For Alto Sax, Circus Band & Wind Orchestra. Composed by Johan De Meij. A...(+)
For Alto Sax, Circus Band
&
Wind Orchestra. Composed
by
Johan De Meij. Amstel
Music.
Concert. Softcover.
Amstel
Music #AM146-070.
Published
by Amstel Music
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.
From Circus World Score and Parts. Composed by Dimitri Tiomkin (1894-1979). ...(+)
From Circus World Score
and
Parts. Composed by
Dimitri
Tiomkin (1894-1979).
Arranged
by Patrick Russ. Symphony
Pops. Movies. Conductor
Score
(Full Score) and Parts.
Published by Hal Leonard
Urtext
based on the Complete
Edition Jean Sibelius
Works (JSW). Composed
by Jean Sibelius. Edited
by Tuija Wicklund.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphony; Early modern;
Late-romantic. Full
score. 96 pages. Duration
40'. Breitkopf and
Haertel #PB 5694.
Published by Breitkopf
and Haertel (BR.PB-5694).
ISBN 9790004216316. 10
x 12.5 inches.
In
the fall of 1909 Sibelius
wrote in his diary: At
Koli! One of the greatest
impressions in my life.
Plans [for] 'La
Montagne'! These plans
proved to be for the
Fourth Symphony. The
composition process was
not an easy one and in
the end - according to
his diary - Sibelius was
struggling with God! and
only just able to finish
the work in time for the
premiere in spring 1911:
My new symphony is a
total protest against
present-day compositions.
Nothing - absolutely
nothing of the circus [in
it]. This extraordinary
work was at first found
difficult to understand
although its technical
brilliance was
recognized. The
appreciation of the
Fourth has, however,
grown in the course of
years.
Orchestra SKU: PR.41641090L Composed by Iain Hamilton. Large Score. With ...(+)
Orchestra
SKU:
PR.41641090L
Composed
by Iain Hamilton. Large
Score. With Standard
notation. Theodore
Presser Company
#416-41090L. Published by
Theodore Presser Company
(PR.41641090L).
The Circus Bee Orchestre [Conducteur et Parties séparées] Carl Fischer
March. By Henry Fillmore. Edited by Robert E. Foster. Arranged by Robert E. Fost...(+)
March. By Henry Fillmore.
Edited by Robert E.
Foster. Arranged by
Robert E. Foster. Concert
Band. For Flute, Piccolo,
Oboe I, Oboe II, Clarinet
I, Clarinet II, Clarinet
III, Bass Clarinet,
Bassoon, Alto Saxophone
I, Alto Saxophone II,
Tenor Saxophone, Baritone
Saxophone, Trumpet I,
Trumpet II, Trumpet III,
Trumpet IV, Horn I, Horn
II, Horn III, Horn IV,
Tenor I, Tenor II, Tenor
III, Baritone (Treble
Clef in Bb), Baritone
(Bass Clef), Tuba, Snare
Drum, Bass Drum. Henry
Fillmore Band Series (An
Authentic Fillmore
Edition). Classical.
Score and Set of Parts.
Published by Carl
Fischer.
Mixed Choir; Orchestra (Study Score) SKU: HL.48025342 Opera in Three A...(+)
Mixed Choir; Orchestra
(Study Score)
SKU:
HL.48025342
Opera
in Three Acts Study
Score. Composed by
Igor Stravinsky. Boosey &
Hawkes Scores/Books.
Classical, Opera.
Softcover. Boosey &
Hawkes #M060140211.
Published by Boosey &
Hawkes (HL.48025342).
UPC:
196288176404.
New
edition of Stravinsky's
largest work, his only
full-length work for the
theatre, and his first
major work in English. It
also represents the
culmination of his
neoclassical years, after
which he started to
rethink his musical
language. Inspired by an
exhibition in Chicago in
1947 of a series of
Hogarth prints, the
depiction of the ironic
progress of the
spendthrift heir of a
miser from wealth via
debt to madness and death
is, in essence, retained
in the opera. Auden and
Kallman's 'fable' wittily
grafts onto Hogarth's
quest narrative aspects
of, among other sources,
Classical pastoral, the
Faust legend, fairy tale,
circus, the Bible and
opera in many different
manifestations. This is
brilliantly matched by
Stravinsky's music, which
takes as its source the
whole of operatic history
from Monteverdi to Verdi
via Rossini and Donizetti
and large doses of
Mozart, yet it is neither
parody nor pastiche. The
RakeÂ’s Progress can
be appreciated on many
levels, which might
explain why it is still
one of only a handful of
20th-century operas never
to have been out of the
repertoire.