String Quartet - difficult

SKU: HL.49008206

Score and Parts. Composed by Peteris Vasks. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Score and Parts. Composed 1977/1997. 86 pages. Duration 15'. Schott Music #ED 8899. Published by Schott Music (HL.49008206).

ISBN 9790001124003. UPC: 073999655742. 9.0x12.0x0.34 inches.

With serious string players this Latvian composer has long been recognized because of his sonorous tonal concepts and his modal, occasionally aleatoric idiom. Works like 'Cantabile per Archi' or 'Musica dolorosa' are already quite well-known, but newer pieces like the violin concerto with string orchestra 'Fernes Licht', commissioned by Gidon Kremer for his Kremerata Baltica, are also gaining wide international exposure. The genre of the string quartet is well represented in Vasks' output. The 2nd string quartet 'Summer Tunes' (ED 8512) has been published for some time and the 3rd was premiered by the Kronos Quartet who were so enthused that they commissioned a 4th quartet. In 1996, prompted by a complete recording of all his string quartets by the Miami String Quartet for Conifer Records Vasks totally revised his early 1st string quartet 1996, it is here presented for the first time in a printed edition.

By Michael Hopkins. For string orchestra (88555) with optional 3rd violin/viola TC (3 copies) and piano. Playground String Orchestra Series. Grade 1. Score and set of parts. Duration 2 minutes, 25 seconds. Published by Kendor Music Inc

Chamber Music 2 flutes

SKU: PR.114418600

Volume I, Fantasias 1-6. Composed by Georg Philipp Telemann. Arranged by Sharon Sparrow Jeffery Zook. Set of performance scores. 56+56 pages. Duration 20 minutes. Theodore Presser Company #114-41860. Published by Theodore Presser Company (PR.114418600).

ISBN 9781491111543. UPC: 680160642656.

Telem ann for Two Volume I, Fantasias 1-6 arranged for Two FlutesWhat could be more delightful than playing Telemann duets, or playing the Telemann Fantasias? Sharon Sparrow and Jeffery Zook have created a remarkable set of duet adaptations of the Fantasias,sounding as if Telemann himself had composed them as two-part inventions. The original Telemann works are shared between the two players, mixed with counterpoint to enhance the authentic solo works. The result is equally suitable for formal recitals and recreational duet playing! The present publication includes two performance scores of their settings of Fantasias 1-6, with a Volume II to include Fantasias 7-12.____________________ __________________Text from the scanned back cover:SHARON SPARROW is Assistant Principal Flute of the Detroit Symphony Orchestra. She began musical studies on piano at age four, but it was the flute that led her to the Juilliard School for a Bachelor degree with Julius Baker. She received her Master’s degree with Thomas Nyfenger at the Mannes College of Music. Sharon’s professional career began in the Memphis Symphony, followed by tenured positions in the Fort Wayne Philharmonic and Detroit Symphony, and guest positions in the Hong Kong Philharmonic, Baltimore, Chicago, and Pittsburgh Symphonies. In 2016, Presser published her successful audition training book, 6 Weeks to Finals, and she is a much sought after coach for audition candidates across the country, as well as a frequent Master Class clinician at major schools including Boston University and Peabody Conservatory.JEFFERY ZOOK has been a member of the Detroit Symphony since1992. His formal musical studies began at Interlochen and continued at University of Michigan and the Royal Academy of Music in London. His teachers have included William Bennett and Trevor Wye. A prize winner in the NFA Young Artists Competition, Mr. Zook made his solo debut with the Detroit Symphony as a senior in high school, and has since performed all the Vivaldi concerti with them. He has recorded extensively for MusicMinus One and performed frequently at NFA conventions, including the concerto gala in 2017. Mr. Zook has served on the faculty at University of Michigan and Oakland University. In 2002 Zook and Sharon Sparrow founded the Detroit Flute Connection, a series of masterclasses for flutists.

2 descant recorders and 1 treble recorder - very easy to easy

SKU: HL.49019872

Beliebte Weihnachtslieder in leichten Satzen. Arranged by Marianne Magolt. This edition: Saddle stitching. Sheet music. Woodwind Ensemble. Softcover. 68 pages. Schott Music #ED21695. Published by Schott Music (HL.49019872).

ISBN 9783795747855.

Dies er Band enthalt die beliebtesten Weihnachtslieder in sehr leichten Bearbeitungen fur zwei Sopranblockloten und eine Altblockflote, die bereits von Anfangern gut zu bewaltigen sind. Die Auswahl der Lieder reicht vom traditionellen deutschen Weihnachtslied bis zu internationalen Melodien. Fur jedes Instrument liegt eine separate Stimme bei. Aus dem Inhalt: Alle Jahre wieder, Frohliche Weihnacht uberall, Leise rieselt der Schnee, Stille Nacht, Wir sagen euch an, Jingle Bells, Rudolph the red-nosed reindeer, Winter Wonderland u.a.

