Orchestra (Orchestra) SKU: HL.49041179 Composed by Simone. Sheet music. O...(+)
Orchestra (Orchestra)
SKU: HL.49041179
Composed by Simone. Sheet
music. Odeon. Piano
Direction and Parts.
Duration 2' 30''. Schott
Music #OD 50009-40.
Published by Schott Music
(HL.49041179).
Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen; Chri...(+)
Composed by Franz Joseph
Haydn (1732-1809). Edited
by Andreas Friesenhagen;
Christin Heitmann. This
edition: urtext edition.
Stapled. Score. Hob.
I:26. Duration 17
minutes. Published by
Baerenreiter Verlag
(BA.BA10975).
Orchestra - advanced SKU: HL.49027996 Score. Composed by Paul Hind...(+)
Orchestra - advanced
SKU: HL.49027996
Score. Composed by
Paul Hindemith. This
edition: Saddle
stitching. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Score. Composed 1932. 40
pages. Duration 16'.
Schott Music #CON 78.
Published by Schott Music
(HL.49027996).
ISBN
9790001022491.
The
suite from the cycle
'Ploner Musiktag' (1932)
was structured according
to the exact
instrumentation
directions of the
composer and completed
with a percussion part ad
lib. Particular
attraction is caused by
the different
instrumentation of the
four movements which,
how-ever, takes into
consideration the
conditions of school
practice.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra (Orchestra) SKU: HL.14019146 Composed by Magnus Lindberg. Music...(+)
Orchestra (Orchestra)
SKU: HL.14019146
Composed by Magnus
Lindberg. Music Sales
America. Classical.
Score. 170 pages. Music
Sales #KP00137. Published
by Music Sales
(HL.14019146).
ISBN
9788759855775.
12.0x16.5x0.525 inches.
English.
The
harmonic model for this
piece is based on a
subdivision of pitches in
primary and secondary
notes, in principle any
chord can be viewed from
it's structural qualities
including interval
content and symmetry, but
it might also be
conceived from a more
acoustical point of view.
The parallel basis for
this work is a sequence
of 12-tone chords
repeated as a chaconne,
every chord has it's
Alter-Ego, an overtone
series the fundamentals
of which together form a
bass line. By
articulating the cycle
differently, with always
varied diagonal paths
between two layers
Lindberg has aimed to
give the music some
direction despite it's
vague repetitive
structure. Work for
Orchestra premiered at
the Queen Elizabeth Hall,
London, by the London
Sinfonietta under the
direction of Esa-Pekka
Salonen, April 1990.
Orchestra SKU: HL.14042598 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra
SKU:
HL.14042598
Composed
by Poul Ruders. Music
Sales America. Classical.
Softcover. Composed 2013.
Edition Wilhelm Hansen
#WH31776. Published by
Edition Wilhelm Hansen
(HL.14042598).
ISBN
9788759827482.
Prog
ramme Note Poul Ruders
WIND-DRUMMING
WIND-DRUMMING was written
in 1979 on a commission
from The Danish
Percussion Ensemble. The
piece is a clash of two
kinds of
sound-associations, the
mystic, exotic impact of
Latin-American drumming,
and the more well dressed
reputation of Western
concert-instruments, in
this case a wind-quintet
(w. electric flute). The
two instrumental camps
either melt into one soft
humming ritual or are
split wide apart, the
winds tearing their way
through the undergrowth
of rainforest-drumming.
There is more than one
way of getting on to
WIND-DRUMMING: obviously
it is about the
confrontation of two
incongruent ways of
living, a lament on the
damage done tothe
tropical rainforests of
the world by modern
civilisation. One can
hear it plainly as a
direct rhythm-show, a
downright number or a
joyous homage to the most
exiting kind of
folkloristic music at
all: the carnal spell of
the Brazilian Samba. Poul
Ruders.
Full Orchestra SKU: ST.MB92 Composed by George Butterworth. Edited by Pet...(+)
Full Orchestra
SKU:
ST.MB92
Composed by
George Butterworth.
Edited by Peter Ward
Jones. Library Volumes.
Edited by Peter Ward
Jones. First published in
2012.. Pages: 200.
Format: Hardback.
Dimensions (mm): 330 x
254 x 24. Full score.
Stainer & Bell Ltd.
#MB92. Published by
Stainer & Bell Ltd.
(ST.MB92).
ISBN
9790220223259.
