Occasional Overture by Benjamin Britten (1913-1976). Orchestra. Full Orchestra; ...(+)
Occasional Overture by
Benjamin Britten
(1913-1976). Orchestra.
Full Orchestra;
Masterworks; Score. Faber
Edition. Form: Overture.
20th Century; Masterwork.
42 pages. Published by
Faber Music (
Overture - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Ralf Wehner. Orchestra.
Orchester-Bibliothek
(Orchestral Library). Set
of parts. 72 pages.
Duration 8'. Breitkopf
and Haertel #OB 5624-30.
Published by Breitkopf
and Haertel
(BR.OB-5624-30).
ISBN
9790004348710. 10 x 12.5
inches.
The
Overture to Ruy Blas,
Felix Mendelssohn
Bartholdy's last
overture, was not
composed as an
autonomously conceived
score, but as the opening
piece of a stage work.
Nevertheless, its
immediate success at the
Leipzig first performance
in 1839, as well as the
fact that no further
contributions to Victor
Hugo's drama followed
from Mendelssohn's pen
soon made it well known
in the concert hall. The
work's special history,
including several
arrangements occasioned
by various performances,
led to the fact that the
overture had its largest
circulation in the
version of the posthumous
first edition on which
this edition is also
based.
Overture - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Ralf Wehner. Orchestra.
Orchester-Bibliothek
(Orchestral Library).
Part. 8 pages. Duration
8'. Breitkopf and Haertel
#OB 5624-16. Published by
Breitkopf and Haertel
(BR.OB-5624-16).
ISBN
9790004348673. 10 x 12.5
inches.
The
Overture to Ruy Blas,
Felix Mendelssohn
Bartholdy's last
overture, was not
composed as an
autonomously conceived
score, but as the opening
piece of a stage work.
Nevertheless, its
immediate success at the
Leipzig first performance
in 1839, as well as the
fact that no further
contributions to Victor
Hugo's drama followed
from Mendelssohn's pen
soon made it well known
in the concert hall. The
work's special history,
including several
arrangements occasioned
by various performances,
led to the fact that the
overture had its largest
circulation in the
version of the posthumous
first edition on which
this edition is also
based.
Overture - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Ralf Wehner. Orchestra.
Orchester-Bibliothek
(Orchestral Library).
Part. 8 pages. Duration
8'. Breitkopf and Haertel
#OB 5624-15. Published by
Breitkopf and Haertel
(BR.OB-5624-15).
ISBN
9790004348666. 10 x 12.5
inches.
The
Overture to Ruy Blas,
Felix Mendelssohn
Bartholdy's last
overture, was not
composed as an
autonomously conceived
score, but as the opening
piece of a stage work.
Nevertheless, its
immediate success at the
Leipzig first performance
in 1839, as well as the
fact that no further
contributions to Victor
Hugo's drama followed
from Mendelssohn's pen
soon made it well known
in the concert hall. The
work's special history,
including several
arrangements occasioned
by various performances,
led to the fact that the
overture had its largest
circulation in the
version of the posthumous
first edition on which
this edition is also
based.
Overture - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Ralf Wehner. Orchestra.
Orchester-Bibliothek
(Orchestral Library).
Part. 8 pages. Duration
8'. Breitkopf and Haertel
#OB 5624-23. Published by
Breitkopf and Haertel
(BR.OB-5624-23).
ISBN
9790004348697. 10 x 12.5
inches.
The
Overture to Ruy Blas,
Felix Mendelssohn
Bartholdy's last
overture, was not
composed as an
autonomously conceived
score, but as the opening
piece of a stage work.
Nevertheless, its
immediate success at the
Leipzig first performance
in 1839, as well as the
fact that no further
contributions to Victor
Hugo's drama followed
from Mendelssohn's pen
soon made it well known
in the concert hall. The
work's special history,
including several
arrangements occasioned
by various performances,
led to the fact that the
overture had its largest
circulation in the
version of the posthumous
first edition on which
this edition is also
based.
