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.
The Quest Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(from 'The Ponce De Leon Suite'). By Robert Kerr. Orchestra. Full Orchestra; Par...(+)
(from 'The Ponce De Leon
Suite'). By Robert Kerr.
Orchestra. Full
Orchestra; Part(s);
Score. Highland Full
Orchestra. Grade 3.5. 200
pages. Published by
Alfred Music Publishing
Scenes
historiques op.25,
op.66. Composed by
Jean Sibelius. Edited by
Kari Kilpelainen. Linen.
Complete Works.
Late-romantic; Early
modern. Complete Works.
228 pages. Breitkopf and
Haertel #SON 625.
Published by Breitkopf
and Haertel (BR.SON-625).
ISBN 9790004803271. 10
x 12.5 inches.
In
1998, at the end of the
20th century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts ... are models of
scholarly editions, and
should be required
reading for all
bibliography and
music-editing courses.
... In sum, the JSW is a
remarkable project: the
scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. ... For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. ... JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Ouverture JS 145,
Baletscen JS 163.
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Linen. Complete
Works. Late-romantic;
Early modern. Complete
Works. 196 pages.
Breitkopf and Haertel
#SON 627. Published by
Breitkopf and Haertel
(BR.SON-627).
ISBN
9790004803295. 10 x 12.5
inches.
In 1998, at
the end of the 20th
century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts … are models
of scholarly editions,
and should be required
reading for all
bibliography and
music-editing courses.
… In sum, the JSW
is a remarkable project:
the scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. … For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. … JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Orchestra - Grade 4 SKU: HL.14000916 Composed by Hans Abrahamsen. Music S...(+)
Orchestra - Grade 4
SKU: HL.14000916
Composed by Hans
Abrahamsen. Music Sales
America. Classical.
Score. Composed 2002. 55
pages. Edition Wilhelm
Hansen #WH29689.
Published by Edition
Wilhelm Hansen
(HL.14000916).
ISBN
9788759859179.
12.0x16.5x0.538 inches.
English.
Stratifica
tions was composed by
Hans Abrahamsen in
1973-75 and was premiered
in the summer 1977 by the
Iceland Symphony
Orchestra at the Young
Nordic Music Festival in
Reykjavik. Programme
note: The stratifications
referred to in the title
unfold two different
levels. There is the
stratification of the
time dimension produced
by the opposition of
contrasting parts, at the
same time the polyphony,
the presence of several
simultaneously sounding
layers, is of great
importance to the music.
By garish colours and
clear-cut outlines a
polyrhythmic
simultaneousness of
simple melodies is
produced with more gestic
music and other material
which give a peculiar set
piece-like effect inthe
sound picture. The new
simplicity details are
here woven together in a
new kind of complex
whole. Stratifications
begins with a series of
concretistic masklike
pictures of the music. It
is like seeing lantern
slides. But this fictive
form crackles and the
music gets attentive and
real. The music is in a
night-mare condition,
where it is not getting
anywhere in spite of a
great dynamic display.
But finally is liberating
itself and rising in
triumph.
Orchestra - Grade 2.5 SKU: AP.48076 Composed by Richard Meyer. MakeMusic ...(+)
Orchestra - Grade 2.5
SKU: AP.48076
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Multicultural;
Novelty. Score and
Part(s). 140 pages.
Duration 3:00. Alfred
Music #00-48076.
Published by Alfred Music
(AP.48076).
ISBN
9781470658786. UPC:
038081554334.
English.
Take your
orchestra on a trip
around the world with
this fun medley of some
of the most famous
melodies ever written in
A Musical Passport by
Richard Meyer. Using 22
tunes from 17 different
countries, this is the
ultimate multi-cultural
experience for your
students and your
audience! The melodies
are tossed from section
to section so all the
instruments get a chance
in the spotlight, and the
quickly changing styles
will keep everyone on
their toes.
