 116 pages
Veteran's Salute Fanfare - Intermédiaire Arrangers' Publishing Company
Arranged by Jay Dawson. For Marching Band (Score & Parts). Arrangers' Publ March...(+)
Arranged by Jay Dawson.
For Marching Band (Score
& Parts). Arrangers' Publ
Marching Band. Grade 3.
Arrangers' Publishing
Company #M627. Published
by Arrangers' Publishing
Company
Composed by Vincenzo Bellini (1801-1835). Edited by Carlida Steffan. For Voice. ...(+)
Composed by Vincenzo
Bellini (1801-1835).
Edited by Carlida
Steffan. For Voice.
CRITICAL EDITIONS.
Hardcover. 40 pages.
Ricordi #NR140185.
Published by Ricordi
Viola (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str) S...(+)
Viola (3(3.picc).2.cor
ang.2.2.dble bsn -
4.3.3.1 - timp - perc -
hp - str)
SKU:
BR.OB-5709-19
Tone
Poem for Large Orchestra
after N. Lenau -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphonic poem; Early
modern. Part. 12 pages.
Duration 19'. Breitkopf
and Haertel #OB 5709-19.
Published by Breitkopf
and Haertel
(BR.OB-5709-19).
ISBN
9790004348345. 10 x 12.5
inches.
Strauss
third tone poem Don Juan
was composed in spring
1888. This work is
already an impressive
demonstration of the
composer's newly acquired
confidence in mastering
the orchestral apparatus.
Already completed in the
fall, it took over a year
until its premiere in
Weimar on November 11,
1889. Breitkopf &
Hartel's new Urtext
edition assesses not only
the autograph and the
first edition, but also
for the first time the
parts used under the
composer's direction,
resulting in some
surprisingly new
readings. An extensive
preface, facsimile pages,
and a detailed critical
report round off this
authoritative Urtext
edition.
First
Urtext edition since the
first edition. Evaluation
of all available sources,
including some orchestral
parts used by Strauss. A
detailed critical report.
Complete orchestral
material available for
purchase.
Violin 2 (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str) <...(+)
Violin 2 (3(3.picc).2.cor
ang.2.2.dble bsn -
4.3.3.1 - timp - perc -
hp - str)
SKU:
BR.OB-5709-16
Tone
Poem for Large Orchestra
after N. Lenau -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphonic poem; Early
modern. Part. 12 pages.
Duration 19'. Breitkopf
and Haertel #OB 5709-16.
Published by Breitkopf
and Haertel
(BR.OB-5709-16).
ISBN
9790004348338. 10 x 12.5
inches.
Strauss
third tone poem Don Juan
was composed in spring
1888. This work is
already an impressive
demonstration of the
composer's newly acquired
confidence in mastering
the orchestral apparatus.
Already completed in the
fall, it took over a year
until its premiere in
Weimar on November 11,
1889. Breitkopf &
Hartel's new Urtext
edition assesses not only
the autograph and the
first edition, but also
for the first time the
parts used under the
composer's direction,
resulting in some
surprisingly new
readings. An extensive
preface, facsimile pages,
and a detailed critical
report round off this
authoritative Urtext
edition.
First
Urtext edition since the
first edition. Evaluation
of all available sources,
including some orchestral
parts used by Strauss. A
detailed critical report.
Complete orchestral
material available for
purchase.
Orchestra (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str) ...(+)
Orchestra
(3(3.picc).2.cor
ang.2.2.dble bsn -
4.3.3.1 - timp - perc -
hp - str)
SKU:
BR.PB-5709
Tone
Poem for Large Orchestra
after N. Lenau -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Early
modern. Full score. 120
pages. Duration 19'.
Breitkopf and Haertel #PB
5709. Published by
Breitkopf and Haertel
(BR.PB-5709).
ISBN
9790004216460. 10 x 12.5
inches.
