Orchestra SKU: PR.41641513L V. From 'Mythology Symphony'. Composed...(+)
Orchestra
SKU:
PR.41641513L
V.
From 'Mythology
Symphony'. Composed
by Stacy Garrop.
Contemporary. Large
Score. With Standard
notation. Composed 2013.
Duration 7 minutes, 20
seconds. Theodore Presser
Company #416-41513L.
Published by Theodore
Presser Company
(PR.41641513L).
UPC:
680160621347.
This
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naive
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new
burden. This movement
is, in turns, both
lighthearted and serious.
The music depicts a
young, naïve Pandora
who, while dancing around
her house, spies a
mysterious box. She tries
to resist opening it, but
her curiosity ultimately
gets the best of her.
When she cracks the lid
open and looks inside,
all evils escape into the
world. Dismayed by what
she has done, she looks
inside the box once more.
She discovers hope still
in the box and releases
it to temper the escaped
evils and assuage
mankind's new burden.
Orchestra SKU: PR.416415130 V. From 'Mythology Symphony'. Composed...(+)
Orchestra
SKU:
PR.416415130
V.
From 'Mythology
Symphony'. Composed
by Stacy Garrop.
Contemporary. Full score.
With Standard notation.
Composed 2013. 27 pages.
Duration 7 minutes, 20
seconds. Theodore Presser
Company #416-41513.
Published by Theodore
Presser Company
(PR.416415130).
UPC:
680160621330.
This
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naive
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new
burden. This movement
is, in turns, both
lighthearted and serious.
The music depicts a
young, naïve Pandora
who, while dancing around
her house, spies a
mysterious box. She tries
to resist opening it, but
her curiosity ultimately
gets the best of her.
When she cracks the lid
open and looks inside,
all evils escape into the
world. Dismayed by what
she has done, she looks
inside the box once more.
She discovers hope still
in the box and releases
it to temper the escaped
evils and assuage
mankind's new burden.
Full orchestra SKU: LO.30-3741MD Composed by Mary McDonald. Arranged by J...(+)
Full orchestra
SKU:
LO.30-3741MD
Composed
by Mary McDonald.
Arranged by Jay Rouse.
Choral, cantatas. Advent,
Christmas, Sacred. Score
and parts, plus CD with
printable parts.
Medallion Music
#30/3741MD. Published by
Medallion Music
(LO.30-3741MD).
UPC:
000308154764.
Score
and Parts plus CD with
Printable Parts for
65/2104MD Mary McDonald
and Jay Rouse combine
their compositional gifts
to bring us this moving
musical for Advent and
Christmas. Beautiful
music from Mary and Jay,
deeply thoughtful
narrations from Rose
Aspinall, and a fabulous
orchestration by Ed Hogan
and Jay highlight the
message at the heart of
Christmas—Godâ€
™s love through Jesus
Christ. You’ll
find a bit of everything
here, including original
songs, familiar carols,
fresh settings of
timeless Christmas
favorites, and ministry
songs that will reach the
heart of every listener.
Songs like Mary’s
Sing Out Our
Savior’s Birth and
Look on Him with Love and
Jay’s A Midwinter
Noel and Love Made a Way
all serve to bring into
focus God’s
undeserved and
unfathomable love through
Jesus Christ. Celebrate
how love made a way for
each of us with this
impactful musical! His
coming means freedom for
the captive, sight for
the blind, good news for
the poor. Jesus is Love
incarnate, and He alone
makes a way home for
fallen man..
Full orchestra SKU: LO.30-3740MD Composed by Mary McDonald. Arranged by J...(+)
Full orchestra
SKU:
LO.30-3740MD
Composed
by Mary McDonald.
Arranged by Jay Rouse.
Choral, cantatas. Advent,
Christmas, Sacred. CD
with printable parts.
Medallion Music
#30/3740MD. Published by
Medallion Music
(LO.30-3740MD).
UPC:
000308154771.
CD
with Printable Parts for
65/2104MD Mary McDonald
and Jay Rouse combine
their compositional gifts
to bring us this moving
musical for Advent and
Christmas. Beautiful
music from Mary and Jay,
deeply thoughtful
narrations from Rose
Aspinall, and a fabulous
orchestration by Ed Hogan
and Jay highlight the
message at the heart of
Christmas—Godâ€
™s love through Jesus
Christ. You’ll
find a bit of everything
here, including original
songs, familiar carols,
fresh settings of
timeless Christmas
favorites, and ministry
songs that will reach the
heart of every listener.
Songs like Mary’s
Sing Out Our
Savior’s Birth and
Look on Him with Love and
Jay’s A Midwinter
Noel and Love Made a Way
all serve to bring into
focus God’s
undeserved and
unfathomable love through
Jesus Christ. Celebrate
how love made a way for
each of us with this
impactful musical! His
coming means freedom for
the captive, sight for
the blind, good news for
the poor. Jesus is Love
incarnate, and He alone
makes a way home for
fallen man..
Orchestra; Score (Study Score) Overture. Composed by Ludwig van Beethoven (1770-...(+)
Orchestra; Score (Study
Score)
Overture. Composed by
Ludwig van Beethoven
(1770-1827). Edited by
Max Unger. Arranged by
Max Unger. This edition:
Saddle stitching. Sheet
music. Eulenburg
Taschenpartituren (Pocket
Scores). Classical. Study
Score. Op. 124. 84 pages.
Eulenburg Edition
#ETP627. Published by
Eulenburg Edition
(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Ar...(+)
(Concerto No. 1 for
Marimba, Strings and
Percussion). Composed by
Gillingham. Arranged by
Nathan Daughtrey. For
Soloist(s) with String
Orchestra (Solo Marimba
Percussion 1 (xylophone,
bells, chimes) Percussion
2 (brake drum, cowbell,
shaker, suspended cymbal,
crash cymbals, temple
blocks, triangle)
Percussion 3 (4 toms,
crash cymbals, bass drum,
suspended cymbal, tam
tam, hi hat) Violin I
Violin II). Medium
difficult. Orchestra
score only. Duration
16:30. Published by C.
Alan Publications
6 soloists, choir and orchestra (Study Score) SKU: HL.49034215 Opera(+)
6 soloists, choir and
orchestra (Study Score)
SKU: HL.49034215
Opera. Composed by
Wolfgang Amadeus Mozart.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Study Score.
Composed 1789-1790. 444
pages. Eulenburg Edition
#ETP 920. Published by
Eulenburg Edition
(HL.49034215).
ISBN
9783795771225. UPC:
841886011366.
5.5x7.5x1.005 inches.
German -
Italian.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
Orchestra (STUDY SCORE) SKU: HL.49045859 Version for Large Orchestra(+)
Orchestra (STUDY SCORE)
SKU: HL.49045859
Version for Large
Orchestra. Composed
by Paul Hindemith. Edited
by Luitgard Schader. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. 164 pages.
Eulenburg Edition
#ETP8107. Published by
Eulenburg Edition
(HL.49045859).
ISBN
9783795711535. UPC:
888680784324.
7.5x10.5x0.419
inches.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.