Viola SKU: BA.BA05646-79 Composed by Franz Schubert. Edited by Arnold Fei...(+)
Viola
SKU:
BA.BA05646-79
Composed by Franz
Schubert. Edited by
Arnold Feil and Douglas
Woodfull-Harris. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. D
589, No. 6. 12 pages.
Baerenreiter Verlag
#BA05646_79. Published by
Baerenreiter Verlag
(BA.BA05646-79).
ISBN
9790006499175. 32.5 x
25.5 cm inches. Key: C
major.
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Barenreiter Urtext
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Bärenreiter Urtext
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- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
By Wolfgang Amade Mozart. Edited by Christopher Hogwood. For Three flutes. Full ...(+)
By Wolfgang Amade Mozart.
Edited by Christopher
Hogwood. For Three
flutes. Full score and
parts. Published by
Edition HH Music
Publishers (U.K. Import).
2nd
& 3rd Movements.
Composed by Johannes
Brahms. Arranged by
Hindsley. Concert Band.
Score and set of parts.
C.L. Barnhouse
#MHT-0072-00. Published
by C.L. Barnhouse
(CL.MHT-0072-00).
By Antonin Dvorak (1841-1904). Arranged by Larry Daehn. For concert band. Grade ...(+)
By Antonin Dvorak
(1841-1904). Arranged by
Larry Daehn. For concert
band. Grade 3+. Score and
set of parts. Duration 5
minutes, 39 seconds.
Published by Daehn
Publications
For 3 B-Flat Clarinets and Bass Clarinet (Quartet or Ensemble). By Daniel Dorff....(+)
For 3 B-Flat Clarinets
and Bass Clarinet
(Quartet or Ensemble). By
Daniel Dorff. Wind
quartet. For Clarinet I,
Clarinet II, Clarinet
III, Bass Clarinet. Score
and parts. 4 pages.
Duration 2:30. Published
by Theodore Presser
Company.
Concert Band SKU: BT.NNS9790065176215 Composed by Haakon Esplo. Set (Scor...(+)
Concert Band
SKU:
BT.NNS9790065176215
Composed by Haakon Esplo.
Set (Score & Parts).
Composed 2024. Norsk
Noteservice
#NNS9790065176215.
Published by Norsk
Noteservice
(BT.NNS9790065176215).
By Wolfgang Amadeus Mozart. Edited by Christoper Hogwood. For String quintet. Fu...(+)
By Wolfgang Amadeus
Mozart. Edited by
Christoper Hogwood. For
String quintet. Full
score and parts. 129
pages. Duration 32'.
Published by Edition HH
Music Publishers (U.K.
Import).
Chamber Music Tuba, Piano SKU: PR.114419630 Composed by Samuel Adler. Sws...(+)
Chamber Music Tuba, Piano
SKU: PR.114419630
Composed by Samuel Adler.
Sws. Set of Score and
Parts. 32+12 pages.
Duration 21 minutes.
Theodore Presser Company
#114-41963. Published by
Theodore Presser Company
(PR.114419630).
UPC:
680160677153. 9 x 12
inches.
Premiered
in October 2018 by the
Toledo Symphony
Orchestra, principal
tubist David Saltzman as
soloist, the Concerto
features three movements
with a cadenza between
the second and third.
Adler likens the solo
passages in the first
movement and cadenza to a
singing cantor, an
obvious homage to his own
father's work in that
role. Listen as Toledo
Symphony Lab discusses
the Concerto with Adler
and tubist David Saltzman
before the premiere. A
perusal score is
available at our Issuu
library.
Second violin (2. Violin) SKU: BA.BA04715-75 Composed by Wolfgang Amadeus...(+)
Second violin (2. Violin)
SKU: BA.BA04715-75
Composed by Wolfgang
Amadeus Mozart. Edited by
Wilhelm Fischer. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. K.
130, No. 18. 7 pages.
Baerenreiter Verlag
#BA04715_75. Published by
Baerenreiter Verlag
(BA.BA04715-75).
ISBN
9790006453771. 32.5 x
25.5 cm inches. Key: F
major.
About
Barenreiter Urtext
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Bärenreiter Urtext
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editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
First violin (1. Violin) SKU: BA.BA04715-74 Composed by Wolfgang Amadeus ...(+)
First violin (1. Violin)
SKU: BA.BA04715-74
Composed by Wolfgang
Amadeus Mozart. Edited by
Wilhelm Fischer. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. K.
130, No. 18. 7 pages.
Baerenreiter Verlag
#BA04715_74. Published by
Baerenreiter Verlag
(BA.BA04715-74).