Strauss
third tone poem Don Juan
was composed in spring
1888. This work is
already an impressive
demonstration of the
composer's newly acquired
confidence in mastering
the orchestral apparatus.
Already completed in the
fall, it took over a year
until its premiere in
Weimar on November 11,
1889. Breitkopf &
Hartel's new Urtext
edition assesses not only
the autograph and the
first edition, but also
for the first time the
parts used under the
composer's direction,
resulting in some
surprisingly new
readings. An extensive
preface, facsimile pages,
and a detailed critical
report round off this
authoritative Urtext
edition.
First
Urtext edition since the
first edition. Evaluation
of all available sources,
including some orchestral
parts used by Strauss. A
detailed critical report.
Complete orchestral
material available for
purchase.
Music
for Orchestra with String
Quartet. Composed by
Helmut Lachenmann.
Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Dances/marches;
Music post-1945. Sheet
Music. Composed 1979/80.
176 pages. Duration 36'.
Breitkopf and Haertel #PB
5714. Published by
Breitkopf and Haertel
(BR.PB-5714).
ISBN
9790004216514. 10.5 x 14
inches.
More than
my earlier works, this
one is interspersed with
metrically bound rhythms
and musicianly characters
that constantly
recrystallize and drift
towards or away from
familiar situations.The
familiar: These are
dance-like figures and
music-making formulas,
but also songs and, in
two cases fragments of
Bach's music - playfully
collected memories of
impressions in which -
consciously and
unconsciously - I am
embodied with that
collective comfort in
whose protection
bourgeois thinking and
feeling, magically
protected, grow up and
emerge apart.(It is well
known that such security
has its fetishes from the
childlike to the adult
stage: Home, religious
bond, holidays,
tradition, longing for
childhood - the
superficiality may have
little idea of the depth
that opens up underneath.
There is also no question
that we are still marked
by such security even
when the contradictions
and alienation of
existence force us to
step out of their
protection, to recognize
and act upon reality, and
to oppose the domination
of such inner bonds where
their original truth has
become the fatal untruth
of comfortable illusion,
stubbornly and fearfully
conjured idyll and
reactionary
narrow-mindedness.My
music feeds on figures in
which such memories are
encapsulated. It deals
with them not much
differently than in other
pieces with the elements
of the traditional
musical concept of
material, having already
always reflected
compositionally as a
product of sociality and
anticipation of musical
expression, i.e. it moved
into a structurally
expanded context and
expressively redefined
from there.Such an
approach aims at
overcoming lack of
freedom: grasping as part
of conceiving, i.e. not
philosophical reflection,
but rather an
artistically gripping
reflex by intervening in
the physical immediacy of
such predetermined
elements. These penetrate
and infect the structural
events, inducing a
musicianship that cannot
be relied upon; the music
jumps onto rhythms like
onto moving vehicles,
allows for being carried
by them until they deform
or disintegrate. This
creates an incline of
rhythmically shaped
situations: sequence and
interweaving of dances
and structures.The role
of the solo string
quartet is versatile,
obbligato and
concertante, leading and
accompanying in a
changing sense. Set as a
chamber music apparatus
in an orchestral
landscape, it repeatedly
forces its own sound
dimensions onto the
orchestra, it must accept
being drowned out at
times, it nests in the
holes of tutti fields, it
acts as a louse in the
fur, forcing one to
listen in and out.The
Tanzsuite with
Deutschlandlied is
structured as follows:I.
Section. 1. Introduction
- 2. Waltz - 3. March -
4. Bridge -II. Section.
5. Siciliano - 6.
Capriccio - 7. Valse
lente -III. Section. 8.
Bridge - 9. Gigue - 10.
