Score-Although in its own way an example of 'continuous' music Shaker Loops dif...(+)
Score-Although in its own way an example of 'continuous' music Shaker Loops differs from most other works of its kind because it sees so much change within a relatively short amount of time. Also it avoids the formal and temporalpurity of much 'minimal' music by not adhering to a single unbending tempo throughout allowing for a freer movement from one level of energy to another.The 'loops' are melodic material assigned to the seven instruments each of a different length and which when heard together result in a constantly shifting play amongst the parts. The four sections although they meld together evenly are really quite distinct each being characterised by aparticular style of string playing. The outside movements are devoted to 'shaking' - fast tightly rhythmicised motion of the bow across the strings. The 'slews' of Part 2 are slow languid glissandi heard floating within analmost motionless pool of stationary sound whereas Part 3 is essentially melodic with cellos playing long lyrical lines (also loops) against a background of muted violins.
Although Bertold Hummel composed this Scherzo for bassoon and chamber orchestra ...(+)
Although Bertold Hummel composed this Scherzo for bassoon and chamber orchestra more than fifty years ago the piece still captivates every listener with its youthful carefree liveliness. Virtuoso and witty it does justice to its title in every respect. It was created in 1957 upon commission of the Kleines Unterhaltungsorchester Südwestfunk Baden-Baden. The solo part of the four-minute concert piece with the tempo indication 'allegro molto' was tailor-made by Hummel for the orchestra's principal bassoonist Helmut Böker.In addition to the hire material a piano score with solo part is now available on sale.
This volume comprises some of Gustav Mahler?s most significant and intimate work...(+)
This volume comprises some of Gustav Mahler?s most significant and intimate work featuring authoritative editions of his orchestral settings of five poems by Friedrich Rückert and two songs to texts from Des Knaben Wunderhorn (The Boy?s Miraculous Horn). Contents include songs to Rückert?s ?Blicke mir nicht in die Lieder? (Look not love on my work unended!); ?Ich atmet? einen linden Duft? (I breathed the breath of blossoms red); ?Ich bin der Welt abhanden gekommen? (O garish world long since thou hast lost me); ?Liebst du um Schönheit? (Lovst thou but beauty); and ?Um Mitternacht? (At midnighthour). From the Wunderhorn texts a rich source of poetic materials that occupied Mahler for fourteen years- come ?Der Tamboursg?sell? (The drummer-boy) and ?Revelge? (The dead drummer). English versions of all seven songs by John Bernhoff are included in the front matter of this publication. Original Dover (2002) compilation of seven songs published separately in authoritative early editions.
Polka Schnell G-Dur. Par ZIEHRER CARL MICHAEL. Die Aufnahme der Polka schnell ...(+)
Polka Schnell G-Dur. Par ZIEHRER CARL MICHAEL. Die Aufnahme der Polka schnell “Los-lassen” in das Programm des Neujahrskonzertes 1980 der Wiener Philharmoniker war willkommener Anlaß für die Erstellung einer kritischen Ausgabe in Partitur und Stimmen im Rahmen des “Diletto Musicale”./ Répertoire / Orchestre
Polka Schnell G-Dur. Par ZIEHRER CARL MICHAEL. Die Aufnahme der Polka schnell ...(+)
Polka Schnell G-Dur. Par ZIEHRER CARL MICHAEL. Die Aufnahme der Polka schnell “Los-lassen” in das Programm des Neujahrskonzertes 1980 der Wiener Philharmoniker war willkommener Anlaß für die Erstellung einer kritischen Ausgabe in Partitur und Stimmen im Rahmen des “Diletto Musicale”./ Répertoire / Orchestre
Study Score-Declaration Suite consists of the orchestral movements from 'Declara...(+)
Study Score-Declaration Suite consists of the orchestral movements from 'Declaration - a symphonic narrative' for Orchestra two solo speakers and speaking chorus. In its original form the work includes a setting of theDeclaration of Independence.The composition was comissioned by Station WRC and WRC-TV of the National Broadcasting Company Washington D. C. for the National Symphony Orchestra of that city and was composed during thesummer and fall of 1956. The National Symphony Orchestra Dr. Howard Mitchell conducting gave the first complete performances at the Inaugural Concert in Constitution Hall Washington D. C. January 20 1957 and during theOrchestra's regular subscription series the week following.Declaration Suite was first performed by the Symphony of the Air under Dr. Mitchell in Carnegie Hall New York February 14 1957 as part of theannual WNYC American Music Festival.The movements are:I. Liberty Bell (Passacaglia)II. Midnight Ride (Scherzo)III. Concord Bridge (Memorial)IV. Summer '76 (Serenade)V. Celebration (Chorale and Fugue)