Songs
that are included in A
Musical Passport by
Richard Meyer are:
America, the Beautiful
(U.S.A.) * Rule,
Britannia (England) * The
Irish Washerwoman
(Ireland) * Scotland the
Brave (Scotland) * Roll
Out the Barrel
(Czechoslovakia/Germany)
* Funiculi, Funicula
(Italy) * Frere Jacques
(France) * Dark Eyes
(Russia) * Jasmine Flower
Song (China) * Arirang
(Korea) * Sakura (Japan)
* Obwisana (Ghana) *
Siyahamba (We Are
Marching) (South Africa
[Zulu]) * Waltzing
Matilda (Australia) * La
Cumparsita (South America
[Uruguay]) * Las
Chiapanecas (Mexico) *
Cielito Lindo (Mexico) *
O Canada (Canada) * Oh!
Susanna (U.S.A.) *
Camptown Races (U.S.A.) *
America, the Beautiful
(U.S.A.) * Home, Sweet
Home (U.S.A.) * The
Star-Spangled Banner
(U.S.A.) * America, the
Beautiful (U.S.A.).
Correlates with Sound
Innovations for String
Orchestra, Book 2, Level
6. (3:00) This title is
available in MakeMusic
Cloud.
Orchestra SKU: HL.51489068 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.51489068
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Horst Walter.
Henle Music Folios.
Classical. Softcover. 85
pages. G. Henle #HN9068.
Published by G. Henle
(HL.51489068).
UPC:
840126951967.
6.75x9.5x0.278
inches.
Haydn
arrived in London at the
beginning of February
1794 for his second stay
in England. Two movements
of the Symphony in G
major Hob. I:100 had
already been completed by
then, and the finished
work was premiered on 31
March. The trumpet
fanfare in the second
movement and the use of
“janissaryâ€
percussion gave the
symphony its nickname
“Military
Symphony,†which
Haydn himself even used.
Its success in London was
enormous; in 1794/95
alone, the work was
performed nine times and
thus quickly became one
of the most popular Haydn
symphonies of all time.
To everyone wishing to
become more acquainted
with this symphony, let
this inexpensive study
edition be commended -
with reliable
commentaries on its
genesis, sources, and
edition as well as an
unassailable musical text
taken from the Haydn
Complete Edition.
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)
Orchestra - Grade 2.5 SKU: AP.48076S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 2.5
SKU: AP.48076S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Multicultural;
Novelty. Score. 16 pages.
Duration 3:00. Alfred
Music #00-48076S.
Published by Alfred Music
(AP.48076S).
ISBN
9781470658793. UPC:
038081554341.
English.
Take your
orchestra on a trip
around the world with
this fun medley of some
of the most famous
melodies ever written in
A Musical Passport by
Richard Meyer. Using 22
tunes from 17 different
countries, this is the
ultimate multi-cultural
experience for your
students and your
audience! The melodies
are tossed from section
to section so all the
instruments get a chance
in the spotlight, and the
quickly changing styles
will keep everyone on
their toes.
Songs
that are included in A
Musical Passport by
Richard Meyer are:
America, the Beautiful
(U.S.A.) * Rule,
Britannia (England) * The
Irish Washerwoman
(Ireland) * Scotland the
Brave (Scotland) * Roll
Out the Barrel
(Czechoslovakia/Germany)
* Funiculi, Funicula
(Italy) * Frere Jacques
(France) * Dark Eyes
(Russia) * Jasmine Flower
Song (China) * Arirang
(Korea) * Sakura (Japan)
* Obwisana (Ghana) *
Siyahamba (We Are
Marching) (South Africa
[Zulu]) * Waltzing
Matilda (Australia) * La
Cumparsita (South America
[Uruguay]) * Las
Chiapanecas (Mexico) *
Cielito Lindo (Mexico) *
O Canada (Canada) * Oh!
Susanna (U.S.A.) *
Camptown Races (U.S.A.) *
America, the Beautiful
(U.S.A.) * Home, Sweet
Home (U.S.A.) * The
Star-Spangled Banner
(U.S.A.) * America, the
Beautiful (U.S.A.).
