| Medea [Linen Score + Usb]
(BENDA GEORG) Récitant et Orchestre Barenreiter
A Melodrama Interspersed With Music. Par BENDA GEORG. Georg Anton Benda's melodr...(+)
A Melodrama Interspersed With Music. Par BENDA GEORG. Georg Anton Benda's melodrama „Medea' (1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda's „Medea' was at the center of many heated debates.
Unlike opera, the melodrama does not present the libretto in sung form, but rather, the text is spoken and combined with orchestral music and scenes. The traditional opera forms (aria, recitative, ensemble, chorus) are dissolved and replaced by a new interplay of music, speech, and scenes. A focus on a single protagonist and the quick, delicate alternation between spoken text and music allows for the development of conflicting and contradictory psychological profiles with a heightened intensity within the melodrama.
Near the end of his life, Benda revised the work significantly, drawing from his experience of real performances and their effectiveness. The changes leading to the new version of his „Medea' music were quite extensive, affecting almost every single measure: numerous details of the part writing (tempi, voice leading, rhythms, accompanying figures etc.) were revised, the instrumentation was changed, middle voices were led in a more lively manner, and the music as a whole was shortened and effectively compressed. The composer regarded the latter, modified „Medea' as the authorized version of the work. The premiere took place in 1784 in Mannheim, however, the altered work received little attention since then and has become tangible again for the first time with the OPERA Edition. All previous editions of the work - and along with them, all previous recordings - are based on the earlier version of 1775.
The third volume of the OPERA series 'Medea” contains a linen-bound book and the edirom on a USB stick in credit card format. The number of users permitted to simultaneously use the digital content of the edition is not limited.
For further information regarding the work and the OPERA series, please visit www.opera-edition.com and Takte online/ Répertoire / Récitant et Orchestre
310.00 EUR - vendu par LMI-partitions Délais: Sur commande |
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| John McCabe: Pilgrim
Sextet For Strings
(Parts): String Ensemble:
Instrumental Orchestre à Cordes [Partition] Novello & Co Ltd.
The composer writes:Pilgrim was inspired it will be no surprise to learn by re...(+)
The composer writes:Pilgrim was inspired it will be no surprise to learn by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression not least because of its theme of a journey of self-discovery and a rediscovery or renewal of faith. These are ideas which have a strong interest for me not in religious terms but in their application to every aspect of human life (including great journeys) and this piece reflects my response in musical terms to this concern. The tempo of the whole piece which lasts about 18 minutes is basically slow. There are two quick episodes but these act somewhat like the trio sections of a classical scherzo save that the tempo relationships are inverted (the classical trios would have been slower not quicker) and the canvas is much larger being that of a single substantial slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is however one feature which upon completion of the score struck me with some force which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed as part of a joint scheme by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.
24.99 GBP - vendu par Musicroom GB Délais: En Stock |
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| John McCabe: Pilgrim
String Sextet: String
Ensemble: Score Orchestre à Cordes [Partition] Novello & Co Ltd.
The composer writes:Pilgrim was inspired it will be no surprise to learn by re...(+)
The composer writes:Pilgrim was inspired it will be no surprise to learn by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression not least because of its theme of a journey of self-discovery and a rediscovery or renewal of faith. These are ideas which have a strong interest for me not in religious terms but in their application to every aspect of human life (including great journeys) and this piece reflects my response in musical terms to this concern. The tempo of the whole piece which lasts about 18 minutes is basically slow. There are two quick episodes but these act somewhat like the trio sections of a classical scherzo save that the tempo relationships are inverted (the classical trios would have been slower not quicker) and the canvas is much larger being that of a single substantial slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is however one feature which upon completion of the score struck me with some force which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed as part of a joint scheme by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.
19.99 GBP - vendu par Musicroom GB |
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| Richard Rodney Bennett:
Partita: Orchestra: Study
Score Orchestre [Partition] Novello & Co Ltd.