In
his brief career George
Butterworth (1885-1916)
composed only a small
quantity of orchestral
works, but what he wrote
has never subsequently
been absent from the
repertoire. The two
English Idylls, the
Rhapsody 'A
Shropshire Lad' and
the idyll The Banks
of Green Willow are,
with the music of his
friend Ralph Vaughan
Williams and of Gustav
Holst, among the most
exquisite statements of
the English folk-song
idiom. This complete and
authoritative collection
includes an earlier
version of The Banks
of Green Willow, and
a fragment of an
Orchestral
Fantasia. Work in
progress in 1914 when
Butterworth enlisted to
serve in the Great War,
it suggests the composer
setting out in a bolder
direction, perhaps
inspired by the example
of Vaughan Williams's
A London
Symphony.
Orchestra (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str) ...(+)
Orchestra
(3(3.picc).2.cor
ang.2.2.dble bsn -
4.3.3.1 - timp - perc -
hp - str)
SKU:
BR.PB-5709
Tone
Poem for Large Orchestra
after N. Lenau -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Early
modern. Full score. 120
pages. Duration 19'.
Breitkopf and Haertel #PB
5709. Published by
Breitkopf and Haertel
(BR.PB-5709).
ISBN
9790004216460. 10 x 12.5
inches.
Strauss
third tone poem Don Juan
was composed in spring
1888. This work is
already an impressive
demonstration of the
composer's newly acquired
confidence in mastering
the orchestral apparatus.
Already completed in the
fall, it took over a year
until its premiere in
Weimar on November 11,
1889. Breitkopf &
Hartel's new Urtext
edition assesses not only
the autograph and the
first edition, but also
for the first time the
parts used under the
composer's direction,
resulting in some
surprisingly new
readings. An extensive
preface, facsimile pages,
and a detailed critical
report round off this
authoritative Urtext
edition.
First
Urtext edition since the
first edition. Evaluation
of all available sources,
including some orchestral
parts used by Strauss. A
detailed critical report.
Complete orchestral
material available for
purchase.
Orchestra SKU: BT.MUSM570366699 Composed by Ed Hughes. Score Only. 62 pag...(+)
Orchestra
SKU:
BT.MUSM570366699
Composed by Ed Hughes.
Score Only. 62 pages.
University of York Music
Press #MUSM570366699.
Published by University
of York Music Press
(BT.MUSM570366699).
English.
Le
Voyage Dans La Lune is a
continuous orchestral
score of approximately 14
minutes comprising two
outer fast sections and a
slower inner section of a
dream-like character. The
work is directly inspired
by the film Le Voyage
Dans La Lune (1902),
written and directed by
the pioneering French
film-maker, Georges
Méliès. Méliès was
influenced by 19th
century interests in
science and discoveries,
as well as the science
fiction of Jules Verne.
At the same time his work
seems fantastic, surreal
and satirical. Some
critics point out an
underlying critique of
colonial adventuring. The
plot centres on a group
of astronomers who decide
to launch a rocket to the
moon containing a handful
of their number. They
reach the moon (famously
landing on the moon’s
face) and then encounter
a strange race of aliens,
whom they battle and
destroy. The return to
earth involves a dramatic
descent, a plunge into
the ocean and then
celebratory dancing. The
film inhabits a surreal
and dream-like space, and
uses an idiosyncratic
visual language which
transforms reality. This
inspired an active
musical response in my
own score, which is by
turns abrupt, smooth,
lyrical and violent, and
expresses something of
the strange shifting
surfaces and multiple and
layered tempos evident in
the film. The canons in
the horns in the first
scene reflect the intense
arguments of the
astronomers as they
consider the project. The
slower inner section is
inspired by the scenes of
the industrial City
viewed from its rooftops
by the astronomers. It
also expresses the wonder
of the astronomers as
they see the earth rise
from the perspective of
the moon after their
arrival there. The music
of the final section is
in places conflicted,
reflecting the violent
encounters with the
moon’s inhabitants. It
moves into a more
harmonious phase at the
close to match the
celebrations upon the
astronomers’ return
from their adventuring.
The music could be
considered to be a
surreal mini-opera
without voices, voicing
instead the characters of
the silent screen. - Ed
Hughes.
Orchestra SKU: BT.MUSM570366712 Composed by Ed Hughes. Classical. Study S...(+)
Orchestra
SKU:
BT.MUSM570366712
Composed by Ed Hughes.
Classical. Study Score.
