Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764)....(+)
Fete with a Prologue and
3
Acts. Composed by Jean-
Philippe Rameau
(1683-1764).
Edited by Julien
Dubruque.
This edition: urtext
edition.
Paperback. Symphonies /
Versions of 1746 and
1745.
Score, anthology. RCT 59.
Baerenreiter Verlag
#BA07563.
Published by Baerenreiter
Verlag
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.
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Soprano, baritone, spoken
voice, mixed choir
(SSSSAAAATTTTBBBB, and 9
boys' voices, S/A) and
orchestra (Score) -
difficult
SKU:
HL.49006187
(The
Raft of the Medusa).
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1968/1990. 168 pages.
Duration 70'. Schott
Music #ED6326. Published
by Schott Music
(HL.49006187).
ISBN
9790001067270. UPC:
884088099282.
8.25x11.75x0.41 inches.
German - English.
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all
SKU:
PR.816600040
Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040).
UPC:
680160600045. 5.5x5
inches.
This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1)
CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series.
By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by ...(+)
By Antonio Carlos Jobim.
Edited by Rob Duboff and
Jeffrey Sultanof.
Arranged by Claus
Ogerman. For studio
orchestra (English Vocal,
Portuguese Vocal,
Woodwind 1: Piccolo/Bass
Flute (Alto Flute Alt
Part)/C Flute, Woodwind
2: Piccolo/Bass Flute
(Alto Flute Alt Part)/C
Flute/Alto Flute,
Woodwind 3: Bass Flute
(Alto Flute Alt Part)/C
Flute/Alto Flute,
Woodwind 4: Bass Flute).
Recorded by Antonio
Carlos Jobim. Bossa Nova.
Medium. Score and parts.
Published by Jazz Lines
Publications
Composed by Camp Kirkland. Allegis. Christmas. Conductor's score and instrumenta...(+)
Composed by Camp
Kirkland. Allegis.
Christmas. Conductor's
score and instrumental
parts. Allegis
#765762134300. Published
by Allegis
(LO.765762134300).
Composed by Edward Elgar.
Edited by Barbara Mohn.
Carus digital: Extra
digital products. Full
Score. Composed 1900. Op.
38. Duration 100 minutes.
Carus Verlag #2300400.
Published by Carus Verlag
(CA.2300400).
ISBN
9790007240783.
English/German. Text:
Newman, John
Henry.
This is the
best of me, wrote Edward
Elgar after the final
measure of his Dream of
Gerontius. Premiered in
1900, in Great Britain
the work has long been a
standard work in the
repertoire of large
oratorio choirs. Elgar's
moving, poetic setting of
the eponymous poem by
Cardinal John Henry
Newman is about a dying
man and his journey
beyond death to God.
Before the eyes of the
listeners, a musical
image of the soul is
created which flies past
mocking demons to God
with its protecting angel
at its side, is allowed
to look at God briefly,
then faces the purgatory
confident and comforted.
The work is a real rarity
in the history of
oratorio, and for large
choirs it is a thrilling
alternative to the
established repertoire of
Requiem settings. Its
popularity is thanks to
the suggestive, often
sensuous power of the
music, the great choral
scenes of the demons and
the angels, and the three
impressive solo
parts.All
previous editions were
reprints based on the
historic first printed
materials, which are
inconsistent. By
contrast, Carus has
produced a modern,
newly-engraved edition,
compatible in all
sections, which takes all
the sources into
consideration and
evaluates the autograph
manuscript in detail. For
this edition the complete
orchestral material is
available on sale, and
the vocal score and full
score contain both
English and German
singing texts. The full
score is also available
digitally.*,A milestone of late
Romantic choral music,
and a standard work in
Great Britain*,First
modern score with a full
Critical Report and
complete performance
material- English and
german singing
texts
Composed by Edward Elgar.
Edited by Barbara Mohn.
Vocal score. Composed
1900. Op. 38. Duration
100 minutes. Carus Verlag
#2300403. Published by
Carus Verlag
(CA.2300403).
ISBN
9790007240790.
English/German. Text:
Newman, John
Henry.
This is the
best of me, wrote Edward
Elgar after the final
measure of his Dream of
Gerontius. Premiered in
1900, in Great Britain
the work has long been a
standard work in the
repertoire of large
oratorio choirs. Elgar's
moving, poetic setting of
the eponymous poem by
Cardinal John Henry
Newman is about a dying
man and his journey
beyond death to God.
