(Rapsodie Espangnole, Mother Goose Suite, Valses Nobles et Sentimentales, and Pa...(+)
(Rapsodie Espangnole,
Mother Goose Suite,
Valses Nobles et
Sentimentales, and Pavane
for a Dead Princess).
Composed by Maurice Ravel
(1875-1937). Orchestra.
Full Orchestra (Full
Score); Larger Works;
Masterworks; Score. Dover
Edition. Impressionistic;
Masterwork. Published by
Dover Publications
By Maurice Ravel. Edited by Regina Back; Douglas Woodfull-Harris. For Flute (2),...(+)
By Maurice Ravel. Edited
by Regina Back; Douglas
Woodfull-Harris. For
Flute (2), Oboe, Clarinet
(B Flat) (2), Bassoon
(2), Violin (2), Viola,
Violoncello, Contrabass,
Harp. Published by
Baerenreiter-Ausgaben
(German import).
Full Score. By Modest Moussorgsky. Arranged by Maurice Ravel. (Score). Boosey an...(+)
Full Score. By Modest
Moussorgsky. Arranged by
Maurice Ravel. (Score).
Boosey and Hawkes Scores
and Books. Size 9x12
inches. 130 pages.
Published by Boosey and
Hawkes.
Orchestra (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required)) SK...(+)
Orchestra (2(picc).2(cor
ang).2.2 - 2.1.0.0 - hp-
str (6 db are required))
SKU: BR.PB-5569-07
Suite d'Orchestre -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). An
homage to Francois
Couperin, but most
notably to the French
music of the late 18th
century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way. Have a look into PB
5540. Suite; Ballet;
Early modern. Study
Score. 72 pages. Duration
17'. Breitkopf and
Haertel #PB 5569-07.
Published by Breitkopf
and Haertel
(BR.PB-5569-07).
ISBN
9790004213797. 6.5 x 9
inches.
Ravel's
multi-layered homage in
Breitkopf UrtextIn his
homage Le Tombeau de
Couperin, Ravel is less
specifically interested
in Couperin than in
French music of the late
18th century. In his
preface, editor
Jean-Francois Monnard
explains how Ravel paid a
moving and intensely
personal tribute to the
events of World War I
with his multi-layered
work. The orchestral
version goes back to the
original, eponymous piano
suite (1914-17). Then, in
1919, the composer
selected four pieces from
this source, orchestrated
them with all of his
grace and artistry; the
result provides a
charming contrast to the
pseudo-Baroque musical
idiom, and places the
pieces in a new and
effective sequence. The
work quickly gained great
popularity immediately
after the concertant
world premiere, when the
three dance movements of
the orchestral suite were
included in a ballet
production.The
underpinnings of
Monnard's edition are
provided by the most
important sources. The
preface features a great
deal of information on
the interpretation and
performance history of
the work. This is the
fifth major Ravel work
now available in print
from Breitkopf
Urtext.
An homage
to Francois Couperin, but
most notably to the
French music of the late
18th century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library).
A
l'exemple de Schubert -
Ravel re-invents the
waltz, inspired by Liszt,
Chopin, Schumann and
Chabrier, transforming
the rhapsodic gyrations
of the dance and sending
it whirling into the 20th
century.
Ravel
needed only two weeks of
intensive concentration
to orchestrate his piano
suite Valses nobles et
sentimentales, which was
given its premiere
performance in March
1911. Consisting of seven
waltzes and one epilogue,
the work stamped Ravel as
a creative personality
whose masterpiece
breathed an unbelievably
new kind of musicality
and incredibly intensive
poetry. Let us not forget
that this was twelve
years before La Valse,
with which it shares a
number of similarities.
The new edition of the
complete performance
material in Breitkopf's
Urtext series was
prepared by the Ravel
expert Jean-Francois
Monnard.