Correlates with Sound
Innovations for String
Orchestra, Book 2, Level
6. (3:00) This title
available in MakeMusic
Cloud.
Orchestra SKU: PO.PEL23S Composed by Douglas Lilburn. Sws. Score. Prometh...(+)
Orchestra
SKU:
PO.PEL23S
Composed by
Douglas Lilburn. Sws.
Score. Promethean
Editions #PEL23S.
Published by Promethean
Editions (PO.PEL23S).
ISBN
9781877564468.
Lilb
urn's A Song of Islands
(1946) is an essential
work to study in the
history of New Zealand
orchestral music. This
early work is a fine
example of how Lilburn
directly intended to
capture the essence of
New Zealand as a whole.
Central to this work is a
chorale-like theme that
develops through an
arch-like form. This
critical edition is the
first computer-engraved
publication of the work,
and is the third of four
volumes published in
celebration of the
centenary of Lilburn's
birth in 1915.Douglas
Lilburn occupies a
pre-eminent position in
New Zealand music, with a
legacy extending well
beyond his compositional
output. As a composer,
teacher and mentor he
presided in innumerable
ways over the artistic
growth of New Zealand
from 1940 onwards. From
the early works redolent
of the influence of
Sibelius and Vaughan
Williams, to the
electro-acoustic pieces
of his later years, his
works have been
instrumental in
establishing a genuine
vernacular in New Zealand
classical music.
Composed by Franz Joseph
Haydn. Edited by Andreas
Friesenhagen. This
edition: urtext edition.
Stapled. Score. Hob.
I:90. Baerenreiter Verlag
#BA10981_00. Published by
Baerenreiter Verlag
(BA.BA10981).
ISBN
9790006564620. 31 x 24.3
cm inches. Key: C major.
Preface: Andreas
Friesenhagen.
Haydn
’s Symphony in C
major Hob. I: 90, dated
1788 in the autograph,
belongs to a group of
works that he composed
between the Paris
symphonies (Hob. I:
82–87) and the
London symphonies (Hob.
I: 93–104). It
thus belongs to the last
symphonies he wrote
before his journeys to
England in 1791–92
and 1794–95.
Continuing the
collaboration between
Bärenreiter and the G.
Henle publishing company
regarding Haydn's
large-scale choral works,
operas and symphonies,
this edition is based on
the G. Henle Complete
Edition of the Works of
Joseph Haydn. With
Symphony No. 90,
Bärenreiter has now
published the complete
performance material for
all the symphonies from
Nos. 82 to 104 as well as
several Sturm und Drang
symphonies.
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
Composed by Poul Ruders.
Music Sales America.
Classical. Set. 86 pages.
Edition Wilhelm Hansen
#WH29830. Published by
Edition Wilhelm Hansen
(HL.14027994).
ISBN
9788759864593.
New
York is the city which
fascinates and inspires
Ruders. Time and again he
goes back there to work.
'Manhattan Abstraction'
(1982) subtitles - a
symphonic skyline for
large orchestra - was
conceived there. Ruders'
Brittish colleague Oliver
Knussen defines the piece
as: - a performance of an
extraordinary
Morden-Times-like
construction. It is a
sort of symphonic
sculpture, which in the
composer's own words
words propels forth from
one particular
inspiration: the New York
profile, as seen from
Liberty Island, one icy
cold January day with
it's open, clear sky and
dazzling sun light.
'Manhatten Abstraction'
appears as an amalgam of
some of the
compositorical habits
found in present pieces.
For instance, are present
here compositorical ideas
and melodic loans from
'Capriccio Pian'e Forte',
2nd String Quartet(1979),
'Four Compositions'
(1980), and 2nd Piano
Sonata(1982). The
question at hand is
mainly concerned with the
enhanced elaboration of
Ruders' use of the
classic English
change-ringing system: a
permuting method
pre-determining the order
of tone-appearances and
/or tone groups; a serial
technique in other words.