'I responded to this exciting but rather daunting commission by writing a very l...(+)
'I responded to this exciting but rather daunting commission by writing a very lively and I hope very accessible piece which I decided before I started composing should be full of tunes. I wrote it in memory of my dear friend Sheila MacCrindle who died in 1993... although this Partita is in her memory it never occurred to me to make it gloomy or dirge-like; that is not how I remember her.' Richard Rodney Bennett.Partita for Orchestra by Richard Rodney Bennett was commissioned by British Telecommunications plc in co-operation with the Association of British Orchestras to be performed byseventeen different orchestras between October 1995 and July 1996.Duration: c.17 mins.
24.99 GBP - vendu par Musicroom GB Délais: En Stock |
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| Per Nørgård: Delta:
Chamber Ensemble: Score
and Parts Orchestre de chambre [Conducteur et Parties séparées] Wilhelm Hansen
Delta for Saxofon Cello og Piano (2005). Programme note: Some of my works are c...(+)
Delta for Saxofon Cello og Piano (2005). Programme note: Some of my works are created in several stages where an earlier work or movement are reborn or recomposed as part of a new work. For instance “Suite for Martin” (1967) for saxophone amplified accordion and prepared piano - used in a Danish documentary film “Kongens Enghave” - was rearranged by me in 2004 in a new instrumentation for saxophone cello and piano and named MELANCOLIA (duration 12 minutes) which became the third movement (with the title MALINCONIA) in an enlarged version from 2005 with the title DELTA (duration around 20minutes). A delta is be nature moving outwards or rather downwards downstream.This movement is characteristic for all three works mentioned. EUFONIA. In the first movement of DELTA the music changes from the light hearted and harmonious towards a darker sound.In the second movement NOSTALGIA this darker colour is intensified dominating the whole movement. MALINCONIA the third and last movement completes the direction downwards – during six shorter sections – going towards a black edged pessimism (and a “black sound”). Per Nørgård (2005)
42.50 GBP - vendu par Musicroom GB |
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| Katharina Blum (HENZE
HANS WERNER) Orchestre de chambre [Conducteur d'étude / Miniature] Schott
Concert Suite. Par HENZE HANS WERNER. Henze also wrote the music of the successf...(+)
Concert Suite. Par HENZE HANS WERNER. Henze also wrote the music of the successful film Die verlorene Ehre der Katharina Blum, co-produced by Volker Schlöndorff and Margarethe von Trotta from the novel by Heinrich Böll: 'Böll's novella is about a young woman whose life is ruined because of the persecution and slander of the German yellow press. The story is set in Cologne and its surroundings and casts a light on Germany in the Seventies: estrangement, destruction of the environment, triumph of the middle classes, use of force by the police. The music comments on these circumstances, rather than describing them. Everything that sounds soft and sentimental refers to Katharina and her friend who is pursued by the police and suspected of being a terrorist. Scenes of violence, traffic chaos and, right in the middle, the carnival of Cologne are subjects of the other pieces.'/ Répertoire / Orchestre de Chambre
44.20 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Mgv (Musique A Grande
Vitesse) - Study Score Orchestre de chambre [Partition] Chester
Musique A Grande Vitesse (MGV ) translates as 'high speed music' and was commiss...(+)
Musique A Grande Vitesse (MGV ) translates as 'high speed music' and was commissioned by the Festival de Lille for the inauguration of the TGV North European Paris-Lille line in 1993.The piece runs continuously, but was conceived as an abstract, imaginary journey- or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which is only heard in its 'genuine' form when the piece reaches its destination.Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural - constantly change their identity as they pass through different musical 'environments'.The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and a harmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A) begins the second section, featuring Brass, in D flat.The topography of MGV should be experienced without reference to planning, description or timetables. The piece's tempo changes and unpredictable slowings down bear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably the band (amplified in live performance) lays down the tracks on which MGV runs. / Orchestre
70.70 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Per Nørgård: Pastorale
1988: String Orchestra:
Score Orchestre à Cordes Wilhelm Hansen