In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels M...(+)
In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels Marthinsen (2009). Programme note: In the Shadow of the Bat is a triple concerto for three trombones and orchestra inspired by Batman and his enemies The Joker Two-Face and The Penguin. A central idea of modern versions of the Batman myth is that the batman is created by the fantastic villains that he fights and they are created by him - and that Batman is driven by revenge and hate barely held in check by an intense sense of justice. Batman represents 'the dark side' while the villains are hyper-imaginative colourful creative caracters who happen to be completely insane. The rivalry between soloists and orchestra is anything but friendly: The three soloists represent one villain each the orchestra 'is' the batman - and while the villains take centre stage during most of the concerto they are eventually overwhelmed by the sheer power of the orchestra and sent where they belong: The lunatic's asylum. The concerto begins with the creation of the batman: An eight year old boy persuades his parents to leave an opera performance before it is over; outside in an alley they are shot and killed by a criminal while the boy watches. And he decides that all criminals must be punished! Then follows the Villaineuos Fugue: a multi-part fugue-like exposition of villain motives and stylistic environments. It is the exposition of the joker (alto trombone) two-face (tenor trombone) and the penguin (bass trombone). And after a brief and very slow interlude where the three criminals form an alliance and make their plans the Toccata of Crime begins: Bright fast moving highly energetic expansive and colourful music still dominated by the soloists. But later the orchestra moves to centre stage with slow omnious swooping bat-music that climaxes as the soloists are defeated by the orchestra. In the Shadow of the Bat is commissioned
In the words of the composer 'Insomnia was written between March and November 20...(+)
In the words of the composer 'Insomnia was written between March and November 2002. Technically speaking it is a set of variations based on a harmonic model separated by a Ritornello-like section which is essentially a pedalpoint on the note e. The sound of Insomnia is darker and deeper than that of some of my other orchestral works. I decided to add a quartet of Wagner Tubas to the brass section for the very particular sonority only these rare andweird instruments can produce.'
'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 min...(+)
'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 tolaunch 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
'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 min...(+)
'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 tolaunch 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
From the composer of Festival of Carols and The Winter Rose comes a cantata that...(+)
From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score and Parts for Flute 1 and 2 alto recorder Oboe/English Horn Clarinet 1 and 2 Bassoon Horn 1 and 2 Trumpet 1-3 Trombone 1 and 2 Bass Trombone/Tuba Timpani Percussion Acoustic Guitar Banjo Harp Piano Synth Solo fiddle Violin 1 and 2 Viola Cello Double Bass) Printed Full Orchestration Appalachian Consort Orchestration (Score and parts for Flute Violin Cello Mandolin Guitar Percussion and Piano) StudioTrax CD (accompanimentonly) SplitTrax CD Listening CD 10-Pack Listening CDs Preview Pack (Book/CD combo) RehearsalTrax CDs (part predominant reproducible) Digital Resource Kit (PowerPoint Choir Devotionals Poster Program Flyers Children'sProgram PDFs). Duration: approx. 40 min.
Score and Parts-Charles Ives' Postlude In F for Orchestra. Score and parts.The P...(+)
Score and Parts-Charles Ives' Postlude In F for Orchestra. Score and parts.The Postlude in F composed in 1895 is Charles Ives' earliest known work for large Orchestra. It is based on anearlier Organ piece which Ives performed at the Baptist Church in Danbury Conneticut on May 11 1890 (at the age of fifteen; on the cover page of the full score Ives mistakenly gave 1892 for the year of the Organcomposition). The version for Orchestra was probably produced as an orchestration assignment for a class of Horatio Parker Ives' teacher at Yale College. Ives recalled that the 'New Haven Orchestra' - that is the New Haven Symphony Orchestra organised by Parker in 1895- read through the work in 1896. The Postlude in F which was also preperation for work on the First Symphony (its first movement also completed in1895) contains some suprisingly mature and beautiful writing especially in the magical closing pages. - Kenneth D. Singleton.