Piano

SKU: BR.EB-8620

Piano Teaching for 2-8 Hands. Composed by Claudia Ehrenpreis and Ulrike Wohlwender. Solo instruments; stapled. Edition Breitkopf.

Zur 1 2 3 Klavier Homepage

Music pedagogy. Score. 72 pages. Breitkopf and Haertel #EB 8620. Published by Breitkopf and Haertel (BR.EB-8620).

ISBN 9790004180235. 9 x 12 inches. German.

1 2 3 KLAVIER ist eine Klavierschule fur 6-11-jahrige Kinder im Einzel-, Partner- oder Gruppenunterricht. Das Unterrichtswerk umfasst zwei Spielhefte, zwei Lehrerkommentare und eine CD. 1 2 3 KLAVIER besticht aus 1 2 3 (und noch mehr) Grunden: Die Spielhefte fuhren mit charakteristischenStucken und einer grossen stilistischen Breite in die Welt des Klavierspielsein. Ob Dur, Moll, Kirchentonarten, Ganztonleiter, Blues-Tonleiter - mit 1 2 3 KLAVIER ,,ist Klavierspielen von Beginn an ein klangliches Erlebnis (Uben & Musizieren). Die Stucke bestehen aus leicht erfassbarenmusikalischen Strukturen und liegen gut in denFingern. Schon in den erstenStucken wird mit zwei Handen und mit Melodie und Begleitung gespielt. Dabei sind die Lieder in kindgerechter Singlage gesetzt. Zahlreiche Variations- und Improvisationsaufgaben wecken das kreative Potential der Spielerinnen und Spieler. Die Lehrerkommentare erlautern den didaktischen roten Faden der Spielhefte, fuhren in die Methodik des Partner-und Gruppenunterrichts ein und geben detaillierte Anregungen fur mogliche Erarbeitungswege - auch im Einzelunterricht. Die CD bringt alle 79 Stucke aus Spielheft 1 und 2 zum Klingen: vielfaltige Charakterstucke, spannende Klang-Geschichten, bekannte Kinder- und Volkslieder, schwungvolle Tanze, klangvolle Improvisationen und fetzige Boogies.

Piano teaching in groups - big or small - is in! This new method gives group and individual teaching many new impulses and is ideal for 1 2 3 (and more) reasons.

SKU: BR.BHM-8619

Piano Teaching for 2-8 Hands. Composed by Claudia Ehrenpreis and Ulrike Wohlwender. Music pedagogy. Breitkopf New Media. Music pedagogy. Score. Breitkopf and Haertel #BHM 8619. Published by Breitkopf and Haertel (BR.BHM-8619).

ISBN 9790004650233. 5.5 x 5 inches. German.

1 2 3 KLAVIER ist eine Klavierschule fur 6-11-jahrige Kinder im Einzel-, Partner- oder Gruppenunterricht. Das Unterrichtswerk umfasst zwei Spielhefte, zwei Lehrerkommentare und eine CD.1 2 3 KLAVIER besticht aus 1 2 3 (und noch mehr) Grunden:Die Spielhefte fuhren mit charakteristischenStucken und einer grossen stilistischen Breite in die Welt des Klavierspielsein. Ob Dur, Moll, Kirchentonarten, Ganztonleiter, Blues-Tonleiter - mit 12 3 KLAVIER ,,ist Klavierspielen von Beginn an ein klangliches Erlebnis (Uben & Musizieren). Die Stucke bestehen aus leicht erfassbarenmusikalischen Strukturen und liegen gut in denFingern. Schon in den erstenStucken wird mit zwei Handen und mit Melodie und Begleitung gespielt. Dabeisind die Lieder in kindgerechter Singlage gesetzt. Zahlreiche Variations- und Improvisationsaufgabenwec ken das kreative Potential der Spielerinnen und Spieler. Die Lehrerkommentare erlautern dendidaktischen roten Faden der Spielhefte, fuhren in die Methodik des Partner-und Gruppenunterrichts ein und geben detaillierte Anregungen fur mogliche Erarbeitungswege- auch im Einzelunterricht. Die CD bringt alle 79 Stucke aus Spielheft 1 und 2 zumKlingen: vielfaltige Charakterstucke, spannende KlangGeschichten, bekannteKinder- und Volkslieder, schwungvolle Tanze, klangvolle Improvisationen undfetzige Boogies.To the 1 2 3 KLAVIER Homepage

Piano teaching in groups - big or small - is in! This new method gives group and individual teaching many new impulses and is ideal for 1 2 3 (and more) reasons. EB 8619 awarded the German Music Edition Prize 1995.