Pastorale (from Babettes Gæstebud / Babettes Feast) - Version for String Orches...(+)
Pastorale (from Babettes Gæstebud / Babettes Feast) - Version for String Orchestra (the original version from 1997 is for string trio). Parts are for hire: hire@ewh.dk Preface / Programme Note My PASTORALE is melodically utterly simple almost 'ear-catching'. The simplicity stems frommy hymn-tune JERUSALEM the theme of which permeates my incidental music for Oscar winning film (Best Foreign Film.1987) BABETTE' S FEAST by Danish director Gabriel Axel. The film is based on a short story by another reknown Dane Karen Blixen; it is the story of two sisters who are members of a very Puritancongregation but deceide to have a big feast of earthly (gastronomic) delights; the PASTORALE is heard during the sumptuous meal. Below the song-like surface of my PASTORALE the metrical implications arerather ambiguous; the changes between marked and un-marked beats forces the ear to perceive a phrase to beo nthe beat at one moment and off the beat at the next moment. In this way the simple lines of lyrical pastoral serenity conjure the listener to be lulled into an artificial Paradise which is exactly the mood ofthe guests at the banquet the feast in the central scene ofthe movie. The original PASTORALE is scored for string trio; the present version for string orchestra came along in 1988 and was premiered in New York City that year. (Per Nørgård 1999)
19.99 GBP - vendu par Musicroom GB |
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| Bridge Between Nations
(DE HAAN JACOB) Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
To Henk van Lijnschooten. Par DE HAAN JACOB. This work builds a musical bridge b...(+)
To Henk van Lijnschooten. Par DE HAAN JACOB. This work builds a musical bridge between the nations of the European Union. In this composition each country is represented by a fragment of its national anthem. The listener will continually be surprised by the creative way the national anthems are presented. The national anthems of the nations that have become part of the EU in 2004 have already been included in this piece. Because the fragments follow each other and complement each other in a logical way, this work does not sound like a regular medley but rather like a varied concert work with interesting elements of folklore. For most of the national anthems Jacob de Haan has chosen a minor key, which gives this work an extraemotional, sometimes melancholic overtone. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie
211.40 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Bent Sørensen:
Minnewater: Orchestra:
Score Orchestre d'harmonie [Partition] Wilhelm Hansen
Work for Chamber dating from 1988.The composer writes:MINNEWATER means ‘lo...(+)
Work for Chamber dating from 1988.The composer writes:MINNEWATER means ‘love water’/‘love lake’ but when I began to compose the work this direct meaning of the title was not very important to me. Rather the word itself had a magical sound. Later on however it occurred to me that the piece was full of mumbling swells and swarming cascades and the sensation of water is perhaps most perceptible towards the end where lots of falling water movements are felt behind the emphasized rhythmic surface. Falls that moreover quite literally at the end sinks into the water. MINNEWATER has a subtitle: THOUSANDS OF CANONS which directly refers to a compostion techniquewhere all layers and elements in the music constantly are imitated; possibly waves imitating each other? The mudded and impalpable beginning of the work takes its starting point in one of my earlier pieces the sextett LES TUCHINS (in fact the first 5 or 6 pages of the two pieces are quite identical but in MINNEWATER it is all ‘blown up’ to a larger ensemble). Quite soon however the thread to LES TUCHINS is cut off and it goes its own way; From the mumbling in the start - through swarming trills and pointilistic staccato movements - to a long section where the trumpet appears as a soloist and in a way conducts the movements of the remaining ensemble right to the rhythmic final section of the piece. MINNEWATER was commissioned by the Danish Radio for the German Ensemble Modern
57.50 GBP - vendu par Musicroom GB |
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| Clean Bandit: Rather Be:
Marching Band: Score and
Parts Fanfare Arrangers' Publishing Company
This pop hit from the British group Clean Bandit won the 2015 Grammy® Award f...(+)
This pop hit from the British group Clean Bandit won the 2015 Grammy® Award for Best Dance Recording. Tom Wallace has effectively scored Strings Vocals Electronics and Percussion for Marching Band instrumentation. This sophisticated yet familiar song has all the elements needed for an impressive production number that your band will love to perform.
