(Man of Sorrows, King of Glory, Lord of Life!). By Lloyd Larson. Arranged by Bra...(+)
(Man of Sorrows, King of
Glory, Lord of Life!). By
Lloyd Larson. Arranged by
Brant Adams. Orchestra.
For 2 Flutes, Oboe, 2
Clarinets, Bassoon, 2
Horns, 3 Trumpets, 2
Trombones, Tuba, Timpani,
2 Percussion, Harp,
Piano, 2 Violins, Viola,
Cello, and Bass. Cantata.
Choral: Easter, Lent.
Orchestral Score and
Parts. Published by
Lorenz Publishing Company
String Orchestra (Full Score) SKU: HL.48007272 For String Orchestra(+)
String Orchestra (Full
Score)
SKU:
HL.48007272
For
String Orchestra.
Composed by Various.
Arranged by Simon Foxley.
Boosey & Hawkes
Orchestra. Classical,
Collection, Contemporary.
Boosey & Hawkes
#M051704620. Published by
Boosey & Hawkes
(HL.48007272).
UPC:
073999072723.
Archi
ve Edition Contents:
Rondo (Pleyel) * Gavotte
(Handel) * Bagatelle
(Beethoven) * Hoe Down
(Burgoyne) * Pelican Pie
(Nelson).
Orchestra (Score) SKU: HL.49005351 Score. Composed by Karl Amadeus...(+)
Orchestra (Score)
SKU:
HL.49005351
Score. Composed by
Karl Amadeus Hartmann.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1960-1962. 104 pages.
Duration 25'. Schott
Music #ED 5027. Published
by Schott Music
(HL.49005351).
ISBN
9790001057622. UPC:
884088078546.
8.5x11.75x0.286
inches.
Soprano voice and chamber
orchestra (Score) -
advanced
SKU:
HL.49007954
Vier
Lieder auf Gedichte von
Rosalia de Castro.
Composed by Joaquí
and n Rodrigo. This
edition: Saddle
stitching. Sheet music.
Ediciones Joaquin
Rodrigo. Classical.
Score. Composed 1965. 36
pages. Duration 13'.
Schott Music #ED 8367.
Published by Schott Music
(HL.49007954).
(The Passion, the Question, the Call). By Pepper Choplin. Arranged by Larry Shac...(+)
(The Passion, the
Question, the Call). By
Pepper Choplin. Arranged
by Larry Shackley. For
orchestra. Cantatas. Holy
Week, Eastertide, Sacred.
CD with Printable Parts.
Published by Lorenz
Publishing Company
Chorus; Orchestra; Score (Study Score) SKU: HL.49009375 Come Thou of M...(+)
Chorus; Orchestra; Score
(Study Score)
SKU:
HL.49009375
Come
Thou of Man the Savior
(1st version), BWV
61. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
Arranged by Hans
Grischkat. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Study Score.
26 pages. Duration 23'.
Eulenburg Edition #ETP
1046. Published by
Eulenburg Edition
(HL.49009375).
ISBN
9783795762278. UPC:
884088049959.
5.25x7.5x0.117 inches.
German -
English.
For 3 solo
voices, chorus, and
orchestra. German and
English language. Text
writer: Henning Thies.
English version: Henry S.
Drinker. Study score.
Chorus; Orchestra; Score (Study Score) SKU: HL.49009343 O Light Everla...(+)
Chorus; Orchestra; Score
(Study Score)
SKU:
HL.49009343
O
Light Everlasting, BWV
34. Composed by
Johann Sebastian Bach.
Edited by Arnold
Schering. Arranged by
Arnold Schering. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
62 pages. Eulenburg
Edition #ETP 1013.
Published by Eulenburg
Edition (HL.49009343).
ISBN 9790200208573.
UPC: 884088050061.
5.25x7.5x0.174 inches.
German.
For 3
soloists, choir, and
orchestra. German
language. Study
score.
Orchestra SKU: LO.30-2896L The Passion, the Question, the Call. Co...(+)
Orchestra
SKU:
LO.30-2896L
The
Passion, the Question,
the Call. Composed by
Pepper Choplin. Arranged
by Larry Shackley.
