| Fantasia on Christmas Carols [Conducteur] - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 4 SKU: CF.SAS3...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 4
SKU: CF.SAS3F
Composed by Ralph Vaughan
Williams. Arranged by
Todd Parrish. Sws. Cas.
Full score. 16 pages.
Carl Fischer Music
#SAS3F. Published by Carl
Fischer Music (CF.SAS3F).
ISBN 9781491157534.
UPC: 680160916115. 9 x 12
inches. Written in
1912, the Fantasia on
Christmas Carols was
originally scored for
baritone solo, chorus,
and orchestra. In it,
Ralph Vaughan Williams
used three folk carols
from his native country
of England: The Truth
Sent from Above, Come all
you Worthy Gentlemen, and
the Sussex Carol. Though
shortened for time, this
arrangement contains
moments from each carol,
including the solo cello
opening. Though the
melodies are mostly of
unknown origin, the
harmonies are uniquely
the work of Vaughan
Williams. This medley
offers a unique
alternative to
traditional holiday
programming, combining
beautiful English carols
with the skill of a
world-renowned
composer. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hort Der Engel Helle Lieder Chorale 3 parties SSA - Facile Schott
Choral (SSA Choir) - easy to advanced SKU: HL.49045434 For SSA Chorus ...(+)
Choral (SSA Choir) - easy
to advanced SKU:
HL.49045434 For
SSA Chorus A
Cappella. Edited by
Pascal Martine. Arranged
by Pascal Martiné.
This edition: Saddle
stitching. Sheet music.
Choral. Classical.
Octavo. 48 pages. Schott
Music #ED22690. Published
by Schott Music
(HL.49045434). ISBN
9783795711191.
7.5x11.0x0.195 inches.
German - English -
French. A
collection of Advent
songs and Christmas
carols where every
women's choir will find
what they are looking for
for concerts or church
services. It contains not
only popular traditional
German songs but also
some rather unknown
pieces from England and
France. $19.99 - Voir plus => Acheter | | |
| Signals Hautbois University Of York Music Press
Oboe SKU: BT.MUSM570362158 By Melinda Maxwell_John Stringer. Classical. B...(+)
Oboe SKU:
BT.MUSM570362158 By
Melinda Maxwell_John
Stringer. Classical. Book
Only. 40 pages.
University of York Music
Press #MUSM570362158.
Published by University
of York Music Press
(BT.MUSM570362158).
English. This
collection of oboe music,
written by living
composers, is an
invaluable resource for
any oboist of Grade 8 and
conservatoire standard
who is curious about
widening their
repertoire, and exploring
the various languages of
modern music. The term
modern music can alienate
many minds who may think
it will be too difficult
technically; aurally
unknown and therefore
unsatisfying; harmful or
damaging to their musical
sensibility. To all these
points this volume has
the answers. Every one of
these pieces requires
challenging technical
skills demanded of any of
the more traditional oboe
repertoire, and
additionally they will
improve technique. Each
piece portrays a
characterand language
that is approachable and
compelling. Far from
damaging musical
sensibility these musical
types will open the ear
and enrich the spirit.
Some are physically
demanding and require
very good breath control,
others need patience in
learning new fingerings
and timbres, and some
travel to extreme
registers. But, in all
cases, the effort will be
rewarding, and not only
that, the knowledge
gained about the oboe and
how it works will be
equally entertaining and
stimulating. $18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| English Organ Sonatas - Vol. 1 Orgue Ut Orpheus
Edited by Iain Quinn. Saddle stitching. Classical. Ut Orpheus #HS 299. Publish...(+)
Edited by Iain Quinn.
Saddle
stitching. Classical. Ut
Orpheus #HS 299.
Published by
Ut Orpheus
$22.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Galloping Ghosts Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. S...(+)
Concert band - Grade 4
SKU:
MH.1-59913-064-5
Composed by William
Ryden. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 2:45. Published
by Manhattan Beach Music
(MH.1-59913-064-5).
ISBN
9781599130644. I
wrote Galloping Ghosts (A
Ragtime March) to
conclude a concert of my
chamber music in New York
City on October 28, 1986.