69.99 GBP - vendu par Musicroom GB |
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| Clean Bandit: Rather Be:
Marching Band: Score Fanfare Arrangers' Publishing Company
This pop hit from the British group Clean Bandit won the 2015 Grammy® Award f...(+)
This pop hit from the British group Clean Bandit won the 2015 Grammy® Award for Best Dance Recording. Tom Wallace has effectively scored Strings Vocals Electronics and Percussion for Marching Band instrumentation. This sophisticated yet familiar song has all the elements needed for an impressive production number that your band will love to perform.
10.99 GBP - vendu par Musicroom GB |
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| Bruce Fraser: Durkle
Bandrydge Suite: Concert
Band: Score Orchestre d'harmonie Gobelin Music Publications
Durkle Bandrydge is the name of the composers imaginary world but it could very...(+)
Durkle Bandrydge is the name of the composers imaginary world but it could very well be anyones invisible dream world with a different name. In this very versatile suite by Bruce Fraser 8 characters are featured each with its ownpeculiarities making Durkle Bandrydge such a colourful place. Do these characters differ that much from us? That is for you to find out! In the last part all characters come together in a special way.Durkle Bandrydge exists at the end ofyour street. It is invisible to humans but Durkle Bandrygators can watch us with great interest. The music will introduce you to some of the characters who live in this unusual place. The parts: Somnanbulyss who is a giant trollguarding the entrance to Durkle Bandryde. At least he is supposed to but he tends to sleep most of the time. His music is therefore very slow moving and sleepy. Long Gwysteen is a tall mysterious and somehow sophisticated character who walls around with a shell on his back. His music glides along rather gracefully. Squelfitch is a rather unpleasant and smelly character who lives in a bog which is why his music sounds rather slimy and a bit like trying to walkthrough quicksand. Perfydlia is a meddling old woman who gossips about everybody and squeals with sudden delight at the small exciting bits of tittletattle about others in the village. In the music you can hear her sudden little squealsof delight. Maryann Lovely is a beautiful young lady graceful gorgeous absolutely devine and her music is obviously just the same. Thistledoo Nicely is a lively character who spends and spends and spends with her credit card buying the latest fashion and never worries about having to pay the bills. Her music reflects her excitement when shopping and het ‘happy go lucky’ approach to life. Marsyn Edginton is the Lord of the manor the richest man in town the‘big cheese’ the man with all the power and of course the biggest house. He is very grand and his music like he could be a king. Jimmy McScotsmyn is a red haired scotsman wearing tartan cap. He misses his home country terribly and eatslots of shortbread oatcakes scotch eggs porridge and drinks an enormous amount of Scotch Wisky which helps him to have fond memories of the kind of music he would like to dance to when he was a younger man. His favourite dance is a Jig andthis is the music he remembers. Grand March of the Durkle Bandrydgators. We hope that you have enjoyed meeting these characters from Drukle Bandrydge and would invite you to listen to all the villagers now march along in a grand parade -it is a pity that you can not see them what is a wonderful sight. If you listen carefully you will hear the melodies which belong to the characters as they march past. Oh what a grand spectacle!