62 pages. University of
York Music Press
#MUSM570366712. Published
by University of York
Music Press
(BT.MUSM570366712).
English.
Le
Voyage Dans La Lune is a
continuous orchestral
score of approximately 14
minutes comprising two
outer fast sections and a
slower inner section of a
dream-like character. The
work is directly inspired
by the film Le Voyage
Dans La Lune (1902),
written and directed by
the pioneering French
film-maker, Georges
Méliès. Méliès was
influenced by 19th
century interests in
science and discoveries,
as well as the science
fiction of Jules Verne.
At the same time his work
seems fantastic, surreal
and satirical. Some
critics point out an
underlying critique of
colonial adventuring. The
plot centres on a group
of astronomers who decide
to launch a rocket to the
moon containing a handful
of their number. They
reach the moon (famously
landing on the moon’s
face) and then encounter
a strange race of aliens,
whom they battle and
destroy. The return to
earth involves a dramatic
descent, a plunge into
the ocean and then
celebratory dancing. The
film inhabits a surreal
and dream-like space, and
uses an idiosyncratic
visual language which
transforms reality. This
inspired an active
musical response in my
own score, which is by
turns abrupt, smooth,
lyrical and violent, and
expresses something of
the strange shifting
surfaces and multiple and
layered tempos evident in
the film. The canons in
the horns in the first
scene reflect the intense
arguments of the
astronomers as they
consider the project. The
slower inner section is
inspired by the scenes of
the industrial City
viewed from its rooftops
by the astronomers. It
also expresses the wonder
of the astronomers as
they see the earth rise
from the perspective of
the moon after their
arrival there. The music
of the final section is
in places conflicted,
reflecting the violent
encounters with the
moon’s inhabitants. It
moves into a more
harmonious phase at the
close to match the
celebrations upon the
astronomers’ return
from their adventuring.
The music could be
considered to be a
surreal mini-opera
without voices, voicing
instead the characters of
the silent screen. - Ed
Hughes.
Irish Suite Orchestre [Conducteur et Parties séparées] Alfred Publishing
Composed by Leroy Anderson (1908-1975). Orchestra. Full Orchestra; Part(s); Scor...(+)
Composed by Leroy
Anderson (1908-1975).
Orchestra. Full
Orchestra; Part(s);
Score. Professional
Orchestra Series. Form:
Suite. Folk. 6 . 622
pages. Published by
Alfred Music
Irish Suite Orchestre [Conducteur et Parties séparées] Alfred Publishing
Composed by Leroy Anderson (1908-1975). Orchestra. Full Orchestra; Score. Profes...(+)
Composed by Leroy
Anderson (1908-1975).
Orchestra. Full
Orchestra; Score.
Professional Orchestra
Series. Form: Suite.
Folk. 6 . 104 pages.
Published by Alfred Music
(A Practical Application of Rudolf von Laban's Movement Language). By James Jord...(+)
(A Practical Application
of Rudolf von Laban's
Movement Language). By
James Jordan with Meade
Andrews and Giselle
Wyers. Book and DVD. 362
pages. Published by GIA
Publications
Orchestra 2.2.2.2: 4.2.1(opt.).0: Timp: Str (9-8-7-6-5 in set): Solo Violin in s...(+)
Orchestra 2.2.2.2:
4.2.1(opt.).0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin in set
SKU:
AP.36-A219648
Composed by Peter Ilyich
Tchaikovsky. Full
Orchestra. Kalmus
Orchestra Library.
Part(s). LudwigMasters
Publications #36-A219648.
Published by
LudwigMasters
Publications
(AP.36-A219648).
ISBN
9798892705615. UPC:
659359971167.
English.
Peter
Ilyitch Tchaikovsky
(1840-1893) originally
dedicated his CONCERTO
FOR VIOLIN in D, Op. 35,
to Leopold Auer. The
Hungarian violinist
concluded that it was too
difficult. The concerto
finally premiered on
December 4, 1881, Adolph
Brodsky performing the
solo part with the Vienna
Philharmonic under the
direction of Hans
Richter. Influential 18th
century music critic
Eduard Hanslick's
complaint about the
length of the concerto
gradually succumbed to
its growing reputation as
a challenging yet
irresistibly melodic
touchstone for aspiring
violinists all over the
world. Instrumentation:
2.2.2.2: 4.2.1(opt.).0:
Timp: Str (9-8-7-6-5 in
set): Solo Violin in set.