In spite of the rigidly
fixed material, Ruders
somehow manages to chisel
out a personal expression
by way of emphasising
contrasting elements
already existing within
the material itself. The
spiky, repetitive
sections form a
counterpart to a more
human violin-solo. This
dialectical tension is -
as hinted by the title -
a symphonic abstraction
of a fascinating
metropolis; the most
beautiful and the
ugliest. The subtitle: a
symphonic skyline
reflects the musical
erection of the Manhattan
profile, which under the
clear sky, materializes
into the most powerful
and compelling man-made
sculpture on earth. Thus
'Manhattan Abstraction'
is a homage to, as well
as a vision of, this
giant contraption of
concrete, glass, and
chrome.
Orchestra SKU: HL.51489069 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.51489069
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Horst Walter.
Henle Music Folios.
Classical. Softcover. 93
pages. G. Henle #HN9069.
Published by G. Henle
(HL.51489069).
UPC:
840126951905.
6.75x9.5x0.291
inches.
Haydn
arrived in London at the
beginning of February
1794 for his second stay
in England. By this time,
he had completed three
movements of the Symphony
in D major Hob. I:101,
and the finished work was
premiered on 3 March.
Even the members of the
audience at the premiere
took note of the
pendulum-like
accompanying figure in
the second movement,
which was in fact
explicitly mentioned in a
review: “The
management of the
accompaniments of the
andante, though perfectly
simple, was
masterly.†The even
tick-tock oscillations
sparked the imagination
of listeners so much,
apparently, that the
nickname
“Clock†came
into use later in the
nineteenth century. And
while this name may have
nothing to do with Haydn,
is it even possible to
listen to the famous
second movement today
without making the
association? To everyone
wishing to become more
acquainted with this
symphony, let this
inexpensive study edition
be commended - with
reliable commentaries on
its genesis, sources, and
edition as well as an
unassailable musical text
taken from the Haydn
Complete Edition.
Orchestra SKU: BR.SON-511 Orchestermusik. Composed by Hanns Eisler...(+)
Orchestra
SKU:
BR.SON-511
Orchestermusik.
Composed by Hanns Eisler.
Edited by Knud Breyer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 248 pages.
Breitkopf and Haertel
#SON 511. Published by
Breitkopf and Haertel
(BR.SON-511).
ISBN
9790004803448. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-506 Kammersymphonie op.69. Composed by Hanns...(+)
Orchestra
SKU:
BR.SON-506
Kammersymphonie
op.69. Composed by
Hanns Eisler. Edited by
Tobias Fasshauer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 148 pages.
Breitkopf and Haertel
#SON 506. Published by
Breitkopf and Haertel
(BR.SON-506).
ISBN
9790004802779. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-508 Filmmusik zu The Grapes of Wrath/Hangmen Als...(+)
Orchestra
SKU:
BR.SON-508
Filmmusik zu The
Grapes of Wrath/Hangmen
Also Die. Composed by
Hanns Eisler. Edited by
Johannes C. Gall.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 508. Published by
Breitkopf and Haertel
(BR.SON-508).
ISBN
9790004803301. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-509 Filmmusik zu Nuit et brouillard. Compose...(+)
Orchestra
SKU:
BR.SON-509
Filmmusik zu Nuit et
brouillard. Composed
by Hanns Eisler. Edited
by Knud Breyer and Oliver
Dahin. Hardback. Complete
Works. Early modern;
Music post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 509. Published by
Breitkopf and Haertel
(BR.SON-509).
ISBN
9790004803318. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra
(pic.2.afl.2.ca.2Acl.0.bc
l.2.cbsn-4.3.2.btbn.1-tim
p.3perc(glsp, mar, crot,
tub bells, bell tree,
2sus cym, clash cym,
claves, b.d, wdbl)-str)
SKU: HL.49018422
Reflections on the
life and work of Paula
Modersohn-Becker
(1876-1907). Composed
by Sir Peter Maxwell
Davies. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Das 30minutige
Orchesterwerk in drei
Satzen, das von den
Bremer Philharmonikern in
Auftrag gegeben und von
diesen 2007 uraufgefuhrt
wurde, gehort zu den
Schlusselwerken von
Maxwell Davies der
letzten Jahre. Study
score. Composed 2006. Op.