A
l'exemple de Schubert -
Ravel re-invents the
waltz, inspired by Liszt,
Chopin, Schumann and
Chabrier, transforming
the rhapsodic gyrations
of the dance and sending
it whirling into the 20th
century.
(orchestrated by Maurice Ravel Eulenburg Audio Score). By Modest Petrovich Musso...(+)
(orchestrated by Maurice
Ravel Eulenburg Audio
Score). By Modest
Petrovich Mussorgsky
(1839-1881). Edited by
Arbie Orenstein. Arranged
by Maurice Ravel. Study
Score. Eulenberg Audio
plus Score. Softcover
with CD. 164 pages. Hal
Leonard #EAS156.
Published by Hal Leonard
Tempus Fugit Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024683 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.48024683
Orchestra Study
Score. Composed by
Magnus Lindberg. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 144
pages. Boosey & Hawkes
#M060135880. Published by
Boosey & Hawkes
(HL.48024683).
ISBN
9781784545062. UPC:
888680952570. 8.25x11.75
inches.
TEMPUS
FUGIT was commissioned to
celebrate the centenary
of Finnish independence
on 6 December 2017 and it
received its first
performance in Helsinki
on that day, given by the
Finnish Radio Symphony
Orchestra.
The
composer says that
“if you translate
TEMPUS FUGIT as 'Time
Flies', you could say
that Finland has
travelled a long way
already -but 100 years is
a short time-span, and
living as a human in this
part of the world started
long ago and, we hope,
will continue
formillennia to come.
This relates to my
fascination with Bernd
Alois Zimmermann's
concept of spherical time
- that the past, the
present and the future
are continuously linked
and within reach. You can
also examine the
inter-connection of
musical time in the
earlier works of
Stockhausen such as
Kontakte and Gruppen
which had a big impact on
me as a young composer. A
translation of TEMPUS
FUGIT that I prefer is
'Time in Flight',
offering the idea that
time escapes from us but
bequeaths a tangible
residue, rather like
aplane travelling towards
the distance but leaving
a visible vapour
trail.” This
30-minute score is a
major addition to the
orchestral repertory.
Instrumetnation By Maurice Ravel - Study Score. Composed by Modest Petrov...(+)
Instrumetnation By
Maurice Ravel - Study
Score. Composed by
Modest Petrovich
Mussorgsky (1839-1881).
Edited by Arbie Orenstein
and Maurice Ravel. Study
Score. Softcover. 164
pages. Schott Music
#ETP1551. Published by
Schott Music
(HL.49045154).
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Composed by Shirl Jae
Atwell. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score. 8
pages. Duration 2:05.
Highland/Etling
#00-47479S. Published by
Highland/Etling
(AP.47479S).
UPC:
038081544878.
English.
This
lighthearted, carefree
work is easy to remember
upon hearing. It has a
snappy rhythm that makes
you want to dance to its
lively tune.
Minstrels were
musicians who traveled
throughout the
countryside providing
entertainment to any and
all. Their repertoire
included songs, dances,
jokes, and storytelling.
One could find them all
over Europe and America
from the Middle Ages up
until the 20th century.
As traveling musicians,
they relied on catch
tunes that could easily
be learned and
communicated to their
audiences. They were in
the business of uplifting
people's spirits through
fun and laughter.
Composed by Shirl Jae
Atwell. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score and
Part(s). 62 pages.
Duration 2:05.
Highland/Etling
#00-47479. Published by
Highland/Etling
(AP.47479).
UPC:
038081544861.
English.
This
lighthearted, carefree
work is easy to remember
upon hearing. It has a
snappy rhythm that makes
you want to dance to its
lively tune.
Minstrels were
musicians who traveled
throughout the
countryside providing
entertainment to any and
all. Their repertoire
included songs, dances,
jokes, and storytelling.
One could find them all
over Europe and America
from the Middle Ages up
until the 20th century.
As traveling musicians,
they relied on catch
tunes that could easily
be learned and
communicated to their
audiences. They were in
the business of uplifting
people's spirits through
fun and laughter.