It is the final part of a
work called Rags for
Divers Players. This work
was written to show the
variety possible within
the standard rag form. I
used all the players
available for the finale
-- two violins, viola,
cello, bass, flute, oboe,
clarinet, horn, bassoon,
and piano. Since this is
a rather unusual
instrumental combination
and not easy to
reassemble, I decided to
rescore the work for
concert band. Galloping
Ghosts is written in a
standard march form but
incorporates many of the
syncopations found in
ragtime. The uniquely
American music called
ragtime traces its
history to African
rhythms brought over by
slaves. Over the years
this music became welded
to European musical forms
such as the quadrille and
the march. Drums and
banjos and the minstrel
tradition lent a special
flavor, and from all
these elements ragtime
slowly evolved within the
largely unknown black
subculture of the late
19th century. In the late
1890's it emerged as a
fully developed form in
the classic piano solos
of Scott Joplin
(1869-1917). Joplin's
1899 hit, Maple Leaf Rag,
was an overnight
sensation and brought
ragtime worldwide fame.
Ensemble instrumentation:
1 Piccolo, 8 Flute 1 and
2, 2 Oboe, 1 Eb Clarinet,
4 Bb Clarinet 1, 4 Bb
Clarinet 2, 4 Bb Clarinet
3, 2 Eb Alto Clarinet, 3
Bb Bass and Bb Contrabass
Clarinet, 2 Bassoon 1 and
2, 2 Eb Alto Saxophone 1,
2 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Cornet 1, 3 Bb Cornet 2,
3 Bb Cornet 3, 2 Horn 1
and 2 in F, 2 Horn 3 and
4 in F, 4 Trombone 1 and
2, 4 Bass Trombone, 2
Baritone (B.C.), 2
Baritone (T.C.), 4 Tuba,
1 String Bass, 1 Timpani,
1 Xylophone, 3 Percussion
1, 3 Percussion 2. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Max Reger Breitkopf & Härtel
SKU: BR.BV-450 Werk statt Leben - Biographie. Composed by Susanne ...(+)
SKU: BR.BV-450
Werk statt Leben -
Biographie. Composed
by Susanne Popp.
Softbound. Buchverlag
Breitkopf & Hartel (Music
Books). The extensive
and eagerly awaited Reger
biography couldn't be
introduced at a better
time. Late-romantic;
Early modern. Book. 544
pages. Breitkopf and
Haertel #BV 450.
Published by Breitkopf
and Haertel (BR.BV-450).
ISBN 9783765104503.
6.5 x 9.5 inches.
German. And it
comes from a most
qualified hand that of
Susanne Popp, author of
the Reger Work Catalogue
and head of the Max Reger
Institute for many years.
She was predestined to
portray one of the most
fascinating composers of
the past turn of the
century. No better time?
In May 2016 we will be
commemorating the 100th
anniversary of the death
of Max Reger, and the
musical world will want
to honor with many events
the great out-of-time
composer who saw himself
between tradition and
avant-garde. Susanne
Popp's comprehensive
biography provides help
for finding our way in
this prolific life on the
basis of letters and
documents, some of them
practically unknown,
which visually depict the
restless life of the
workaholic. Moreover, for
the biographical
information, a
multi-media project is
also being planned
through audio examples
and visual documents on
the Reger Institute's
home page.
The
extensive and eagerly
awaited Reger biography
couldn't be introduced at
a better time. $62.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Weihnachtslieder 1 (German Carols 1) Hal Leonard
SAM a cappella Choral (SA MEN, A CAPPELLA) SKU: HL.397260 SAM-Klang Ch...(+)
SAM a cappella Choral (SA
MEN, A CAPPELLA) SKU:
HL.397260
SAM-Klang Choral
Series. Arranged by
Morten Schuldt-jensen.
Choral. Softcover. 28
pages. Published by Hal
Leonard (HL.397260).
ISBN 9781705158777.
UPC: 196288034766.
6.75x9.0x0.123
inches. In many
parts of the world,
Advent and Christmas
carols have become part
of the standard
repertoire of popular
songs, and this tradition
has also produced a large
number of such songs in
German-speaking
countries. These include
not only folk songs, some
of unknown origin, but
also art songs in various
styles, as well as
movements from popular
classical Christmas
works. This diversity is
reflected in this first
volume of German-language
Christmas carols, which
brings together carols
from a broad range of
eras, origins and styles.