Choral, cantatas. Holy
Week, Eastertide, Sacred.
Instrumental parts.
Lorenz Publishing Company
#30/2896L. Published by
Lorenz Publishing Company
(LO.30-2896L).
UPC:
000308133059.
This
product is the set of
printed parts only for
Upon This Rock, and it
includes parts for 2
Flutes, Oboe, 2
Clarinets, Bassoon, 2
Horns, 3 Trumpets, 2
Trombones, Tuba, 2
Percussion, Piano,
Electric Bass, 2 Violins,
Viola, Cello, and
Bass.
To God I Give My Heart and Soul, BWV 92. By Johann Sebastian Bach. Arranged by A...(+)
To God I Give My Heart
and Soul, BWV 92. By
Johann Sebastian Bach.
Arranged by Arnold
Schering. (Study Score).
Schott. 48 pages.
Published by Eulenburg.
(Christ's Passion, Our Redemption). By Mark Hayes. For orchestra. Cantatas. Holy...(+)
(Christ's Passion, Our
Redemption). By Mark
Hayes. For orchestra.
Cantatas. Holy Week,
Eastertide, Sacred. CD
with Printable Parts.
Published by Lorenz
Publishing Company
The Passion, the Question, the Call. Composed by Pepper Choplin. Arranged...(+)
The Passion, the
Question, the Call.
Composed by Pepper
Choplin. Arranged by
Larry Shackley. Choral,
cantatas. Holy Week,
Eastertide, Sacred. Full
score and parts, plus CD
with printable parts.
Lorenz Publishing Company
#30/2898L. Published by
Lorenz Publishing Company
(LO.30-2898L).
Christ's Passion, Our Redemption. Composed by Mark Hayes. Choral, cantata...(+)
Christ's Passion, Our
Redemption. Composed
by Mark Hayes. Choral,
cantatas. Holy Week,
Eastertide, Sacred. Full
score and parts, plus CD
with printable parts.
Lorenz Publishing Company
#30/2902L. Published by
Lorenz Publishing Company
(LO.30-2902L).
Hold in Remembrance Jesus Christ, BWV 67. By Johann Sebastian Bach. Arranged by ...(+)
Hold in Remembrance Jesus
Christ, BWV 67. By Johann
Sebastian Bach. Arranged
by Arnold Schering.
(Study Score). Schott. 40
pages. Published by
Eulenburg.
Orchestra (Full Score) SKU: HL.244904 For Orchestra. Composed by B...(+)
Orchestra (Full Score)
SKU: HL.244904
For Orchestra.
Composed by Bryce
Dessner. Music Sales
America. Classical.
Softcover. Composed 2017.
64 pages. Duration 1020
seconds. Chester Music
#CH83985. Published by
Chester Music
(HL.244904).
8.25x12.0x0.508
inches.
Quilting,
co-commissioned by the
BBC Symphony Orchestra
and the Los Angeles
Philharmonic, is my first
stand alone work for
orchestraand is loosely
inspired by the American
tradition of quilt
making. I composed
Quilting while living
most of last year in
Paris.During my time
there, I thought a lot
about what it means to
compose symphonic music
as a young American in
the 21st century, when so
many of the many
masterworks which are
programmed year in and
out by orchestras across
the country are European.
I considered which
artistic traditions
defined the American
19th-century. I began to
think of the American
crafts-tradition of
quilting as a foilto the
high-art tradition of
European orchestral
composition. As the score
for my new work began to
take shape, I started
thinking about the
manuscript itself as an
object, its vertical and
horizontal planes create
a kind of patterned
geometry of their own.
Visually the way a
musical score is woven
together like patchwork
brought to mind quilts
and the great American
tradition of quilting. I
imagined about how
conducting an orchestra
can feellike stitching a
piece together, or sewing
together a large number
of musical ideas and
musicians into a coherent
and transcendent whole.
Quilting was an integral
part of American
vernacular in the 18th
and 19th centuries, the
African-American quilting
tradition is especially
fascinating, and the
quilts tell the stories
of the women and
communities who made
them. The names of the
quilt patterns themselves
can have their own sense
of narrative: 'jacobs
ladder', 'drunkards
path', 'solomon's
puzzle', and (my favorite
for its relevance to this
piece) 'the road to
California. - Bryce
Dessner.