Piano Solo. By Muzio Clementi. Arranged by Riccardo Risalti. Piano Large Works (Arranged for piano). Size 9x12 inches. 80 pages. Published by Ricordi.

Mixed choir (SSSAAATTTBBB) with soloists (SSSA) (GCH) - difficult

SKU: HL.49013136

(Paulinische Briefe, Martin Luther). Composed by Heinrich Poos. This edition: Saddle stitching. Sheet music. Schott Kammerchor Reihe (Choral Music). Classical. Choral Score. 48 pages. Duration 25'. Schott Music #SKR 20041. Published by Schott Music (HL.49013136).

ISBN 9790001128377. Latin - German.

Eine als Sinfonia sacra bezeichnete Reflexion uber die zentralen christlichen Begriffe Glaube - Liebe - Hoffnung.

Piano Solo. By Wolfgang Amadeus Mozart. Arranged by Riccardo Risalti. Piano Collection. Size 9x12 inches. 56 pages. Published by Ricordi.

1-3 descant recorders and percussion (Sss) - easy to intermediate

SKU: HL.49006012

Beiheft zum Flotenbuchlein fur die Schule. Composed by Franz Lehn and Heinrich Rohr. This edition: Saddle stitching. Sheet music. Edition Schott. (s. Lehn / Rohr Vortragsbuchlein fur die Schule). Classical. Playing score. 32 pages. Schott Music #ED 6094. Published by Schott Music (HL.49006012).

ISBN 9790001065269.

Violin and Piano With a CD of Performances and Accompaniments. Composed by Various. Edited by Peter Mohrs. This edition: Saddle stitching. Sheet music with CD. String. Easy Concert Pieces enthalten leichte und bekannte Stucke von der Renaissance bis zur Moderne, die sorgfaltig nach technischen und musikalischen Anforderungen ausgewahlt wurden: Band 1 leicht, Band 2 mittelschwer. Classical. Edition with CD. 64 pages. Schott Music #ED 21634. Published by Schott Music

Orchestra (picc.2.2.cor ang.2.B-clar.2.dble bsn - 4.3.3.1. - timp.perc(3) - hp - cel - str)

SKU: BR.PB-5105-07

Study score. Composed by Jurg Baur. Softbound. Partitur-Bibliothek (Score Library).

World premiere: Bremen, February 1, 1982

Symphony; Music post-1945. Study Score. Composed 1981. 68 pages. Duration 17'. Breitkopf and Haertel #PB 5105-07. Published by Breitkopf and Haertel (BR.PB-5105-07).

ISBN 9790004208557. 9 x 12 inches.