Tarantelle - 11. Bridge
-IV. Section. 12 Aria I -
13 Polka - 14 Aria IIV.
Section. 15. Introduction
- 16 Gallop - 17 Coda
(Aria III)All 17 parts
merge into one
another.(Helmut
Lachenmann,
1980)CDs/LP/DVD:Arditti-Q
uartett, Deutsches
Symphonie-Orchester
Berlin, cond. Olaf
HenzoldCD Montaigne
Auvidis MO 782019Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
Cambreling (Excerpt)CD
BMG/RCA 74321 73510 2
(Musik in Deutschland
1950-2000)Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
CambrelingLP DMR
1028-30Arditti Quartet,
SWR Sinfonieorchester
Baden-Baden und Freiburg,
cond. Hans Zender Excerpt
on CD ,,Auswahl von zehn
Urauffuhrungen aus 70
Jahren, SWR
Sinfonieorchester
Baden-Baden und Freiburg
Arditti Quartet,
Staatsorchester
Stuttgart, cond. Sylvain
Cambreling DVD
,,Lachenmann-Perspektiven
6 (Breitkopf & Hartel,
BHM 7816)
Bibliography:Cavalotti,
Pietro: Differenzen.
Poststrukturalistische
Aspekte in der Musik der
1980er Jahre am Beispiel
von Helmut Lachenmann,
Brian Ferneyhough und
Gerard Grisey (= Sonus.
Schriften zur Musik,
hrsg. von Andreas
Ballsteadt, Band 8),
Schliengen: Argus 2006,
pp. 79-128.Das sind doch
alles Deutschlandlieder!
Helmut Lachenmann im
Gesprach mit Michael
Rebhahn, in: Der
Taktgeber. Das Magazin
der Jungen Deutschen
Philharmonie, Heft 40
(Sommer 2019), S.
6f.Stawowy, Milena:
Fluchtversuche in die
Hohle des Lowen. Helmut
Lachenmanns Tanzsuite mit
Deutschlandlied, in:
MusikTexte 67/68 (1997),
pp. 77-90.Toop, Richard:
Concept and Context: A
Historiographic
Consideration of
Lachenmanns Orchestral
Works, in: Helmut
Lachenmann Inward Beauty,
hrsg. von Dan Albertson,
Contemporary Music Review
23 (2004), Heft 3/4, pp.
125-144.
World
premiere: Donaueschingen
(Donaueschinger
Musiktage), October 18,
1980.
Piano Solo. Composed by Ludwig van Beethoven (1770- 1827). Edited by Felix Lo...(+)
Piano Solo. Composed by
Ludwig van Beethoven
(1770-
1827). Edited by Felix
Loy.
Arranged by Ian Fountain.
Sheet music. Henle Music
Folios. Classical.
Softcover.
G. Henle #HN1373.
Published
by G. Henle
Violin 1 (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str) <...(+)
Violin 1 (3(3.picc).2.cor
ang.2.2.dble bsn -
4.3.3.1 - timp - perc -
hp - str)
SKU:
BR.OB-5709-15
Tone
Poem for Large Orchestra
after N. Lenau -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphonic poem; Early
modern. Part. 12 pages.
Duration 19'. Breitkopf
and Haertel #OB 5709-15.
Published by Breitkopf
and Haertel
(BR.OB-5709-15).
ISBN
9790004348321. 10 x 12.5
inches.
Strauss
third tone poem Don Juan
was composed in spring
1888. This work is
already an impressive
demonstration of the
composer's newly acquired
confidence in mastering
the orchestral apparatus.
Already completed in the
fall, it took over a year
until its premiere in
Weimar on November 11,
1889. Breitkopf &
Hartel's new Urtext
edition assesses not only
the autograph and the
first edition, but also
for the first time the
parts used under the
composer's direction,
resulting in some
surprisingly new
readings. An extensive
preface, facsimile pages,
and a detailed critical
report round off this
authoritative Urtext
edition.
First
Urtext edition since the
first edition. Evaluation
of all available sources,
including some orchestral
parts used by Strauss. A
detailed critical report.
Complete orchestral
material available for
purchase.
Double bass (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str...(+)
Double bass
(3(3.picc).2.cor
ang.2.2.dble bsn -
4.3.3.1 - timp - perc -
hp - str)
SKU:
BR.OB-5709-27
Tone
Poem for Large Orchestra
after N. Lenau -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphonic poem; Early
modern. Part. 8 pages.