The name SAM-Klang takes
the three voice parts
from the arrangements --
Soprano, Alto and Men --
and combines it with the
Scandinavian and German
words for
“sound†to
create the portmanteau
word “sound
together†or
“harmony.â€
The series offers basic
and advanced choral
repertoire. In addition
to new repertoire and new
arrangements, you will
also find essential parts
of the classical German,
Scandinavian, French and
English SATB repertoire,
carefully and
considerately reworked
for SAM. The arrangements
retain the characteristic
features of the original
movements and have almost
the same richness of
timbre, resulting in
works which sound nearly
unchanged to an audience.
Piano reductions of all
choral movements
facilitate rehearsal
preparation. The
arrangements offer
development opportunities
for all voice sections,
bringing new life and new
quality to SAM choir
work. SAM-Klang enables
youth choirs to gain
access to classical
choral literature and
ensures that mixed choirs
who face challenges in
finding singers for all
male voice parts continue
to have access to
well-loved
repertoire. $7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
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
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| "Heures mystiques: Elevations, Communions, Sorties" Orgue [Conducteur] Barenreiter
Heures mystiques: Elevations, Communions, Sorties. By Leon Boellmann. Edited by ...(+)
Heures mystiques:
Elevations, Communions,
Sorties. By Leon
Boellmann. Edited by
Schauerte-Maubouet,
Helga. For Organ. Playing
Score; Urtext Edition
(paperbound). Published
by Baerenreiter-Ausgaben
(German import).
$53.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Trois Airs Variés for Violin and Guitar. Urtext Edition and Realisation of the Guitar Part Violon, Guitare (duo) [Conducteur et Parties séparées] Ut Orpheus
Violin, Guitar SKU: UT.CH-335 Composed by Nicolo Paganini. Edited by Ital...(+)
Violin, Guitar SKU:
UT.CH-335 Composed by
Nicolo Paganini. Edited
by Italo Vescovo. Saddle
stitching. Classical.
Score and Parts. Ut
Orpheus #CH 335.
Published by Ut Orpheus
(UT.CH-335). ISBN
9790215326538. 9 x 12
inches. The Trois
airs variés for violin
and piano belong to the
small nucleus of
compositions for this
scoring which, in the
Catalogo tematico,
also includes the
Cantabile in D
major (M.S.109), the only
original manuscript piece
for violin and piano
recently published in a
critical edition, and the
Quattro Notturni a
quartetto (M.S.15).
This
‘triptych’,
whose authorship is
unknown, is familiar
thanks to the
nineteenth-century
editions Ricordi, Pacini
and Hofmeister, the only
evidence of the piece
which is placed in the
Catalogo tematico
at n. 3 of the uncertain
works (Section V, pp.
346-347), that is, those
works whose authorship
remains in doubt due to
the lack of objectively
valid documents. This
placing does not
categorically exclude the
originality of the piece,
at least as regards the
violin part, and that
Gustavo Carulli
‘completed’
them later by adding the
piano part. Given that to
date there is no evidence
to deny Paganini’s
authorship of the piece,
we rely on the editorial
tradition documented by
the three publications
mentioned above and, of
course, on the style of
the composition.
Regarding the
instrumental aspect, the
technical peculiarity is
given by the exclusive
use of the 4th string
which must be transposed
one tone above, in all
three airs, including the
variations. Concerning
the piano part composed
by Gustavo Carulli, it
can only be said that it
is simple and functional,
aimed at highlighting the
violin part, nothing
more. Since the piano
part is not original, the
guitar has been thought
of as the ideal
instrument (as indeed is
proved by
Paganini’s
considerable musical
production for this
scoring) to support the
violin part and which is
better suited to these
small but pleasant
pieces. In the
transposition for guitar,
however, the aim has been
to include Gustavo
Carulli’s musical
lesson, where it is
convincing, in other
cases, however, the
preference has been to
find different solutions,
while trying to remain
within Paganini’s
‘style’ also
as regards writing for
the guitar. The present
edition therefore seeks
to be a plausible
alternative to the
previous editions, also
in order to make these
delightful but forgotten
pieces more usable. $21.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| "Heures mystiques: Entrees, Offertoires, Offertoire funebre" Orgue Barenreiter
Heures mystiques: Entrees, Offertoires, Offertoire funebre. By Leon Boellmann. E...(+)
Heures mystiques:
Entrees, Offertoires,
Offertoire funebre. By
Leon Boellmann. Edited by
Schauerte-Maubouet,
Helga. For Organ. Urtext
Edition (paperbound).
Published by
Baerenreiter-Ausgaben
(German import).
$53.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 31 |