276. 8 pages. Duration
30'. Schott Music
#ED13366. Published by
Schott Music
(HL.49018422).
ISBN
9790220132391. UPC:
884088614515.
8.25x11.75x0.232
inches.
Maxwell
Davies' 'Das Rauschende
der Farbe' (The Sound of
Colour) is a reflection
on the life and work of
the German artist Paula
Modersohn-Becker who died
aged 31 in 1907. Maxwell
Davies first got to know
the artist's work whilst
on a school exchange in
Hamburg in 1951 and the
composer has since
written that
Modersohn-Becker's work
has influenced the way
that he views the
relationship between art
and the landscape in
which it is produced.
This is a particularly
significant statement for
a composer whose music is
often a response to the
land and seascape of his
adopted home in the
Orkney Isles.
Commissioned by the
Bremer Philharmoniker and
first performed by them
in 2007, the 30 minute
orchestral work in three
movements is one of the
key works by Maxwell
Davies in recent
years.
Orchestra SKU: FG.55011-444-9 Composed by Einojuhani Rautavaara. Score (l...(+)
Orchestra
SKU:
FG.55011-444-9
Composed by Einojuhani
Rautavaara. Score
(large). Fennica Gehrman
#55011-444-9. Published
by Fennica Gehrman
(FG.55011-444-9).
ISBN
9790550114449.
Eino
juhani Rautavaara
(1928-2016) was one of
Finland's internationally
most successful
composers. He made his
major breakthrough with
the Symphony No. 7, Angel
of Light, in the 1990s,
but his output includes
numerous classic operas,
concertos, chamber music
and choral works.
Over his extensive
career, he progressed
from Neo-Classicism to
strict dodecaphony to
free-tonal
Neo-Romanticism,
combining modernism with
mystical romanticism in
his later works.
According to the
composer, the role of the
composer is to be
mediator, a midwife, who
helps the music become
alive on its own terms;
Listen to what the music
wants to tell you, he
told his composition
students, sense where it
wants to go.
Rautavaara rose to great
international fame with
the success of his
Symphony No. 7, Angel of
Light (1995) powered by
the prize-winning
recording (Helsinki
Philharmonic, Segerstam,
Ondine label) later the
same year. Many
high-profile
international commissions
followed, creating yet
more prize-winning
recordings. To mark
the 25th anniversary of
the work's premiere - in
its original form as the
Bloomington Symphony - by
the Bloomington Symphony
Orchestra and conductor
David Pickett, Fennica
Gehrman is publishing an
entirely new edition of
the symphony based on all
available sources,
including the composer's
manuscript and his
markings in various
printed scores. This
is a large-sized
conductor score with
extensive analysis of the
work and its genesis.
Orchestra SKU: BA.BA10986 Composed by Franz Joseph Haydn. Edited by Sonja...(+)
Orchestra
SKU:
BA.BA10986
Composed
by Franz Joseph Haydn.
Edited by Sonja Gerlach
and Sterling E. Murray.
This edition: urtext
edition. Stapled. Score.
Hob. I:77. Baerenreiter
Verlag #BA10986_00.
Published by Baerenreiter
Verlag (BA.BA10986).
ISBN 9790006569106. 31
x 24.3 cm inches. Key:
B-flat major. Preface:
Andreas
Friesenhagen.
Haydn
composed his Symphony No.
77 along with his
Symphonies Nos. 76 and 78
for a planned journey to
England that never took
place. Nonetheless, H.C.
