Urtext. Composed by Ludwig van Beethoven (1770-1827). Edited by Peter Hau...(+)
Urtext. Composed
by Ludwig van Beethoven
(1770-1827). Edited by
Peter Hauschild.
Symphony.
Orchester-Bibliothek
(Orchestral Library).
This is the first new
edition of the 7th
Symphony for which all
surviving sources have
been examined. The
examination brought up a
number of text-critical
problems with respect to
divergent readings.
(Peter Hauschild).
Classical. Viola part.
Breitkopf and Haertel #OB
5237-19. Published by
Breitkopf and Haertel
(BR.OB-5237-19).
0.49
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
Country Song Orchestre - Intermédiaire/avancé Highland/Etling
Orchestra - Grade 4 SKU: AP.41265S From Two Songs Without Words, Op...(+)
Orchestra - Grade 4
SKU: AP.41265S
From Two Songs
Without Words, Op. 22,
No. 1. Composed
by Gustav Holst. Arranged
by Robert Sieving.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. 20th
Century; Folk; Masterwork
Arrangement; Romantic.
Score. 16 pages.
Highland/Etling
#00-41265S. Published by
Highland/Etling
(AP.41265S).
UPC:
038081480800.
English.
This
beautiful folk melody
will capture the hearts
of students and
audiences. Originally
scored for large
orchestra, this string
arrangement captures the
essential qualities often
heard in the English
style of chamber music
for strings from the late
nineteenth and early
twentieth centuries.
Holst's melody, with its
simple pentatonic
folksong theme, receives
the kind of mystical
transformation we often
associate with British
composers' treatments of
their indigenous
wellspring---the
folksong. All sections
share in the melodic
themes while passages for
a quartet of soloists add
textural interest. This
title is available in
MakeMusic Cloud.