14.99 GBP - vendu par Musicroom GB |
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| Bruce Fraser: Durkle
Bandrydge Suite: Concert
Band: Score & Parts Orchestre d'harmonie [Conducteur et Parties séparées] Gobelin Music Publications
Durkle Bandrydge is the name of the composers imaginary world but it could very...(+)
Durkle Bandrydge is the name of the composers imaginary world but it could very well be anyones invisible dream world with a different name. In this very versatile suite by Bruce Fraser 8 characters are featured each with its ownpeculiarities making Durkle Bandrydge such a colourful place. Do these characters differ that much from us? That is for you to find out! In the last part all characters come together in a special way.Durkle Bandrydge exists at the end ofyour street. It is invisible to humans but Durkle Bandrygators can watch us with great interest. The music will introduce you to some of the characters who live in this unusual place. The parts: Somnanbulyss who is a giant trollguarding the entrance to Durkle Bandryde. At least he is supposed to but he tends to sleep most of the time. His music is therefore very slow moving and sleepy. Long Gwysteen is a tall mysterious and somehow sophisticated character who walls around with a shell on his back. His music glides along rather gracefully. Squelfitch is a rather unpleasant and smelly character who lives in a bog which is why his music sounds rather slimy and a bit like trying to walkthrough quicksand. Perfydlia is a meddling old woman who gossips about everybody and squeals with sudden delight at the small exciting bits of tittletattle about others in the village. In the music you can hear her sudden little squealsof delight. Maryann Lovely is a beautiful young lady graceful gorgeous absolutely devine and her music is obviously just the same. Thistledoo Nicely is a lively character who spends and spends and spends with her credit card buying the latest fashion and never worries about having to pay the bills. Her music reflects her excitement when shopping and het ‘happy go lucky’ approach to life. Marsyn Edginton is the Lord of the manor the richest man in town the‘big cheese’ the man with all the power and of course the biggest house. He is very grand and his music like he could be a king. Jimmy McScotsmyn is a red haired scotsman wearing tartan cap. He misses his home country terribly and eatslots of shortbread oatcakes scotch eggs porridge and drinks an enormous amount of Scotch Wisky which helps him to have fond memories of the kind of music he would like to dance to when he was a younger man. His favourite dance is a Jig andthis is the music he remembers. Grand March of the Durkle Bandrydgators. We hope that you have enjoyed meeting these characters from Drukle Bandrydge and would invite you to listen to all the villagers now march along in a grand parade -it is a pity that you can not see them what is a wonderful sight. If you listen carefully you will hear the melodies which belong to the characters as they march past. Oh what a grand spectacle!
73.99 GBP - vendu par Musicroom GB |
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| William Vean: Big Fun on
the Bass Drum: Concert
Band: Score Orchestre d'harmonie Gobelin Music Publications
Beating a drum is fun. Beating a big drum is even more fun. Being a soloist and ...(+)
Beating a drum is fun. Beating a big drum is even more fun. Being a soloist and beating a bass drum is best of all. In 'Big Fun on the Bass Drum' the dream of every starter percussionist is realized. He/she is soloist and is allowed to really beat the drum hard without the conductor putting a stop to it but beware: a new skin is rather expensive. 'Big Fun on the Bass Drum' is not only about hitting as hard as you can though. A lot of attention is paid to playing the bass drum very softly. And what is more the composer has found room to offer the soloist a real cadenza - at this point in the composition he/she can either play the partprescribed or give the audience an improvisation of his/her own.
8.50 GBP - vendu par Musicroom GB |
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| William Vean: Big Fun on
the Bass Drum: Concert
Band: Score & Parts Orchestre d'harmonie [Conducteur et Parties séparées] Gobelin Music Publications
Beating a drum is fun. Beating a big drum is even more fun. Being a soloist and ...(+)
Beating a drum is fun. Beating a big drum is even more fun. Being a soloist and beating a bass drum is best of all. In 'Big Fun on the Bass Drum' the dream of every starter percussionist is realized. He/she is soloist and is allowed to really beat the drum hard without the conductor putting a stop to it but beware: a new skin is rather expensive. 'Big Fun on the Bass Drum' is not only about hitting as hard as you can though. A lot of attention is paid to playing the bass drum very softly. And what is more the composer has found room to offer the soloist a real cadenza - at this point in the composition he/she can either play the partprescribed or give the audience an improvisation of his/her own.
47.50 GBP - vendu par Musicroom GB |
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| Andrew R. Mackereth:
Hymnus: Fanfare Band:
Score & Parts Fanfare [Conducteur et Parties séparées] Gobelin Music Publications
Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Au...(+)
Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F a semitone third fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif theother being Fanfare for a Bright New Age for Brass Band and Organ also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence like the first sounds at the dawning of the universe. After the immense power a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre lending itself to considerable rubato. Melody is king and all else is mere support and decoration careful attention must therefore be given to balance.