Robbins Landon calls
these works the
“English
symphonies†as they
are stylistically closely
linked to the
“London
Bachâ€, Johann
Christian Bach. Haydn
himself, in a letter of
1783 to his Parisian
publisher Charles-Georges
Boyer, described the
symphonies as
‘Leicht und nicht
vil Concertirendâ€,
meaning that they were
light in spirit and did
not contain extensive
solo passages but rather
a clear sense of
classical
form.
Continuing
the cooperation between
Bärenreiter and the G.
Henle publisher regarding
Haydn’s
large-scale choral works,
operas and symphonies,
this edition is based on
the G. Henle Complete
Edition of the
“Works of Joseph
Haydnâ€. The
Bärenreiter catalogue
now includes the complete
performance material for
several “Sturm und
Drang†symphonies
as well as all the London
and Paris
symphonies.
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
Orchestra SKU: BA.BA10985 Composed by Franz Joseph Haydn. Edited by Sonja...(+)
Orchestra
SKU:
BA.BA10985
Composed
by Franz Joseph Haydn.
Edited by Sonja Gerlach
and Sterling E. Murray.
This edition: urtext
edition. Stapled. Score.
Hob. I:78. Baerenreiter
Verlag #BA10985_00.
Published by Baerenreiter
Verlag (BA.BA10985).
ISBN 9790006568123. 31
x 24.3 cm inches. Key: C
minor. Preface: Andreas
Friesenhagen.
Along
with Symphonies Nos. 76
and 77 Haydn composed
Symphony No. 78 for a
journey to England that
never took place.
Nonetheless, H. C.
Robbins Landon referred
to these works as the
“English
Symphonies†as they
are stylistically closely
linked to “the
London Bachâ€,
Johann Christian Bach. In
a letter Haydn wrote to
his Paris publisher
Charles-Georges Boyer in
1783, he described the
works as “Leicht
und nicht vil
Concertirendâ€,
meaning they were light
in spirit and did not
contain extensive solo
passages but rather a
clear sense of classical
form.
Continuing
the cooperation between
Bärenreiter and the G.
Henle publishing company
regarding Haydn’s
large-scale choral works,
operas, and symphonies,
this edition is based on
the G. Henle Complete
Edition of the
“Works of Joseph
Haydnâ€. To date,
Bärenreiter has
published the complete
performance material for
several of Haydn’s
“Sturm und
Drang†symphonies
as well as the complete
London and Paris
symphonies.
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
Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen. This...(+)
Composed by Franz Joseph
Haydn (1732-1809). Edited
by Andreas Friesenhagen.
This edition: urtext
edition. Stapled. Urtext
from: Joseph Haydn Werke,
G. Henle Verlag Munchen.
Score. Hob. I:89.
Duration 22 minutes.
Published by Baerenreiter
Verlag (BA.BA10979).
For
performance material see
BA 5601-5603.
Composed by Franz
Schubert. Edited by
Arnold Feil and Christa
Landon. This edition:
complete edition, urtext
edition. Linen. New
Schubert Edition (Neue
Ausgabe samtlicher Werke)
Series V, Volume 1.
Complete edition, Score,
anthology. No. 1-3.
Baerenreiter Verlag
#BA05522_00. Published by
Baerenreiter Verlag
(BA.BA05522).
ISBN
9790006472178. 33 x 26 cm
inches.
For
performance material
refer to BA
5601-5603.
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
Tempus Fugit Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024683 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.48024683
Orchestra Study
Score. Composed by
Magnus Lindberg. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 144
pages. Boosey & Hawkes
#M060135880. Published by
Boosey & Hawkes
(HL.48024683).
ISBN
9781784545062. UPC:
888680952570. 8.25x11.75
inches.
TEMPUS
FUGIT was commissioned to
celebrate the centenary
of Finnish independence
on 6 December 2017 and it
received its first
performance in Helsinki
on that day, given by the
Finnish Radio Symphony
Orchestra.