Light Overture - A Symphonic Entertainment was composed by Poul Ruders in 2006. ...(+)
Light Overture - A Symphonic Entertainment was composed by Poul Ruders in 2006. Commissioned by the Alabama Symphony Orchestra and Music Director and Principal Conductor Justin Brown for Alabama Power Company’s 100 Year Anniversary Concert. Light Overture subtitled A Symphonic Entertainment is a short piece for symphony orchestra lasting approximately eight minutes. Light Overture is focusing on two interpretations of the word light: ”light” as in the absence of darkness and “light” as in easily comprehensible; in other words a piece with few or no metaphysicalconnotations. It is just a piece setting a festive mood as is often the case with this sort of short “concert opener”. However the journey through Light Overture is not entirely happy-go-lucky. Once in a while slightly darker colours are introduced for the sake of variety and contrast. And formally the composition is quite strict: an outright Prelude and Fugue the former sliding seamlessly into the latter. The Fugue juggles not only its own tune but also picks up stuff from the Prelude. Poul Ruders May 2006
Score-Charles Ives' Third Symphony ‘The Camp Meeting’ is the most ...(+)
Score-Charles Ives' Third Symphony ‘The Camp Meeting’ is the most concisely-scored of his five symphonies. Containing only Strings a few Winds Horns and Trombone this is a clear and uncluttered reminiscence of nineteenth centuryAmerica as viewed through some of its traditional hymn tunes and in doing so evokes the old 'camp meetings' which were such a feature of pioneer life. The first movement ‘Old Folks' Gatherin'’ is a patchwork of hymntunes drifting through an unpredictable constantly changing harmonic orientation. After a climax is reached a quiet passage opens with oboe and flute over hushed distant strings. Ives reintroduces part of the middle section and settles down to a quiet coda ending the movement almost imperceptibly. The second movement ‘Children's Day’ opens with strings in two parts over Haydnesque eighth notes in the horns. ‘There is a Fountain Filled withBlood’ ‘Happy Land’ ‘Naomi’ and ‘There's Music in the Air’ all are heard. As this is a movement depicting children at play Ives is playful himself weaving hymn tunes into one another in a somewhat tongue-in-cheek manner. Thethird movement ‘Communion’ is darker in tone than the others and provides a psychologically satisfactory close to the work as a whole. This is the 1990 edition of the Score The Charles Ives Society Critical Edition edited byKenneth Singleton and reprinted in 2001. It contains substantial notes on Ives and this work.
Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: ...(+)
Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre
Composer's Notes:This piece written during the winter months of 2000-2001 cons...(+)
Composer's Notes:This piece written during the winter months of 2000-2001 consists of one movement Allegro con fuoco in which an old score is revisited raided and ravished by its composer. The earlier music hadbeen written in the mid-fifties for a stage work Maratona di Danza and for its maker the director Luchino Visconti.Elements from the older piece reappear on and off like shadows under the surface of new ones like more orless vague memories images of young people suffering pain and despair in their struggle for survival in a barbaric pitiless modern world.My new composition is a kind of concerto for very large symphony orchestra an étude onconstant and often rapid musical changes of mood and colours built on a variety of rhythmic figures incessantly and brutally pushing the music ahead. Sometimes it is as though voices are weeping sometimes crying out loud withpain with anxiety under the cold hearted pressure of an overwhelming violence. Hans Werner Henze Commissioned on the occasion of the 50th anniversary of das neue werk Hamburg. Premiered on 29th June 2001. Duration 15minutes.
Par ARNOLD MALCOLM. Peterloo is the derisive name given to an incident on 16 Aug...(+)
Par ARNOLD MALCOLM. Peterloo is the derisive name given to an incident on 16 August 1819, in St Peter's Fields, Manchester, when an orderly crowd of some 8,000 people met to hear a speech on political reform. On the orders of the magistrates they were interrupted by the Yeomanry, attempting to seize the banners they carried, and to arrest their speaker, Henry Hunt. Cavalry were sent in, eleven people were killed and four hundred injured in the ensuring panic. This overture attempts to portray these happenings musically, but after a lament for the killed and injured, it ends in triumph, in the firm belief that all those who have suffered and died in the cause of unity amongst mankind will not have done so in vain./ Répertoire / Conducteur
For Speaker And 5 Instrumentalists. Par SCHOENBERG ARNOLD. Pierrot lunaire marks...(+)
For Speaker And 5 Instrumentalists. Par SCHOENBERG ARNOLD. Pierrot lunaire marks the high point of Schoenberg's expressionistic period, the essence of which he described as renouncing tonal centers and systematic relationships, replacing them with the twelve-tone method he was later to develop, with its dodecaphonic principles. Dethroning tonality and 'emancipating the dissonance' led to a radical change in his understanding of form and the intensity of musical expression beginning in 1907/1908: 'And I am unconditionally approaching a new kind of expression - I can sense it. The sounds now are virtually becoming a bestially direct expression of sensual and intellectual feelings - almost as if everything had been directly propagated.' (Diary entry, March 1912.)/ Répertoire / Récitant et 5 Instrumentistes
OpEra comique in three acts. By Christoph Willibald von Gluck. Edited by Harald ...(+)
OpEra comique in three acts. By Christoph Willibald von Gluck. Edited by Harald Heckmann. Arranged by Elisabeth Heckmann. Text: Louis H Dancourt. For Soprano Solo (4) Tenor Solo (3) Bass Solo (3) Speaker (2) Orchestra. Piano Reduction/Vocal Score; Urtext Edition (paperbound). Duration 120'. Published by Baerenreiter-Ausgaben (German import). (BA2280 90) ISBN M006419524.
Concert Opener and Friendly Cell Phone Reminder for Orchestra-Phonefare is a 37-...(+)
Concert Opener and Friendly Cell Phone Reminder for Orchestra-Phonefare is a 37-second overture designed to be played just after the oboe tuning. The instruments of the orchestra play cell phone rings and at the end of this short attention-getter a voice over the speaker reminds the audience to please turn off their cell phones.