Gesualdo, Don Carlo, Furst von Venosa (1560-1613) gehort zu den eigenwilligsten italienischen Madrigal-Komponisten der Spatrenaissance. Seine ungewohnlich kuhne, selbst fur heutige Ohren modern klingende Harmonik, seine chromatischen Stimmfortschreitungen, seine ubersteigerte expressive Tonsprache regten mich schon vor Jahren zu einer grosseren Orgelkomposition an und inspirierten mich 1981 zu den >>Sinfonischen Metamorphosen<<. Dieses Werk ist eine vielgestaltige weitausgesponnene Fantasie. Sieben choralartige typische Klangbeispiele aus Gesualdos spaten funfstimmigen Madrigalen (4., 5. u. 6. Band) werden teils streng, teils frei zitiert und von Holz- oder Blechblasern intoniert. Diese Zitate gliedern, als formale und inhaltliche Schwer- und Ruhepunkte, den Verlauf des gesamten Werks. Jedes Zitat steht zu Beginn eines neuen Satzabschnitts; die darauffolgenden >>Metamorphosen<< entwickeln sich als rhapsodische kontrastreiche Charakterstucke. Im >>Preludio<< werden aus den vertonbaren Buchstaben vom Namen >>Gesualdo<< (G - E - Es - A - D) schwebende Klangflachen, rezitativische Gedanken und ein pragnantes rhythmisches Paukenthema gebildet. Diese ,,Grundelemente (Grundstrukturen) tauchen im Verlauf des Stucks immer wieder leitmotivisch auf. Im zweiten Abschnitt stehen sich lineare Streicher-Episoden und dichte Blaser-Klangballungen kontrastierend gegenuber. Der dritte Teil lauft als Passacaglia (Thema ist der Bass eines Gesualdo-Zitats) in mehreren Variationen ab. Im vierten Abschnitt dominiert lebhafte Streicherbewegung, kontrapunktiert von tiefen Blaser-Signalen. Der funfte Teil steigert sich- nach kantablem Beginn- zum ekstatischen Trauermarsch. Abschnitt sechs stellt sich als >>Rondello<< dar, mit um sich selbst kreisenden Klangfiguren (in verschiedenen Tongruppen (zwei, drei, funf). Im siebten und letzten Teil wird die verhalten-resignierende Stimmung des Anfangs beschworen, ehe eine knappe Stretta in den hymnischen Schluss mundet. In den Textender ausgewahlten Zitatstellen geht es meist um Todessehnsucht, Liebesqual und Verzweiflung. z. B. 1. und 2. Zitat: Moro lasso, al mio duolo (Ich sterbe, matt, an meiner Qual) (6. Buch) 3. Zitat: Gia piansi nel dolore; o dolorosa Sorte (Schon weinte ich in Schmerzen, oh schmerzliches Geschick) (6. Buch) 4. Zitat: Ahi gia mi discolero (Ach schon entfarbte ich mich) (Wehe, der Tod kommt) (4. Buch) 5. Zitat: Dolcissima mia vita (Mein allerliebstes Leben) (Dich zu lieben oder zu sterben) (5. Buch) 6. Zitat: lo moro (Ich sterbe) (5. Buch) Dem Werk liegen zwar eine Reihe von dodekaphonischen Strukturen zugrunde (die teilweise von Gesualdos Klangzitaten abgeleitet wurden), doch sind die einzelnen Abschnitte auf,,tonale Pfeiler (G - E - A - D) gegrundet; das Stuck beginnt in G und endet aufD, ist also ubergeordnet tonal konzipiert, - der Versuch einer Synthese moderner Ausdrucksmittel von Vergangenheit und Gegenwart. Die >>Metamorphosen<< sind ein Stuck Bekenntnismusik - Bekenntnis zum Leben und Schaffen Gesualdos, eines Mannes, der vom Schicksal gezeichnet war, denn der Chronik Neapels bekannt war durch die Ermordung seiner ersten Frau und ihres Liebhabers. Dieser eminente Musiker war zugleich ein Mensch von ubertriebener Sensibilitat und wilder ekstatischer Heftigkeit: ,,Er wurde von einer Horde von Damonen heimgesucht, die ihm keine Ruhe gaben, heisst es in einem zeitgenossischen Bericht. Seine Kunst und sein Leben stand unter dem Gesetz der inneren Zerrissenheit, zwischen Auflehnung und Resignation (Verzweiflung und Hoffnung), zwischen Zartheit und Leidenschaft. Davon will meine Musik etwas aussagen. (Jurg Baur)CD:Sinfonieorchester des Westdeutschen Rundfunks, cond. Rudolf BarschaiCD Thorofon CTH 2270Bibliography:Abels, Robert: Studien zur Gesualdo-Rezeption durch Komponisten des 20. Jahrhunderts (= Studien zur Musik 20), Leiden u. a.: Wilhelm Fink 2017, pp. 277-345, 485-489.Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more.

SKU: PR.11641139S

Composed by Lowell Liebermann. Full score. Duration 15 minutes. Theodore Presser Company #116-41139S. Published by Theodore Presser Company (PR.11641139S).

UPC: 680160682119.

Barca rolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100.   I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici.   My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven.   III. Barcarola/Ostinato/Carill on An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut.   IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more.

SKU: PR.11641139L

Composed by Lowell Liebermann. Large Score. Duration 15 minutes. Theodore Presser Company #116-41139L. Published by Theodore Presser Company (PR.11641139L).

UPC: 680160682126.

Barca rolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100.   I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici.   My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven.   III. Barcarola/Ostinato/Carill on An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut.   IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.

Orchestra piccolo, English horn, B-clarinet, contrabassoon-4, 1-4 percussion-harp-strings

SKU: PE.EP73404

Composed by Rihards Dubra. Full Orchestra. Edition Peters. Book. Duration 00:37:00. Edition Peters #98-EP73404. Published by Edition Peters (PE.EP73404).

ISBN 9790577018348. 297 x 420 mm inches. English.

Rihards Dubra (born Latvia, 1964) wrote his Symphony No. 2 in 2014. It is a large-scale work, over 30 minutes long, in three movements (titled 'Visio', 'Cantus', 'Et vidi...'), for large orchestra comprising triple wind and brass, percussion and harp.

Speaking of symphonic writing, the composer says: 'I don't think a symphony should speak about small, everyday things and issues; it should speak of global, fundamental and substantial things. Only then does it justify the name 'symphony'. It must be something serious.'