ISBN
9790006453764. 32.5 x
25.5 cm inches. Key: F
major.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Violin 1 (solo: A - choir: boys ch - fem ch - 4(2picc).4(cor ang).5(2Eb-clar.B-c...(+)
Violin 1 (solo: A -
choir: boys ch - fem ch -
4(2picc).4(cor
ang).5(2Eb-clar.B-clar).4
(dbn) - 8.4(posthn).4.1 -
2hp.2timp.perc(6) - str)
SKU: BR.OB-5633-15
Final Version 1906 -
Textcritical Edition.
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Part. 40 pages. Duration
110'. Breitkopf and
Haertel #OB 5633-15.
Published by Breitkopf
and Haertel
(BR.OB-5633-15).
ISBN
9790004347904. 10.5 x 14
inches.
The first
textcritical edition of
Mahler's most extensive
work is a further
milestone in the project,
Mahler - The Symphonies.
The many sources first
consulted here for an
edition include, among
others, the conducting
scores used for early
performances by Mahler,
Mengelberg and other
conductors, as well as
the parts of the Vienna
Philharmonic used by
Mahler, Bruno Walter and
many additional great
conductors right up to
the present. Furthermore,
another set of parts from
Mahler's personal
possession was consulted.
These sources,
significantly expanding
the source base in
comparison with that of
the 1974 Kritische
Gesamtausgabe, guarantee
a reliable, scholarly
valid music text,
shedding at the same time
new light on Mahler's
complex process of
revision. In
unprecedented
comprehensiveness, the
editorial report contains
references from Mahler's
letters and other
authentic documents
indispensable for an
understanding of the work
and its interpretation.
The orchestral parts
feature as usual optimal
readability and
practicality. Rounding
off the edition is the
introductory essay Mahler
as Symphonist, together
with the knowledgeable
preface by Constantin
Floros, doyen of Mahler
research.
Arrangement for Chamber Music. By Haydn, Joseph;Salomon, Johann Peter. Edited by...(+)
Arrangement for Chamber
Music. By Haydn,
Joseph;Salomon, Johann
Peter. Edited by Hogwood,
Christopher. For Flute,
StrQu, Piano ad lib.
Score; Set of Parts.
Hob.I:94. Published by
Baerenreiter-Ausgaben
(German import). ISBN
M006501908.
Second violin (2. Violin) SKU: BA.BA05377-75 Composed by Wolfgang Amadeus...(+)
Second violin (2. Violin)
SKU: BA.BA05377-75
Composed by Wolfgang
Amadeus Mozart. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. K.
97 (73m), No. 47. 5
pages. Duration 9
minutes. Baerenreiter
Verlag #BA05377_75.
Published by Baerenreiter
Verlag (BA.BA05377-75).
ISBN 9790006501540.
32.5 x 25.5 cm inches.
Key: D major. Gerhard
Allroggen.
Urtext
der Neuen
Mozart-Ausgabe.
About
Barenreiter Urtext
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Bärenreiter Urtext
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- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
First violin (1. Violin) SKU: BA.BA05377-74 Composed by Wolfgang Amadeus ...(+)
First violin (1. Violin)
SKU: BA.BA05377-74
Composed by Wolfgang
Amadeus Mozart. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. K.
97 (73m), No. 47. 5
pages. Duration 9
minutes. Baerenreiter
Verlag #BA05377_74.
Published by Baerenreiter
Verlag (BA.BA05377-74).
ISBN 9790006501533.
32.5 x 25.5 cm inches.
Key: D major. Gerhard
Allroggen.
Urtext
der Neuen
Mozart-Ausgabe.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Double bass SKU: BA.BA07896-85 Composed by Camille Saint-Saens. Edited by...(+)
Double bass
SKU:
BA.BA07896-85
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
78. 15 pages.
Baerenreiter Verlag
#BA07896_85. Published by
Baerenreiter Verlag
(BA.BA07896-85).
ISBN
9790006563395. 32.5 x
25.5 cm inches. Key: C
minor.
In this work
I gave everything I had
to give. [...] What I did
here I will never do
again. Camille
Saint-Saens was
justifiably proud of his
Symphony No. 3 in C minor
op. 78, dedicated to the
memory of Franz Liszt.
Like Beethoven's Ninth,
this so-called Organ
Symphony was commissioned
by the Philharmonic
Society in London, where
it received its premiere
on 19 May
1886.
In this
first scholarly-critical
edition of the symphony,
a great many
inconsistencies and
mistakes inherent in the
previously used edition
have been unveiled and
corrected.
The
edition of Symphony No. 3
marks the launch of a
large-scale project: the
publication of Camille
Saint-Saens - Complete
Edition of the
Instrumental Works. This
performing Urtext edition
is based on volume BA
10303 from that
series.
* First
scholarly-critical
edition of this famous
symphony based on Camille
Saint-Saens aEUR Complete
Edition of the
Instrumental Works *
Now with separate parts
for all winds *
Orchestral parts in a
large format (25.5 cm x
32.5 cm).
About
Barenreiter Urtext
Orchestral
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Why musicians
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Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
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.