144.99 GBP - vendu par Musicroom GB |
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| Lamentate (PART ARVO) Piano et Orchestre [Conducteur d'étude / Miniature] Universal Edition
Homage to Anish Kapoor and his sculpture 'Marsyas'. Par PART ARVO. Arvo Pärt ab...(+)
Homage to Anish Kapoor and his sculpture 'Marsyas'. Par PART ARVO. Arvo Pärt about Lamentate: 'Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is 'one'. This 'one' could be a person, or perhaps a first-person narrative. Just as the sculpture leaves the viewer with a light and floating impression in spite of its overwhelming size, the piano, as a large instrument, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. Overall, it could be said that my work is marked by two diametrically opposed moods. By way of slight exaggeration, I would characterize these two poles as being 'brutal-overwhelming' and 'intimate-fragile'. The two characters are not simply placed opposite one another, much rather being left to develop themselves in a conflict that runs throughout the entire work.'/ Répertoire / Piano et Orchestre
80.10 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Lord Berners: A Wedding
Bouquet (Full Score):
Orchestra: Score Orchestre [Partition] Chester
A Wedding Bouquet was the idea of Lord Berners who wanted Frederick Ashton to m...(+)
A Wedding Bouquet was the idea of Lord Berners who wanted Frederick Ashton to make a ballet pantomime out of one of Gertrude Stein's plays and who both wrote the music and designed the 'decor' and costumes. The name ofthe play was 'They must be Wedded to Their Wife' but this was thought too long for advertising and was changed to A Wedding Bouquet. Lord Berners went to visit Gertrude Stein in Bilignin and she liked the idea and he foundin her house a carpet which gave him the pattern for the backcloth for the ballet.The ballet was first spoken of as a choral ballet and the opera chorus did sing or chant the words at the early performances but it was entirelyunlike any other choral ballet before or since. The words explained the action introduced the characters made utterly irrelevant comments worked themselves into a frenzied rhythmical accompaniment or injected on occasional aptphrase that devastated dancers and audience alike. Not all of the words have ever been really intelligible but gradually the audience got to know certain phrases by heart and the ballet has a devoted public although inevitably ithas always been a rather special one and to this day there are people who detest the whole affair don't 'understand' it and think it an absurd waste of time and talent.
104.99 GBP - vendu par Musicroom GB |
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| Richard Rodney Bennett:
Partita For Orchestra:
Orchestra: Study Score Orchestre [Partition] Novello & Co Ltd.
'I responded to this exciting but rather daunting commission by writing a very l...(+)
'I responded to this exciting but rather daunting commission by writing a very lively and I hope very accessible piece which I decided before I started composing should be full of tunes. I wrote it in memory of my dear friend Sheila MacCrindle who died in 1993... although this partita is in her memory it never occurred to me to make it gloomy or dirge-like; that is not how I remember her.' Richard Rodney Bennett.Commissioned by British Telecommunications plc in co-operation with the Association of British Orchestras 95/96 season. Facsimile Study Score. Duration: c.17 mins. The full score and material is available for hire from Novello.
29.99 GBP - vendu par Musicroom GB |
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| Danceries. Brass Band
(Score) (HESKETH KENNETH) Ensemble de cuivres [Partition] - Facile Faber Music Limited
Par HESKETH KENNETH. In Danceries , by Kenneth Hesketh, the melodies themselves ...(+)
Par HESKETH KENNETH. In Danceries , by Kenneth Hesketh, the melodies themselves are a mixture of old and new. Where the old occurs it has been adapted in mood and composition and is often interspersed with completely new material. The contemporary harmonies and rhythms bring a breath of new into these themes and add drama to the suite. The first movement, Lull Me Beyond Thee , is gentle and lilting, almost a barcarole, this movement is very much a reverie. The original tune had the name Poor Robin's Maggot , a rather disconcerting title. Maggot, however, in seventeenth-century parlance meant whim or fancy. The second, Catching of Quails , is a colourful, buoyant scherzo on an original melody. The thematic material is shuttled around the band to contrast with full-blooded tuttis. The last few bars fade to almost nothing, before a final surprise! My Lady's Rest is a tender pavane, also on an original melody, with Moorish leanings. Beautiful solo passages, expressive contrapuntal writing and warm tuttis provide an opportunity to show off the most lyrical of playing. The final movement, Quodling's Delight is a clever combination of the 17th century melody, Goddesses , with an original contrasting melody, creating a rousing and exuberant finale to the work. / Niveau : Assez Facile / Répertoire / Brass Band
26.60 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Symphony G Major Hob.