Overture - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Ralf Wehner. Orchestra.
Orchester-Bibliothek
(Orchestral Library).
Part. 8 pages. Duration
8'. Breitkopf and Haertel
#OB 5624-27. Published by
Breitkopf and Haertel
(BR.OB-5624-27).
ISBN
9790004348703. 10 x 12.5
inches.
The
Overture to Ruy Blas,
Felix Mendelssohn
Bartholdy's last
overture, was not
composed as an
autonomously conceived
score, but as the opening
piece of a stage work.
Nevertheless, its
immediate success at the
Leipzig first performance
in 1839, as well as the
fact that no further
contributions to Victor
Hugo's drama followed
from Mendelssohn's pen
soon made it well known
in the concert hall. The
work's special history,
including several
arrangements occasioned
by various performances,
led to the fact that the
overture had its largest
circulation in the
version of the posthumous
first edition on which
this edition is also
based.
Overture - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Ralf Wehner. Orchestra.
Orchester-Bibliothek
(Orchestral Library).
Part. 8 pages. Duration
8'. Breitkopf and Haertel
#OB 5624-19. Published by
Breitkopf and Haertel
(BR.OB-5624-19).
ISBN
9790004348680. 10 x 12.5
inches.
The
Overture to Ruy Blas,
Felix Mendelssohn
Bartholdy's last
overture, was not
composed as an
autonomously conceived
score, but as the opening
piece of a stage work.
Nevertheless, its
immediate success at the
Leipzig first performance
in 1839, as well as the
fact that no further
contributions to Victor
Hugo's drama followed
from Mendelssohn's pen
soon made it well known
in the concert hall. The
work's special history,
including several
arrangements occasioned
by various performances,
led to the fact that the
overture had its largest
circulation in the
version of the posthumous
first edition on which
this edition is also
based.
Orchestra Orchestra
(2.2.2.2. - 4.2.3.0. -
timp - str)
SKU:
BR.PB-5624
Overture - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Orchestra.
Partitur-Bibliothek
(Score Library). Full
score. 60 pages. Duration
8'. Breitkopf and Haertel
#PB 5624. Published by
Breitkopf and Haertel
(BR.PB-5624).
ISBN
9790004215210. 10 x 12.5
inches.
The
Overture to Ruy Blas,
Felix Mendelssohn
Bartholdy's last
overture, was not
composed as an
autonomously conceived
score, but as the opening
piece of a stage work.
Nevertheless, its
immediate success at the
Leipzig first performance
in 1839, as well as the
fact that no further
contributions to Victor
Hugo's drama followed
from Mendelssohn's pen
soon made it well known
in the concert hall. The
work's special history,
including several
arrangements occasioned
by various performances,
led to the fact that the
overture had its largest
circulation in the
version of the posthumous
first edition on which
this edition is also
based.
Orchestra SKU: HL.14020988 Composed by Sir Peter Maxwell Davies. Music Sa...(+)
Orchestra
SKU:
HL.14020988
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Score. Composed
2005. 62 pages. Chester
Music #CH69036. Published
by Chester Music
(HL.14020988).
ISBN
9781846090059. UPC:
884088435233.
5.5x7.5x0.303
inches.
Spinning
Jenny is a portrait of
Leigh, Lancashire circa
1948 and one of a series
of occasional pieces
inspired by Davies' youth
in Salford. Spinning
Jenny Street was a noisy,
hazardous street,
clangerous with industry
and activity when davies
was at Grammar school in
1945. A modest work, but
one which reflects many
aspects of the place,
period and people it was
inspired by. Commissioned
by the BBC, it was first
performed on 21st July
199 as part of the BBC
promenade concert at the
Royal Albert Hall by the
BBC Philharmonic
conducted by Davies
himself. This is the
miniature format of the
full orchestral
score..
(Death
& Transfiguration)
Clothbound Score,
Complete Edition in
G. Edition Schott.
Classical. Hardcover.
Duration 1440 seconds.
Schott Music #RSW306.
Published by Schott Music
(HL.49047172).