The
composer says that
“if you translate
TEMPUS FUGIT as 'Time
Flies', you could say
that Finland has
travelled a long way
already -but 100 years is
a short time-span, and
living as a human in this
part of the world started
long ago and, we hope,
will continue
formillennia to come.
This relates to my
fascination with Bernd
Alois Zimmermann's
concept of spherical time
- that the past, the
present and the future
are continuously linked
and within reach. You can
also examine the
inter-connection of
musical time in the
earlier works of
Stockhausen such as
Kontakte and Gruppen
which had a big impact on
me as a young composer. A
translation of TEMPUS
FUGIT that I prefer is
'Time in Flight',
offering the idea that
time escapes from us but
bequeaths a tangible
residue, rather like
aplane travelling towards
the distance but leaving
a visible vapour
trail.” This
30-minute score is a
major addition to the
orchestral repertory.
By Felix Alexandre Guilmant (1837-1911). Arranged by Rick England. Orchestra. Fu...(+)
By Felix Alexandre
Guilmant (1837-1911).
Arranged by Rick England.
Orchestra. Full
Orchestra; Masterworks.
Highland Full Orchestra.
Form: Transcription.
Masterwork Arrangement;
Romantic. Grade 3.
Conductor Score and
Parts. 198 pages.
Published by Alfred Music
Publishing
The Masterworks Library. By Richard Strauss. (Score). Boosey and Hawkes Scores ...(+)
The Masterworks Library.
By Richard Strauss.
(Score). Boosey and
Hawkes Scores and Books.
Book only. Size 9x12
inches. 208 pages.
Published by Boosey and
Hawkes.
Concert Band; Orchestra - Grade 1.5 SKU: AP.49116S Composed by Scott Wats...(+)
Concert Band; Orchestra -
Grade 1.5
SKU:
AP.49116S
Composed by
Scott Watson. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Sound
Innovations for Concert
Band. Score. 20 pages.
Duration 4:40. Alfred
Music #00-49116S.
Published by Alfred Music
(AP.49116S).
UPC:
038081563428.
English.
This
version of Escape from
Thunder Mountain by Scott
Watson is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
The tropical
island volcano, Thunder
Mountain, has lain
dormant for years. As a
party of adventurous
researchers work atop the
legendary mountain, it
begins to shake with
pre-eruption tremors!
Check out this original
composition by Scott
Watson! (4:40)
Concert Band; Orchestra - Grade 1.5 SKU: AP.49116 Composed by Scott Watso...(+)
Concert Band; Orchestra -
Grade 1.5
SKU:
AP.49116
Composed by
Scott Watson. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Sound
Innovations for Concert
Band. Score and Part(s).
146 pages. Duration 4:40.
Alfred Music #00-49116.
Published by Alfred Music
(AP.49116).
UPC:
038081563411.
English.
This
version of Escape from
Thunder Mountain by Scott
Watson is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
The tropical
island volcano, Thunder
Mountain, has lain
dormant for years. As a
party of adventurous
researchers work atop the
legendary mountain, it
begins to shake with
pre-eruption tremors!
Check out this original
composition by Scott
Watson! (4:40)
(Featuring: Jealous Guy / Instant Karma / Imagine). By John Lennon. Arranged by ...(+)
(Featuring: Jealous Guy /
Instant Karma / Imagine).
By John Lennon. Arranged
by Roland Barrett.
Orchestra. Full
Orchestra; Score. Pop
Concert Full Orchestra.
Form: Medley. Light
Concert; Pop/Rock. Grade
3. 16 pages. Published by
Alfred Music
John Lennon : Lennon Orchestre [Conducteur d'étude / Miniature + CD] - Intermédiaire Alfred Publishing
(Featuring: Jealous Guy / Instant Karma / Imagine). By John Lennon. Arranged by ...(+)
(Featuring: Jealous Guy /
Instant Karma / Imagine).
By John Lennon. Arranged
by Roland Barrett.
Orchestra. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Form: Medley.
Light Concert; Pop/Rock.
Grade 3. 212 pages.
Published by Alfred Music
(AP