Reprint edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra 2.2.2.2: 4.2.1(opt.).0: Timp: Str (9-8-7-6-5 in set): Solo Violin in s...(+)
Orchestra 2.2.2.2:
4.2.1(opt.).0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin in set
SKU:
AP.36-A219601
Composed by Peter Ilyich
Tchaikovsky. Full
Orchestra. Kalmus
Orchestra Library. Score.
LudwigMasters
Publications #36-A219601.
Published by
LudwigMasters
Publications
(AP.36-A219601).
ISBN
9798892705592. UPC:
659359959363.
English.
Peter
Ilyitch Tchaikovsky
(1840-1893) originally
dedicated his CONCERTO
FOR VIOLIN in D, Op. 35,
to Leopold Auer. The
Hungarian violinist
concluded that it was too
difficult. The concerto
finally premiered on
December 4, 1881, Adolph
Brodsky performing the
solo part with the Vienna
Philharmonic under the
direction of Hans
Richter. Influential 18th
century music critic
Eduard Hanslick's
complaint about the
length of the concerto
gradually succumbed to
its growing reputation as
a challenging yet
irresistibly melodic
touchstone for aspiring
violinists all over the
world. Instrumentation:
2.2.2.2: 4.2.1(opt.).0:
Timp: Str (9-8-7-6-5 in
set): Solo Violin in set.
Reprint edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra (Orchestra) SKU: HL.49041075 Nach Motiven des Walzers Wo die...(+)
Orchestra (Orchestra)
SKU: HL.49041075
Nach Motiven des
Walzers Wo die Zitronen
bluh'n. Composed by
Johann Strauss Jr.
Arranged by Bruno
Hartmann. Sheet music.
Odeon. Piano Direction
and Parts. Duration 2'
30''. Schott Music #OD
1605-40. Published by
Schott Music
(HL.49041075).
Orchestra 2.2.2.2: 4.2.1(opt.).0: Timp: Str (9-8-7-6-5 in set): Solo Violin in s...(+)
Orchestra 2.2.2.2:
4.2.1(opt.).0: Timp: Str
(9-8-7-6-5 in set): Solo
Violin in set
SKU:
AP.36-A219602
Composed by Peter Ilyich
Tchaikovsky. Full
Orchestra. Kalmus
Orchestra Library. Score
and Part(s).
LudwigMasters
Publications #36-A219602.
Published by
LudwigMasters
Publications
(AP.36-A219602).
UPC:
659359970481.
English.
Peter
Ilyitch Tchaikovsky
(1840-1893) originally
dedicated his CONCERTO
FOR VIOLIN in D, Op. 35,
to Leopold Auer. The
Hungarian violinist
concluded that it was too
difficult. The concerto
finally premiered on
December 4, 1881, Adolph
Brodsky performing the
solo part with the Vienna
Philharmonic under the
direction of Hans
Richter. Influential 18th
century music critic
Eduard Hanslick's
complaint about the
length of the concerto
gradually succumbed to
its growing reputation as
a challenging yet
irresistibly melodic
touchstone for aspiring
violinists all over the
world. Instrumentation:
2.2.2.2: 4.2.1(opt.).0:
Timp: Str (9-8-7-6-5 in
set): Solo Violin in set.
Reprint edition. 11x14
oversized full score.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
By Per Norgard. For Orchestra (Score). Music Sales America. 20th Century. 132 pa...(+)
By Per Norgard. For
Orchestra (Score). Music
Sales America. 20th
Century. 132 pages.
Edition Wilhelm Hansen
#WH29399. Published by
Edition Wilhelm Hansen
(Full Score Critical Edition). Composed by Cole Porter. Orchestra. For Voice. Th...(+)
(Full Score Critical
Edition). Composed by
Cole Porter. Orchestra.
For Voice. This edition:
Full Orchestral Score
(Case Bound). Full
Orchestra (Full Score);
Score. Broadway. 754
pages. Published by
Alfred Music
(Violoncello/Double Bass Part Edited By Donald Burrows). By George Frideric Hand...(+)
(Violoncello/Double Bass
Part Edited By Donald
Burrows). By George
Frideric Handel
(1685-1759). Edited by
Donald Burrows. For
Orchestra. Music Sales
America. Softcover. 148
pages. Novello and Co
Ltd. #NOV09092605.
Published by Novello and
Co Ltd. (HL.14041819