UPC:
196288143406.
When
the 24-year-old Richard
Strauss, assistant
conductor in Munich,
began the composition of
his third tone poem in
the summer of 1888, he
saw himself close to the
aspiration prescribed by
his mentor Alexander
Ritter: to become the
successor of Richard
Wagner as a musical
dramatist. Strauss had
already been working on
the text of his first
opera Guntram for a year
and additionally devoted
himself to programmatic
orchestral works oriented
to the musical language
of Liszt and Wagner in
order to prepare himself
compositionally for his
new task. With the aid of
Strauss and other
musicians including
Ludwig Thuille and
Friedrich Rösch who
had been gathering for
“Ritter's round
table†in Munich
between 1886 and 1889,
RitterÂ’s intention
was to achieve success on
a broad front with the
New German School
following the death of
its two protagonists
Wagner and Liszt. We do
not know whether Ritter
and his supporters
jointly planned Strauss's
compositional path
towards opera, determined
the subjectsof his
prospective tone poems
and considered various
strategies of their
musical realization, but
the influence of this
group shouldnot be
underestimated. It cannot
be ruled out that the
number of three tone
poems was fixed, as was
their sequence of
composition, which would
progressively achieve its
zenith in an increasing
orientation to Liszt and
Wagner. The circle could
possibly have also
discussed initial links
to literary subjects
(Macbeth and Don Juan)
and ultimately the
abstention from this
practice in the third and
final tone poem. The
subject of the work, or
rather in StraussÂ’s
formulation its
“poetic
modelâ€, has
occasionally been
interpreted from an
autobiographical aspect.
Strauss however did not
experience serious
illness until May 1891
and once more in June
1892, long after Tod und
Verklärung had been
composed. Even without an
external reason, the
material would have been
only too attractive for
an admirer of Wagner and
Liszt like Strauss, not
to mention for his mentor
Alexander Ritter. The
concept of 'death and
transfiguration' had
already played a central
role in LisztÂ’s
symphonic poems Tasso and
Prometheus.
Concert Overture No. 1
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Hans Christian
Schmidt. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Christian Martin Schmidt
is laying bare to musical
practice the original
form of Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time. Overture;
Romantic. Full score. 72
pages. Duration 12'.
Breitkopf and Haertel #PB
5364. Published by
Breitkopf and Haertel
(BR.PB-5364).
ISBN
9790004211458. 10 x 12.5
inches.
Autograph
lays bare Mendelssohn's
Overture to A Midsummer
Night's Dream To this
day, Mendelssohns
epoch-making Overture to
A Midsummer Night's Dream
has been performed on the
basis of a more than
dubious transmission.
Neither the first edition
of the parts (1832), and
certainly not the print
of the score based on
these parts (1835) go
back directly to the
autograph of the
17-year-old composer,
which is now located in
Krakow. No wonder, since
Mendelssohn had breezily
given away his original
at an early date. The
result: during his
lifetime, versions were
published with his
authorization, even
though they were full of
unintended
inconsistencies. Yet the
autograph of 1826 is
unequivocal: it is clear,
practically free of
irregularities and
diverges considerably
from the corrupted
printed version.
Christian Martin Schmidt
comes up with
occasionally differing
musical passages, but
above all with logical
and compositionally
compelling performance
instructions, laying bare
to musical practice the
original form buried
beneath layers of
falsified material for
the first
time.
Christian
Martin Schmidt is laying
bare to musical practice
the original form of
Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time.
Orchestra - Grade 3 SKU: AP.41264 Composed by George Frideric Handel. Arr...(+)
Orchestra - Grade 3
SKU: AP.41264
Composed by George
Frideric Handel. Arranged
by Robert Sieving.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Baroque;
Masterwork Arrangement.
Score and Part(s). 124
pages. Duration 4:30.
Highland/Etling
#00-41264. Published by
Highland/Etling
(AP.41264).
UPC:
038081480770.
English.