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.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11902
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches.
Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
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: PR.416416140 For Flute, Oboe, Clarinet in B-flat, Basso...(+)
Orchestra
SKU:
PR.416416140
For
Flute, Oboe, Clarinet in
B-flat, Bassoon, and
Orchestra. Composed
by Narong Prangcharoen.
Full score. 53 pages.
Duration 17 minutes.
Theodore Presser Company
#416-41614. Published by
Theodore Presser Company
(PR.416416140).
UPC:
680160642441.
Time
is one of the main
factors impacting the
world and our lives.
Einstein saw time as the
relationship of the
motion of one object
relative to the position
of another object, as
measured through
observation. But can we
really measure time
objectively? Music, the
art which moves through
time, can affect our
perception of time, and
can affect each person's
perception of time
differently. Depending on
the emotion it
stimulates, music can
make time seem to pass
quickly or slowly. A
composer can use music to
convey time to an
audience and different
musical ideas can create
different sensations of
time. Absence of Time is
a concerto for woodwind
quartet and orchestra. It
has three main sections
(fast, slow, fast),
recalling traditional
concerto form, but it
does not use the solo
instruments in the
traditional way, i.e., as
soloists in contest with
the orchestra. Inspired
by the idea of
juxtaposing different
experiences of time, I
divided the instruments
into two groups: the four
soloists and the
orchestra. The orchestra
functions mostly as the
keeper of time (real
time) while the quartet
of soloists fluctuates
(in imaginary time or in
the absence of time)
around the orchestra's
time. While the quartet's
instruments do play
solos, they also play in
ensemble with the
orchestra. You could say
that they play in both
imaginary time (as
soloists) and in real
time (with the
orchestra). In addition
to this, the woodwind
section of the orchestra
plays in conversation
with the solo quartet,
calling it back to real
time. Fusion is achieved
at the end of the piece
through the use of
strong, driving rhythm.
Absence of Time was
commissioned by the
Pacific Symphony and was
first performed by the
Pacific Symphony and the
Pacific Symphony Woodwind
Quartet with Carl St.
Clair as conductor on
October 20, 2016.
Orchestra (Study Score) SKU: HL.50600470 Study Score. Composed by ...(+)
Orchestra (Study Score)
SKU: HL.50600470
Study Score.
Composed by Xiaoyong
Chen. Score. Classical,
Contemporary. Softcover.
56 pages. Sikorski
#SIK8579. Published by
Sikorski (HL.50600470).
8.25x11.75x0.183
inches.
“In
early 2006 I was
commissioned to write a
piece to be premiered in
a church. Before
beginning work on it, I
tested the acoustics
there, according to which
the compositional concept
developed. Somewhat later
I began to compose the
piece 'with the church',
so to speak. During the
process of composition,
however, the music
gradually distanced
itself from the original
spatial conditions and
developed into a piece
whose characteristics
were transformed into a
church-acoustical
structure. 'I see your
music when I hear it', a
listener once said to me.
Does one really see the
music? Can fragrances be
heard? Or can one smell
colours? This 5-part
composition is music in
which the tones move in
space on different
levels, even when they
are sometimes very quiet
and slow; they are clear
and transparent even when
they are apparently
dense, complicated and
energetic.â€
(Xiaoyong Chen).
Orchestra SKU: HL.14035756 Composed by Per Norgard. Music Sales America. ...(+)
Orchestra
SKU:
HL.14035756
Composed
by Per Norgard. Music
Sales America. Classical.
Book [Softcover]. 16
pages. Music Sales
#KP00298. Published by
Music Sales
(HL.14035756).
ISBN
9788759868294.
English.
Wenn Die Rose Sich
Selbst Schmückt,
Schmückt Sie Auch
Den Garten (When
The Rose Beautifies
Itself, It Beautifies The
Garden ) was composed by
Per
Nørgård
in 1971.
Chamber
Cantata for four
performers
Scored
for Soprano, Alto Flute,
Double Bass and
Percussion (all playing
also Crotales).
Composed for and
dedicated to Dorothy
Dorrow.