I:88 (JOSEF STOIBER
FRANZ) Orchestre [Conducteur] Barenreiter
Par JOSEF STOIBER FRANZ. This edition clarifies a performance aspect of Haydn’...(+)
Par JOSEF STOIBER FRANZ. This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “solo”, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo” marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly. Continuing the collaboration between Bärenreiter and the Henle publishing company in large-scalechoral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydn ”. The complete performance material for several “Sturm und Drang” symphonies and all of the London and Paris symphonies is now available from Bärenreiter. Based on the Henle Complete Edition of the “Works of Joseph Haydn ” Orchestral parts in a large format (25. 5 cm x 32. 5 cm) Full score & performance material available for sale (BA10980)/ Répertoire / Orchestre
50.40 EUR - vendu par LMI-partitions Délais: Sur commande |
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| In Et Out (MANTOVANI
BRUNO) En Français Timbales et Orchestre [Partition] Lemoine, Henry
Par MANTOVANI BRUNO. Contrary to what one might think, it is particularly diffic...(+)
Par MANTOVANI BRUNO. Contrary to what one might think, it is particularly difficult to write a solo or concertante work for an instrument that a person is very familiar with. Whenever I encounter this situation, I always feel a certain reserve or prudence, or even apprehension about leaning toward facility, in terms of gestures. Lack of objectivity can result in the imagination being more instrumental than purely musical. However, when Benoît Cambreling came to me proposing that I write a concerto for timpani, I did not hesitate for an instant because this instrument possesses extraordinary and often under exploited musical potential. This percussion instrument often provides a type of harmonic and rhythmic base in the orchestra, but can also assume the role of a soloist. I began by writing an etude for solo timpani making use of glissandi, rhythmic inflections, as well as the melodic potential. Once this first step was completed, I began to 'orchestrate' the etude, or rather to extend the instrumental material into the orchestra by creating illusions of resonance, doublings, and echoes. Sometimes, the timpani also become a reservoir of ideas for the orchestra capable of triggering textures (as in instrumental electronic music). Here however, the instrument is above all treated in a melodic manner, reinforced, or not, by orchestral instruments that create a backdrop and the illusion of extension./ Répertoire / Timbales et Orchestre
54.60 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Dagmar Kildevann: Circus
Delight: Concert Band:
Score & Parts Orchestre d'harmonie [Conducteur et Parties séparées] Gobelin Music Publications
‘Circus Delight’ is a five-part suite which is set how could it be...(+)
‘Circus Delight’ is a five-part suite which is set how could it be otherwise in a big circus tent. The suite starts with a part called ‘Entrance’. The orchestra positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run jump and fly through the ring until ....... It gets very exciting. Fortunately all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows and yet it is mostly not spoken about that when a clown has taken off his red nose and rubbed off his make-up his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’ in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.
49.99 GBP - vendu par Musicroom GB |
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| Dagmar Kildevann: Circus
Delight: Concert Band:
Score Orchestre d'harmonie Gobelin Music Publications
‘Circus Delight’ is a five-part suite which is set how could it be...(+)
‘Circus Delight’ is a five-part suite which is set how could it be otherwise in a big circus tent. The suite starts with a part called ‘Entrance’. The orchestra positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run jump and fly through the ring until ....... It gets very exciting. Fortunately all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows and yet it is mostly not spoken about that when a clown has taken off his red nose and rubbed off his make-up his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’ in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.