This trio
shines as transcribed for
string orchestra and
makes possible the
inclusion of a viola
part, both as an equal
player in the primary
melodic material and in
fulfilling harmonic
realizations. All parts
are playable in first
position with the
exception of fourth
position required
occasionally for cellos.
Opportunities abound for
students to polish
Baroque bowing
techniques. (4:30) This
title is available in
MakeMusic Cloud.
Orchestra SKU: SU.32040140 For Orchestra. Composed by Amy Riebs Mi...(+)
Orchestra
SKU:
SU.32040140
For
Orchestra. Composed
by Amy Riebs Mills.
Orchestra. Full Score.
Subito Music Corporation
#32040140. Published by
Subito Music Corporation
(SU.32040140).
2222; 4331;
timp, 2 perc, pno; stgs
Duration: 13'30 Composed:
2016 Published by: Amy
Mills Music, LLC Like a
modern Pictures at an
Exhibition…. Ha
Shamayim is an original
piece for orchestra that
was inspired by
photographs taken by the
Hubble space telescope.
Each section is inspired
by one photo; the title
of each section is the
title that NASA gave to
the photograph. The words
Ha Shamayim are Hebrew
for The Heavens. They are
written in Genesis 1:1,
In the beginning God
created the heavens and
the earth. The words are
also seen in Psalm 19.
Section I: Warped Edge-On
Galaxy ESO 510-G13
The piece begins in outer
space with its glistening
stars. Glissandi are used
to depict the strange but
beautiful warp seen in
the photograph. Section
II: Galaxy Fires at
Neighboring Galaxy
Suddenly the piece erupts
as one galaxy fires blue
gas at its neighbor. They
engage in a cosmic
battle. Section III:
Youthful-looking Galaxy
May Be an Adult The
adolescent galaxy is
personified by a
humorous, gawky melody
reminiscent of teenage
boys who walk on feet
that are still too big.
Occasionally there is an
argument with an
authority figure, but the
joy of exploring the
universe quickly returns.
Section IV: Star Birth in
Galaxy M83 The
dramatic photograph looks
like a womb with veins.
The music begins on one
note, then it begins to
explore the initial
swelling and stretching.
It morphs into an
energetic fast theme,
still growing. Ultimately
it becomes glorious and
expansive, like the new
star. Section V: String
of ‘Cosmic
Pearls’ Surrounds
an Exploding Star The
first theme is a happy
circle dance inspired by
the circle of white dots
in the photograph. The
second theme is noble and
joyful. It is reminiscent
of the melody in the
famous chorus in
Haydn’s The
Creation with the words
from Psalm 19, The
heavens are telling the
glory of God. The music
then has flashbacks to
the earlier sections, and
ends in triumph. The five
sections in Ha Shamayim
are continuous with no
breaks. Difficulty Level:
5 (Advanced/Professional)
See composer website for
audio sample. Performance
materials available on
rental only:.
Baritone Solo, 8-Part
Chorus and Orchestra
Study Score. Composed
by Johannes Brahms.
Edited by Johannes Behr
and Ulrich Tadday. Henle
Study Scores. Classical.
Softcover. G. Henle
#HN9030. Published by G.
Henle (HL.51489030).
UPC: 196288093763.
6.75x9.5x0.505
inches.
Brahms
composed his Triumphlied
for eight-part chorus,
solo baritone and
orchestra as a direct
reaction to the victory
of the German army in the
Franco-Prussian War of
1870/71 and the
consequent founding of
the German Empire.
Similar to the German
Requiem completed shortly
before, Brahms himself
compiled the text from
the Bible, in this case
from Chapter 19 of the
Book of Revelations.
Because of the somewhat
melodramatic tone of the
composition and the
nationalistic background
to the works genesis, in
recent years the
Triumphlied has seldom
been heard in concert
halls. Unlike
overly-patriotic
occasional works such as
Richard Wagner's
Kaisermarsch, the
Triumphlied is true
Brahms and is a musically
rich composition. This
study edition takes the
musical text from the
Brahms Complete Edition
(HL 51486030), thereby
representing the highest
scholarly precision. The
Appendix contains an
exciting new discovery, a
previously-unknown early
version of the 1st
movement in C major,
which was only
rediscovered in 2012 in
Bremen.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Canon Noel Orchestre [Conducteur et Parties séparées] Carl Fischer
Composed by Traditional. Arranged by Deborah Baker Monday. Set of Score and P...(+)
Composed by Traditional.