This full score (EP 73404) is now available as part of the Peters Baltic Library.

• Peters Baltic Library is a new series of full scores of orchestral music by contemporary composers from the Baltic States.
• Published in partnership with the leading music publisher from the region: Musica Baltica.
• Peters Baltic Library presents a rich selection of compositions that demonstrates both the distinctiveness and the variety of stylistic approaches adopted by the region's most prominent composers.

< br>This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

Arranged by Deborah Greenblatt. String Trio. For violin, viola, cello. Irish Folk. Set of parts. Standard Notation. 50 (violin a), 50 (viola b), 50 (cello c) pages

Orchestra

SKU: BR.EOS-1527

Score with basso continuo. Composed by William Boyce. Orchestra; Softbound. Eulenburg Orchestral Series.

Symphony; Baroque. Score with continuo realization. 172 pages. Breitkopf and Haertel #EOS 1527. Published by Breitkopf and Haertel (BR.EOS-1527).

ISBN 9790004786475. 8.5 x 11.5 inches.

No. 1 in B major 8
2.2.0.0. 0.0.0.0. str bc(hps)

No. 2 in A major 5
0.2.0.0. 0.0.0.0. str bc(hps)

No. 3 in C major 5
0.2.0.2. 0.0.0.0. str bc(hps)

No. 4 in F major 7
0.2.0.2. 2.0.0.0. str bc(hps)

No. 5 in D major 8
0.2.0.0. 0.2.0.0. timp str bc(hps)

No. 6 in F major 7
0.2.0.0. 0.0.0.0. str bc(hps)

No. 7 in B major 9
2.2.0.0. 0.0.0.0. str bc(hps)

No. 8 in D minor 11
2.2.0.0. 0.0.0.0. str bc(hps)

Die einzige bekannte Quelle befindet sich in Heft 66 von Band 25 der Meslanges-Autographen die an die Bibliotheque Royale (heute Bibliotheque Nationale) Paris verkauft wurde. Das Manuskript ist sehr sorgfaltig geschrieben. Alle Zusatze des Herausgebers stehen in eckigen Klammern.
(Jean-Paul Montagnier)
(Jean-Paul Montagnier)
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo and more. - Grade 4

SKU: CF.SPS73

Composed by John Stafford Smith. Arranged by Sean O'Loughlin. SWS FS. Carl Fischer Symphonic Performance Series. Set of Score and Parts. With Standard notation. 1+4+4+2+4+4+4+2+2+2+2+2+2 +3+3+3+2+2+2+2+3+3+3+2+3+ 4+1+1+2+3+12 pages. Duration 1 minute, 48 seconds. Carl Fischer Music #SPS73. Published by Carl Fischer Music (CF.SPS73).

ISBN 9781491147689. UPC: 680160905188. 9 x 12 inches. Key: Bb major.

Composer/arr anger Sean O'Loughlin has provided a refreshing new setting of our National Anthem. It was originally written for orchestral brass and percussion and has been performed at both MLB and NBA events. The arrangement begins with a bold fanfare to set the tone, but also to provide the motive glue to hold the arrangement together and create something unique. Creative harmonic usage and colorful orchestration really make this version stand out from the rest.
There have been many great arrangements of our National Anthem throughout the years . The responsibility of creating one that truly brought something new to the mix was very daunting . I was fortunate enough to get an opportunity to write this version for the Oregon Symphony Brass Section to perform at the Portland Trail Blazers NBA games . Subsequent performances have occurred with the Baltimore Symphony at the Baltimore Orioles MLB games . At this time, it is my supreme honor to adapt this for the advanced concert band .In bringing something new, I decided to start with a bold fanfare to set the tone for this great music . Introducing some more dissonant harmonies also created a more intense feel .The first stanza includes a flowing counter line in the horns and alto saxophones . The trumpets interject some flourishes on the second pass to further the intensity . These flourishes continue “ . . . when the rockets red glare!” The final push at m . 29 is colored with pulsating 16th notes in the woodwinds that lead to some dramatic harmony at the fermata in m . 32 . The opening fanfare then returns to let everyone know that it's time to “Play ball!”.

Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clarinet, Clarinet 1, Clarinet 2, Claves, Contrabass, Contrabassoon, Cowbell, Crotales, English Horn, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Maracas, Marimba, Oboe 1 and more.

SKU: PR.11641737S

Composed by Steven Stucky. Study Score. 68 pages. Duration 9 minutes. Merion Music #116-41737S. Published by Merion Music (PR.11641737S).

ISBN 9781491136133. UPC: 680160688432.

Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.