Parts
available: KP01092
Preface /
Programme
Note
The title of the
work is borrowed from a
fragment by the German
poet Friedrich
Rückert. This
fragment, this short
sentence (which
Rückert apparently
neverelaborated upon) is
the entire basis of the
work. I was inspired by
the meaning as well as
the sound of these
words. I perceive the
meaning of the sentence
as being a defence for
the refinement of an
individual’s
personal gifts - far from
the present hostility
toward individuality and
the senseless praise of
impersonal success in
society. Personal
refinement can, so the
fragment in my
interpretation, at its
best be accompanied by a
deep sense of
responsibility, and
become an active and
positive influence in
society. The sound,
the timbre, of the
individual words and
characters is employed
both
in straightforward
text-sequences, as well
as in the exploration of
individual vowels and
consonants as pure
sounds. The soprano is
often used purely
instrumentally, echoing
and pre-echoing
discreetly the notes of
the flute and the
harmonics of the double
bass, often imperceptably
stealing their notes and
altering them into human
sounds, which then
yet again are
absorbed into the
instrumental
tapestry.
Orchestra (2.2.2.2 - 2.2.3.0 - timp - str) SKU: BR.PB-5208 Grand Symph...(+)
Orchestra (2.2.2.2 -
2.2.3.0 - timp - str)
SKU: BR.PB-5208
Grand Symphony in C
major - Urtext.
Composed by Franz
Schubert. Edited by Peter
Hauschild. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library). Peter
Hauschilds Urtext edition
of the Great C major
Symphony i the first
source critical edition
of the posthumously
published work which can
be used in performance as
well. Symphony; Romantic.
Full score. 148 pages.
Duration 50'. Breitkopf
and Haertel #PB 5208.
Published by Breitkopf
and Haertel (BR.PB-5208).
ISBN 9790004210390. 10
x 12.5 inches.
This
edition is based on
authentic sources con
sisting of the autograph
and contemporary
performance material. It
goes without saying that
the issue of the proper
numbering of the Schubert
symphonies - as
controversial as ever
today - is given a
decisive and definitive
treatment in the
Preface.
Peter
Hauschilds Urtext edition
of the Great C major
Symphony i the first
source critical edition
of the posthumously
published work which can
be used in performance as
well.
Orchestra SKU: BP.BP2200B Composed by Dan Forrest. Band and orchestra. Fu...(+)
Orchestra
SKU:
BP.BP2200B
Composed
by Dan Forrest. Band and
orchestra. Full score and
parts. Beckenhorst Press
#BP2200B. Published by
Beckenhorst Press
(BP.BP2200B).
Printed
product.
Full
score and parts for flute
1,2, oboe, B-flat
clarinet 1,2, bassoon I,
II, horn in F 1,2,
trombone 1,2, tuba,
percussion, harp, violin
I, II, viola, cello and
double bass.
Note:
This scoring can be used
flexibly to accommodate
various instrumental
ensemble sizes, allowing
balance with choirs of
varying sizes, and for
more quiet/gentle
performances or
larger/more dramatic
interpretations.
Performance options
include:
The
piano part (from choral
octavo) can be used with
any performance, but is
not required if harp and
winds are used.
ISBN 9790006575213. 33
x 24 cm inches. Text
Language: French. Louis
de Cahusac.
This
collection of the
instrumental numbers from
Zoroastre, a Tragdie in
five acts includes the
movements and dances of
all the original
versions, i.e. those of
January and February 1756
(found in the Opera Omnia
Rameau volume IV.26,
BA08867-01) as well as
those of 1749. Orchestras
can compile a suite to
meet precisely their own
needs. For this purpose,
the index includes a
separate overview sorted
by key. The performance
material of the
Symphonies is available
on hire reflecting the
high standard of Opera
Omnia.
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: PR.416415720 For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.416415720
For
Orchestra. Composed
by Narong Prangcharoen.
Full score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572. Published by
Theodore Presser Company
(PR.416415720).
UPC:
680160636150.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Orchestra SKU: PR.41641572L For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.41641572L
For
Orchestra. Composed
by Narong Prangcharoen.
Large Score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572L. Published by
Theodore Presser Company
(PR.41641572L).
UPC:
680160636167.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.