9.99 GBP - vendu par Musicroom GB |
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| Magnus Lindberg: Corrente
No.2: Orchestra: Score Orchestre [Partition] Chester
Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orche...(+)
Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass
29.99 GBP - vendu par Musicroom GB |
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| Richard Rodney Bennett:
Symphony No. 3:
Orchestra: Score Orchestre Novello & Co Ltd.
Richard Rodney Bennet’s Symphony No. 3 commissioned for the 1987 Three ...(+)
Richard Rodney Bennet’s Symphony No. 3 commissioned for the 1987 Three Choirs Festival by the Elgar Foundation with additional funds from West Midlands Arts is now published in a facsimile study score.In contrast with his first two symphonies which were rather extrovert display pieces Symphony No. 3 is quite thoughtful and lyrical in nature more or less monothematic and has a strong feeling of tonality particularly at the opening and closing of the score. The more moderate orchestration (2 Flutes Oboe Cor Anglais 2 Clarinets in B flat Bassoon 2 Horns in F Percussion 1 (small Triangle Tam-tam 3 suspendedCymbals) Percussion 2 (side Drum tubular Bells) Timpani Piano Harp and Strings) also reflects this. Performance time of the three movements is ca. 22 minutes.Sir Richard Rodney Bennett was an English composer of film TV and concert music and also a jazz pianist. He was based in New York City from 1979 until his death there in 2012.
28.99 GBP - vendu par Musicroom GB Délais: En Stock |
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| Peter Maxwell Davies:
Naxos Quartet No.4 -
Children's Games: String
Quartet: Quatuor à cordes: 2 violons,
alto, violoncelle [Partition] - Avancé Chester
The Full Score for Peter Maxwell Davies’ fourth in a series of ten string...(+)
The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B
19.99 GBP - vendu par Musicroom GB |
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| Belle of the Ball
(ANDERSON LEROY) Orchestre d'harmonie [Conducteur] Hal Leonard
Par ANDERSON LEROY. Like most of Leroy Anderson\'s efforts, Belle of the Ball is...(+)
Par ANDERSON LEROY. Like most of Leroy Anderson\'s efforts, Belle of the Ball is light, effervescent, and devoid of conflict or disharmony. Anderson looked upon the piece as a modern-day American revival -- or revitalization -- of the Viennese waltz tradition. Having said that, the main theme sounds rather unlike a Strauss waltz, but the voice of Tchaikovsky is evident in its playful, fantasy-like character. The melody is rhythmic and comes in short groups of notes, beginning with two notes, then three, then expanding further; the music skates along elegantly. The middle section features a delightful variation on the theme, in which Anderson\'s gentle-belled sonorities impart a playful innocence. This exclusive Southern band edition by Mark Rogers reintroduces Anderson\'s enchanting work to new generations of audiences. / Date parution : 2022-09-20/ Répertoire / Concert Band
16.30 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Belle of the Ball
(ANDERSON LEROY) Orchestre d'harmonie [Conducteur et Parties séparées] Hal Leonard
Par ANDERSON LEROY. Like most of Leroy Anderson\'s efforts, Belle of the Ball is...(+)
Par ANDERSON LEROY. Like most of Leroy Anderson\'s efforts, Belle of the Ball is light, effervescent, and devoid of conflict or disharmony. Anderson looked upon the piece as a modern-day American revival -- or revitalization -- of the Viennese waltz tradition. Having said that, the main theme sounds rather unlike a Strauss waltz, but the voice of Tchaikovsky is evident in its playful, fantasy-like character. The melody is rhythmic and comes in short groups of notes, beginning with two notes, then three, then expanding further; the music skates along elegantly. The middle section features a delightful variation on the theme, in which Anderson\'s gentle-belled sonorities impart a playful innocence. This exclusive Southern band edition by Mark Rogers reintroduces Anderson\'s enchanting work to new generations of audiences. / Date parution : 2022-09-20/ Répertoire / Concert Band
81.30 EUR - vendu par LMI-partitions Délais: Sur commande |
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