Before the eyes of the
listeners, a musical
image of the soul is
created which flies past
mocking demons to God
with its protecting angel
at its side, is allowed
to look at God briefly,
then faces the purgatory
confident and comforted.
The work is a real rarity
in the history of
oratorio, and for large
choirs it is a thrilling
alternative to the
established repertoire of
Requiem settings. Its
popularity is thanks to
the suggestive, often
sensuous power of the
music, the great choral
scenes of the demons and
the angels, and the three
impressive solo
parts.All
previous editions were
reprints based on the
historic first printed
materials, which are
inconsistent. By
contrast, Carus has
produced a modern,
newly-engraved edition,
compatible in all
sections, which takes all
the sources into
consideration and
evaluates the autograph
manuscript in detail. For
this edition the complete
orchestral material is
available on sale, and
the vocal score and full
score contain both
English and German
singing texts. The full
score is also available
digitally.*,A milestone of late
Romantic choral music,
and a standard work in
Great Britain*,First
modern score with a full
Critical Report and
complete performance
material- English and
german singing
texts
(Study Score -
Flute/Piccolo, Oboe,
Clarinet, Horn, Bassoon,
Bass). Composed by Leos
Jan�¡cek. Edited by
JirÃ?Â
Zahr�¡dka. For Mixed
Woodwind Ensemble,
Woodwind Ensemble (Study
Score). Henle Study
Scores. Softcover. G.
Henle #HN7093. Published
by G. Henle
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Voice; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Set of parts. 1116 pages.
Duration 65'. Breitkopf
and Haertel #OB 5641-60.
Published by Breitkopf
and Haertel
(BR.OB-5641-60).
ISBN
9790004348833. 10.5 x 14
inches.
The Song of
the Earth, composed in
the summer of 1908, is
Mahler's best-known and
most personal work.
Reflecting drastic
changes in his life, its
immense emotional density
is very moving. Until the
very end, Mahler
continued to refine the
extremely differentiated
instrumentation, as is
evident in numerous
retouchings in the
autograph score and
engraver's model. It is
therefore all the more
regrettable that he was
neither able to perform
his Symphony in Songs
himself nor that he was
involved in its printing.
Unfortunately, in the
posthumously published
first edition of 1912 and
the subsequent editions
edited by Erwin Ratz and
Karl Heinz Fussl, many
questions remained
unanswered, while other
were answered in a
dubious way.The edition
is the first
text-critical one of the
work on a scientifically
sound basis. It offers
not only a more reliable
musical text, but also
systematically and
lucidly prepared
information on the
sources, their
transmission and
evaluation. All editorial
decisions have been
documented in a
transparently
comprehensible manner -
in particular those
leading to new audible
results. Work-related
notes on performance
practice, which for the
first time include
Mahler's conducting
indications, offer
valuable, indispensable
interpretive aids. In
addition to the regular
five clarinet parts, the
set of parts includes two
additional parts (3rd
clarinet/Eb clarinet,
bass clarinet/3rd
clarinet in places where
the latter plays Eb
clarinet) to allow
performances with only
four clarinets.The
completely revised piano
reduction reproduces the
orchestral texture true
to the score without
losing sight of
playability. Both
Mahler's piano autograph
and the piano reduction
by Woss, which was
commissioned by the
composer himself, served
as an inspiration for
this.
By Mark Hayes. Orchestra. For SATB divisi Choir, Solo Quartet, flute/piccolo, ob...(+)
By Mark Hayes. Orchestra.
For SATB divisi Choir,
Solo Quartet,
flute/piccolo,
oboe/english horn,
clarinet, bassoon, horn,
trumpet, percussion,
harp, piano (for
rehearsal only), violin 1
and 2, viola, cello, bass
(with optional orchestra:
Flute/Piccolo,
Oboe/English Horn,
Clarinet, Bassoon, Horn,
Trumpet, Percussion,
Harp, Piano (for
rehearsal only), Violin 1
and 2, Viola, Cello,
Bass). Christmas,
General. Orchestral Score
and Parts. Published by
Roger Dean Publishing
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 SKU: PR.41641614L For Flute, Oboe, Clarinet in B-flat, Basso...(+)
Orchestra
SKU:
PR.41641614L
For
Flute, Oboe, Clarinet in
B-flat, Bassoon, and
Orchestra. Composed
by Narong Prangcharoen.