Arranged by Deborah Baker
Monday. Set of Score and
Parts. 8 8 2 5 5 5 8
pages.
Duration 2:30. Carl
Fischer
Music #YAS218. Published
by
Carl Fischer Music
Orchestra - Grade 3 SKU: AP.41264S Composed by George Frideric Handel. Ar...(+)
Orchestra - Grade 3
SKU: AP.41264S
Composed by George
Frideric Handel. Arranged
by Robert Sieving.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Baroque;
Masterwork Arrangement.
Score. 124 pages.
Duration 4:30.
Highland/Etling
#00-41264S. Published by
Highland/Etling
(AP.41264S).
UPC:
038081480787.
English.
This trio
shines as transcribed for
string orchestra and
makes possible the
inclusion of a viola
part, both as an equal
player in the primary
melodic material and in
fulfilling harmonic
realizations. All parts
are playable in first
position with the
exception of fourth
position required
occasionally for cellos.
Opportunities abound for
students to polish
Baroque bowing
techniques. (4:30) This
title is available in
MakeMusic Cloud.
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra
SKU:
HL.14027993
Composed
by Poul Ruders. Music
Sales America. Classical.
Score. Composed 2006. 164
pages. Edition Wilhelm
Hansen #WH30602.
Published by Edition
Wilhelm Hansen
(HL.14027993).
ISBN
9788759811832.
English.
Premiered
at the festival 'Magma
Berlin 2002' by the
Berlin Philharmonic
Orchestra, conducted by
David Robertson, 29th
November 2002.
3
Flutes, 1st and 2nd also
Alto Flutes in G, 3rd
also Piccolo 3 Oboes,
3rd also Cor Anglais in
F 3 Clarinets in Bb,
3rd also Bass Clarinet in
Bb 3 Bassoons, 3rd
also Contra
Bassoon
4 Horn in
F 3 Trumpets in
Bb 3 Trombones 1
Tuba
Timpani 4 Percussion, four
players Player
1 - Vibraphone,
Glockenspiel, Water
Chime, Bell Tree,
Japanese Wood Blocks,
Cymbal (Suspended),
TamTam (Medium) Player
2 - Triangle, Tubular
Bells, Crotales, Marimba,
Chinese Cymbal Player
3 - TamTam (Large), Java
Gong(Large, very low),
Bell Lyra (Handheld),
Sizzle Cymbal Player 4
- Bass Drum,
Glockenspiel,
Xylophone
1
Harp
1 Piano, also
Celesta
Strings -
16/14/12/10/8
All
transposing instruments
are notated in their
relevant
transpositions. Any
accidental apply only to
the note that it
immediately precedes,
except tied
notes. Naturals appear
occasionally 'for
safety'.
'LIST
ENING EARTH' is a
symphonic drama, a one-
movement composition in
four parts based on the
work by two writers,
Joseph Addison
(1672-1719) and W.H.Auden
(1907-1973). Joseph
Addison is not
particularly well known;
he was English, a
classical scholar,
essayist, poet and
politician, but one of
his hymns was used by
Benjamin Britten. in his
setting of a Thomas
Tallis canon. The hymn
is singularly beautiful
and being a composer
always inspired by
extramusical stimuli such
as poems, nature,
paintings, I was
immediately convinced
when I carne across the
Addison hymn, that here
was exactly what I wanted
to use as my major source
of inspiration for this
piece, commissioned by
and written for The
Berlin Philharmonic.
I don't refer to the
hymn in its entirety, but
have chosen the following
3 excerpts, all acting as
mottos for the first
three sections of the
piece, thus turning the
piece into a
straightforward tonepoem
in the classical.