Duration 19'. Breitkopf
and Haertel #OB 5709-27.
Published by Breitkopf
and Haertel
(BR.OB-5709-27).
ISBN
9790004348369. 10 x 12.5
inches.
Strauss
third tone poem Don Juan
was composed in spring
1888. This work is
already an impressive
demonstration of the
composer's newly acquired
confidence in mastering
the orchestral apparatus.
Already completed in the
fall, it took over a year
until its premiere in
Weimar on November 11,
1889. Breitkopf &
Hartel's new Urtext
edition assesses not only
the autograph and the
first edition, but also
for the first time the
parts used under the
composer's direction,
resulting in some
surprisingly new
readings. An extensive
preface, facsimile pages,
and a detailed critical
report round off this
authoritative Urtext
edition.
First
Urtext edition since the
first edition. Evaluation
of all available sources,
including some orchestral
parts used by Strauss. A
detailed critical report.
Complete orchestral
material available for
purchase.
Trumpet, piano SKU: BR.MR-2255A From Musicus apparatus academicus....(+)
Trumpet, piano
SKU:
BR.MR-2255A
From
Musicus apparatus
academicus. Composed
by William Croft. Edited
by Carolyn I. Sanders.
Arranged by Ann
Knipschild. Solo
instruments; stapled.
Musica Rara. Overture;
Solo concerto; Baroque.
Piano reduction. 28
pages. Breitkopf and
Haertel #MR 2255a.
Published by Breitkopf
and Haertel
(BR.MR-2255A).
Trumpet and orchestra SKU: BR.MR-2255B From Musicus apparatus academic...(+)
Trumpet and orchestra
SKU: BR.MR-2255B
From Musicus apparatus
academicus. Composed
by William Croft. Edited
by Carolyn I. Sanders.
Orchestra; stapled.
Musica Rara. Overture;
Solo concerto; Baroque.
Score and parts. 84
pages. Breitkopf and
Haertel #MR 2255b.
Published by Breitkopf
and Haertel
(BR.MR-2255B).
Violoncello (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str...(+)
Violoncello
(3(3.picc).2.cor
ang.2.2.dble bsn -
4.3.3.1 - timp - perc -
hp - str)
SKU:
BR.OB-5709-23
Tone
Poem for Large Orchestra
after N. Lenau -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphonic poem; Early
modern. Part. 12 pages.
Duration 19'. Breitkopf
and Haertel #OB 5709-23.
Published by Breitkopf
and Haertel
(BR.OB-5709-23).
ISBN
9790004348352. 10 x 12.5
inches.
Strauss
third tone poem Don Juan
was composed in spring
1888. This work is
already an impressive
demonstration of the
composer's newly acquired
confidence in mastering
the orchestral apparatus.
Already completed in the
fall, it took over a year
until its premiere in
Weimar on November 11,
1889. Breitkopf &
Hartel's new Urtext
edition assesses not only
the autograph and the
first edition, but also
for the first time the
parts used under the
composer's direction,
resulting in some
surprisingly new
readings. An extensive
preface, facsimile pages,
and a detailed critical
report round off this
authoritative Urtext
edition.
First
Urtext edition since the
first edition. Evaluation
of all available sources,
including some orchestral
parts used by Strauss. A
detailed critical report.
Complete orchestral
material available for
purchase.
Mass in
time of war. Composed
by Franz Joseph Haydn.
CD-Reihen bei Carus:
Carus Choir Coach. Carus
Choir Coach (audio only).
Composed 1796. Hob.
XXII:9. Duration 38
minutes. Carus Verlag
#4060791. Published by
Carus Verlag
(CA.4060791).
Key: C
major. Latin.