Composed by Maurice Ravel (1875-1937). Edited by Jean-Francois Monnard. For orch...(+)
Composed by Maurice Ravel
(1875-1937). Edited by
Jean-Francois Monnard.
For orchestra (violin 1).
This edition: violin 1
part.
Orchester-Bibliothek
(Orchestral Library).
Individual part. 12
pages. Published by
Breitkopf and Haertel
Composed by Maurice Ravel (1875-1937). Edited by Jean-Francois Monnard. For orch...(+)
Composed by Maurice Ravel
(1875-1937). Edited by
Jean-Francois Monnard.
For orchestra
(violoncello). This
edition: cello part.
Orchester-Bibliothek
(Orchestral Library).
Individual part. 18
pages. Published by
Breitkopf and Haertel
(wind set). Composed by Maurice Ravel (1875-1937). Edited by Jean-Francois Monna...(+)
(wind set). Composed by
Maurice Ravel
(1875-1937). Edited by
Jean-Francois Monnard.
For orchestra. This
edition: wind parts.
Orchester-Bibliothek
(Orchestral Library).
Wind set. 204 pages.
Published by Breitkopf
and Haertel
Composed by Maurice Ravel (1875-1937). Edited by Jean-Francois Monnard. For orch...(+)
Composed by Maurice Ravel
(1875-1937). Edited by
Jean-Francois Monnard.
For orchestra
(contrabass). This
edition: double bass
part.
Orchester-Bibliothek
(Orchestral Library).
Individual part. 12
pages. Published by
Breitkopf and Haertel
Composed by Maurice Ravel (1875-1937). Edited by Jean-Francois Monnard. For orch...(+)
Composed by Maurice Ravel
(1875-1937). Edited by
Jean-Francois Monnard.
For orchestra (violin 2).
This edition: violin 2
part.
Orchester-Bibliothek
(Orchestral Library).
Individual part. 12
pages. Published by
Breitkopf and Haertel
Composed by Maurice Ravel (1875-1937). Edited by Jean-Francois Monnard. For orch...(+)
Composed by Maurice Ravel
(1875-1937). Edited by
Jean-Francois Monnard.
For orchestra (viola).
This edition: viola part.
Orchester-Bibliothek
(Orchestral Library).
Individual part. 12
pages. Published by
Breitkopf and Haertel
Train to Denali Orchestre SATB, Orchestre [Conducteur] Gusthold Music
Orchestra SKU: SU.25100530 For Orchestra. Composed by Eli Evans. O...(+)
Orchestra
SKU:
SU.25100530
For
Orchestra. Composed
by Eli Evans. Orchestra.
Full Score. Gusthold
Music Publisher
#25100530. Published by
Gusthold Music Publisher
(SU.25100530).
Full size score
(11x17)The composer's
answer to Ravel's
Bolero.2,1 222; 4331;
timp, 3perc, hp; stgs
Duration: 8’30
Composed: 2020 Published
by: Gusthold Music
Publisher Performance
materials available on
rental:.
(study score). Composed by Maurice Ravel (1875-1937). Edited by Jean-Francois Mo...(+)
(study score). Composed
by Maurice Ravel
(1875-1937). Edited by
Jean-Francois Monnard.
For orchestra. This
edition: urtext.
Partitur-Bibliothek
(Score Library). Parts.
124 pages. Published by
Breitkopf and Haertel
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
Bach to Rock Orchestre - Intermédiaire Alfred Publishing
Orchestra - Grade 3.5 SKU: AP.49053 Composed by Mark Wood. Performance Mu...(+)
Orchestra - Grade 3.5
SKU: AP.49053
Composed by Mark Wood.
Performance Music
Ensemble; Single Titles;
String Orchestra. Mark
Wood Series. Pop/Rock;
Rock. Score and Part(s).
Duration 3:10. Alfred
Music #00-49053.
Published by Alfred Music
(AP.49053).