Spiral. Large Score. 53
pages. Duration 17
minutes. Theodore Presser
Company #416-41614L.
Published by Theodore
Presser Company
(PR.41641614L).
UPC:
680160642458. 11 x 17
inches.
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) SKU: HP.C6075O Composed by Mary McDonald. Piano with Optional...(+)
(Orchestra)
SKU:
HP.C6075O
Composed by
Mary McDonald. Piano with
Optional Orchestra. Palm
Sunday, Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#C6075O. Published by
Hope Publishing Company
(HP.C6075O).
UPC:
763628260750. Rose
Aspinall.
Original
Palm Sunday anthem This
original Palm Sunday
anthem is brimming with
rhythmic energy as it
portrays the events of
Jesus, the Blessed
Messiah, entering into
Jerusalem. The text
explores the many
questions that were asked
of who he was and if he
really was the Son of
God. The powerful
conclusion exclaims in
affirmation, You are the
way, the truth, and the
life, Son of God, Blessed
One! Messiah! This comes
from Mary McDonald's
musical My Savior's Love,
code no. 8701.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax or
Clarinet), Clarinet, Horn
in F (or Alto Sax or
Clarinet), 2 Trumpets (or
Alto Sax), 2 Trombones
(or Baritone T. C. or
Tenor Sax), Percussion 1
& 2, Piano, Synth,
Electric Bass, 2 Violins,
Cello/Bassoon (or Bass
Clarinet), String
Reduction.
Mladi - Die Jugend Orchestre [Conducteur d'étude / Miniature] Barenreiter
(Blasersextett). By Leos Janacek (1854-1928). Edited by Jan Dolezal. For Flute (...(+)
(Blasersextett). By Leos
Janacek (1854-1928).
Edited by Jan Dolezal.
For Flute (including
piccolo) Oboe, Clarinet,
Horn, Bassoon,
Bass-Clarinet. Study
Score (paperbound).
Published by Baerenreiter
Verlag
La Mer Orchestre [Conducteur d'étude / Miniature] Barenreiter
(Trois esquisses symphoniques). Composed by Claude Debussy (1862-1918). Edited b...(+)
(Trois esquisses
symphoniques). Composed
by Claude Debussy
(1862-1918). Edited by
Douglas Woodfull-Harris.
For orchestra (2
flutes/soprano flute/2
oboes/english
horn/clarinet/2
bassoons/5
contrabassoons/2
trumpets/horn/2
trombones/tuba/percussion
/celeste/2
harps/strings). This
edition: Urtext edition.
Paperback. Study score.
Text Language:
English/French/German.
Duration 10 minutes.
Published by Baerenreiter
Verlag
Orchestra SKU: HL.48182136 Composed by Olivier Messiaen. Leduc. Classical...(+)
Orchestra
SKU:
HL.48182136
Composed
by Olivier Messiaen.
Leduc. Classical.
Softcover. 226 pages.
Alphonse Leduc #AL23077.
Published by Alphonse
Leduc (HL.48182136).
UPC: 888680835514.
7.25x10.75x0.704
inches.
Completed
in 1960, Time-Colour by
Olivier Messiaen is a
famous orchestral piece
composed by this author.
This edition, published
as a book, features the
conductor?s score with
all the following
instruments: 16 First
Violins, 16 Second
Violins, 14 Violas, 12
Cellos, 10 Double Basses,
1 Piccolo, 3 Flutes, 3
Oboes, 4 Clarinets, 3
Bassoons, 1 Piccolo
Trumpet, 3 C Trumpets, 4
F Horns, 3 Trombones, 1
Tuba, Suspended And
Chinese Cymbal, 1
Glockenspiel, 1
Xylophone, 1 Marimba. It
is written in seven
movements: Introduction,
Strophe I, Antistrophe I,
Strophe II, Antistrophe
II, Epode and Coda; and
The Epode features
birdsong and is played by
18 of the string
instruments. Olivier
Messiaen (1908-1992) was
a French organist and
composer passionate about
Ornithology and one of
the most important
composer of his century.
Inspired by Japanese
music, he had a very
special way of composing
and his work can be
identified by its
complexity, its diatonic
aspect, its harmony with
limited transposition,
its colour and its
additive rhythms. He
composed many works
related to ornithology
and birdsong, including
the 'Bird Catalogue' in 7
volumes..