Conductor score. By Maurice Durufle. Editions Durand. Size 9x12 inches. 112 pages. Published by Durand.

Orchestra

SKU: HL.14021435

Composed by Palle Mikkelborg. Music Sales America. Classical. Score. Music Sales #KP01379. Published by Music Sales (HL.14021435).

ISBN 9788759878606. English.

Palle Mikkelborg GOING TO PIECES WITHOUT FALLING APART 2002 for violin, harpe og strygereTilegnet Elise Batnes og Helen DaviesForord l Programnote En solful d morgentur i Melbourne bragte mig forbi en boghandel der specialiserede sig i spiritualbooks, og i vinduet faldt mine ojne pa et citat som ojeblikkeligt ramte mig folelsesmaessigtstaerkt- og jeg folte at jeg havde fundet titlen pa den komposition jeg pa tankeplan allerede vari gang med. Citatet lod:going to pieces ... without falling apartTre temaer og relaterede skalaer, baseret pa henholdsvis Elise Batnes', Helen Davies' og BergenKammerensembles navne, har vaeret afgorende for dele af tonesproget, og forekommer badeielose-up og mere douche i kompositionens syv hovedafsnit. Det barnlige, det enkle, det her-og-nu naive, det umiddelbare, kom til at spille en vigtig rolleunder arbejdet. Ikke fordi selve mit tonesprog er saerligt meget anderledes end ellers (hvordanskulle det ogsa kunne blive det?), men formuleringen: at go to pieces fik mig til at taenke pa atblive som barn pa ny, atter at vaere u-bange, at turde tro pa det enkle.Udover denne- i bedste betydning- enkle inspiration er onsket at kompositionens kurve kanopleves som en mulig meditiations-rejse: i starten en tro pa egen ro, langsomt breder uroensig, og i lystfulde glimt ser man sig selv danse en rituel dans, med andehuller her og der: ogfristelsen til at rive forhaenget vaek og go to pieces, og angsten for maske at miste sig selv undervejs,breder sig. Dog, til sidst erkender man at det var rejsen vaerd, og at man heller ikke denne gangfaldt apart, men kan se frem mod atter at vise livet sin respekt ved spirituelt fuldstaendigt at givesig hen, dog vel vidende at livet merciless & merciful, med kaerlig hand villade diggo to pieces ... without falling apartMen selvklart er mit egentlige onske: at man blot lader musikken leve sit eget ordlose liv - atlytteren har sin egen rejse. Palle Mikkelborg.

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.

Orchestra (Orchestra)

SKU: HL.14008415

Composed by Sir Peter Maxwell Davies. Music Sales America. Post-1900. Sheet Music, Miniature Score. With Text language: English. 110 pages. Chester Music #CH55687. Published by Chester Music (HL.14008415).

UPC: 884088808242. 8.5x11.0x0.261 inches.

This work, written by Maxwell Davies in 1983 for chamber orchestra, was commissioned to celebrate the quartercentenary of Edinburgh University. The first performance was given by the Scottish Chamber Orchestra conducted by Edward Harper in October 1983. Duration c. 29mins. This work was thought through in outline following a visit to the ruined pre-Reformation church of Hoy in Orkney, on a fine Spring afternoon after Maxwell Davies had played the harmonium for the tiny congregation in its large bleak Victorian replacement. The old church was surrounded by the graves of centuries, the more recent ones with familiar names, largely of people who lived in houses now ruinous - crofters, fishermen, clerics, sea-captains. Next to it stood the chief farmhouse, the Bu, going back to Viking times. He thought of the lives and deaths encompassed there, expressed through hundreds of years of music in the church, and in the big barn of the farm. The plainsongs 'Dies Irae' and 'Victimae Paschali Laudes' are used throughout the work - the first concerning the Day of Judgement, from the Mass for the Dead, the second particular to Easter Sunday and the Resurrection. These are subject to constant transformation - the intervallic contour slowly changes from one into the other, and their notes are made to dance through Renaissance astrological 'magic square' patterns. The orchestra consists of double woodwind, two horns, two trumpets and strings.