One
of his later works,
Haydnâs Missa in
tempore belli, composed
in 1796, is also referred
to as the
âPaukenmesseâ
(Kettledrum Mass) through
the use of timpani in the
Agnus Dei. For the Vienna
premiere, Haydn added
flutes, clarinets and
horns to the score, so
that in terms of sound
the soloists and the
chorus have to hold their
own against a truly large
orchestral apparatus. In
this case, practicing
with the Carus Choir
Coach is of course
recommended for a good
vocal
presence.
The
Carus Choir Coach offers
choir singers the unique
opportunity to study and
learn their own,
individual choral parts
within the context of the
sound of the entire choir
and orchestra. For every
vocal range a download
containing each choir
part is available. The
Carus Choir Coach is
based on recorded
interpretations by
renowned artists who have
performed the work from
carefully prepared Carus
Urtext editions. Each
choir part is presented
in three different
versions:
Original
recording Coach: each
part is accompanied by
the piano, with the
original recording
sounding in the
background Coach in
slow mode: the tempo of
the coach slows down to
70% of the original
version â through
this reduction passages
can be learned more
effectively. Performer
s: Ann Hoyt (soprano),
Kirsten Sollek (alto),
Daniel Neer (tenore),
Richard Lippold (basso)
â Trinity Church
Choir, Rebel Baroque
Orchestra â J. Owen
Burdick. Score available
separately - see item
CA.4060700.
Composed by Marilyn Lowe; Edwin E. Gordon; Michael Brill. Music Moves. Music Edu...(+)
Composed by Marilyn Lowe;
Edwin E. Gordon; Michael
Brill. Music Moves. Music
Education. Book. 44
pages. GIA Publications
#6443. Published by GIA
Publications
Guitar SKU: UT.CH-387 Composed by Ferdinando Carulli. Edited by Romolo Ca...(+)
Guitar
SKU:
UT.CH-387
Composed by
Ferdinando Carulli.
Edited by Romolo
Calandruccio. Classical.
Score. Ut Orpheus #CH
387. Published by Ut
Orpheus (UT.CH-387).
ISBN 9790215328235. 9
x 12 inches.
Opus
114 is certainly one of
Carulliâ??s most
important didactic works,
so much so that the
author himself made a
point of writing in the
second edition of his
famous Method op. 27
(1819): The student, when
moving on to the second
part, must continue to
practise on the easy
pieces which are to be
found in opus nos. 50,
15, 35, 36, 93, 7 and
above all in opus 114. He
maintained this
indication also in later
editions of the Method
itself, unlike what he
did with other
collections of studies
which were no longer
recommended. The
purpose of op. 114, in
particular of the
preludes, is clearly
explained by the author
himself in the preface of
op. 265: I have already
offered preludes in my
opus nos. 71 and 114 to
people, but they serve to
study and learn to play
all sorts of difficult
passages, to practise
modulating, and learn to
improvise on the guitar.
Carulli seems to want to
provide his students with
a large handbook of
formulas typical of his
musical writing and he
does so by making use of
the keys which, in his
opinion, are most
congenial to the guitar.
In his Method he points
out: Each instrument has
its favourite keys: the
guitar can be played in
all keys, but the best
ones are: A major and
minor, D major and minor,
E major and minor, C, G,
F. The others are
difficult; [â?¦].
However, some of the
difficult ones are
included but only in the
fourth part. Of course,
the easiness of a key
essentially depends on
the possibility of
extensive use of the open
strings, especially in
the low notes, ensuring
the accompaniment on the
main degrees. This
edition has some unique
features. First of all,
it is the first complete
modern edition of
Carulliâ??s op. 114; it
presents an important
critical apparatus in
which the Carullian
technique is presented
and analysed; finally,
Carulli's original
fingering is indicated in
the score (including that
of the thumb of the left
hand) and the missing one
was obtained from the
comparison of his other
fingerings present in
other works. All this
allows an easy and
complete reading both for
those who perform the
pieces following the
nineteenth-century
performance practice with
a historical instrument,
and for those who play a
modern instrument.