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 3 SKU: AP.49470 Composed by Richard Meyer (ASCAP). Make...(+)
Orchestra - Grade 3
SKU: AP.49470
Composed by Richard Meyer
(ASCAP). MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland String Orchestra
(HSO). Form: Dance.
Meters. Score and
Part(s). Duration 4:10.
Highland/Etling
#00-49470. Published by
Highland/Etling
(AP.49470).
ISBN
9781470650100. UPC:
038081570884.
English.
This
lively rondo begins with
the famous theme from
Paganini's Caprice #24,
reworked into a 5/4 dance
with a cool vibe. Woven
into the rondo form are
three original dances (a
tango, a country dance
and a waltz)---each a
musical adventure of its
own. The colorful
orchestration by Richard
Meyer gives every member
of your ensemble an
unforgettable and joyful
experience while the wide
variety of playing styles
and musical challenges
make New Chances, New
Dances an imaginative
selection---the perfect
choice for contest or
festival. (4:10) This
title is available in
MakeMusic Cloud.
Orchestra SKU: BA.BA05822-01 Composed by Christoph Willibald Von Gluck. E...(+)
Orchestra
SKU:
BA.BA05822-01
Composed by Christoph
Willibald Von Gluck.
Edited by Irene
Brandenburg. Arranged by
Carlo Bernardi and
Gasparo Angiolini. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA05822-01.
Published by Baerenreiter
Verlag (BA.BA05822-01).
ISBN 9790006567454. 33
x 26 cm inches. Preface:
Brown, Bruce
Alan.
To conclude
Series II (Dance Dramas)
from the Gluck Complete
Edition (GGA), this
volume of Christoph
Willibald Gluck's
earliest contributions to
the genre comprises six
ballet scores from 1759
(La Promenade, Les
Jardiniers, Les Turcs,
Les Savoiards, Les Amours
de Flore et Zphire, and
Le Suisse) as well as the
ballet music for Les
Vendanges, which dates
from 1761. These works
belong to the
compositions â also
called Krumau ballets
because of their musical
transmission â which
Gluck created in Vienna
between 1759 and 1765 for
the court theatres in
Laxenburg and
Schönbrunn as well as
the
Kärntnertortheater,
and which are to be
attributed to him as a
ballet composer around
the middle of the 18th
century in Viennese
theatre life based on the
considerations presented
in the general
preface.
Together
with volumes II/3 to
II/5, ballet music by
Gluck is available whose
sources come from the
former Schwarzenberg
court archive in Ceský
Krumlov, Czech Republic,
and which until the
Velvet Revolution of
1989, lay behind the Iron
Curtain remaining largely
inaccessible and
unexplored by Western
scholars. These volumes
reflect two fundamental
developments in Gluck
research: on the one
hand, they provide a
significantly expanded,
historically more
accurate idea of what it
meant to compose for the
ballet in the 18th
century; on the other
hand, they bring to light
an immense treasure trove
of sources formerly of
Viennese
provenance.
In
addition to the detailed
introduction by this
volumeâs editor on
the ballet choreographies
of Gasparo Angiolini and
Carlo Bernardi, on the
formation of the ballet
troupes of the Viennese
theatres in Gluck's early
years there, on ballet
types and genres, as well
as a detailed account of
the individual titles,
the volume includes a
general preface to
volumes II/3 through II/5
by Bruce Alan Brown,
which discusses Gluck's
ballet music in Vienna in
general as well as the
development of research
into this genre.
Extensive illustrations
(partly from the
so-called Durazzo
Collection) with
reference to the
choreographies enrich the
discussions. The ballet
works, which have
survived in only one
source each, appear in
print for the first time
in this volume of the
Gluck Complete
Edition.
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 Antonin Dvorak (1841-1904). Arranged by Richard Meyer. Full Orches...(+)
Composed by Antonin
Dvorak
(1841-1904). Arranged by
Richard Meyer. Full
Orchestra;
MakeMusic Cloud;
Performance
Music Ensemble; Single
Titles.
Highland/Etling First
Philharmonic. Form:
Dance.
Masterwork Arrangement;
Romantic. Score and
Part(s).
Duration 3:30.
Highland/Etling
#00-49925. Published by
Highland/Etling
Aragonaise from Carmen Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
By Georges Bizet (1838-1875). Arranged by Richard Meyer. Orchestra. Full Orchest...(+)
By Georges Bizet
(1838-1875). Arranged by
Richard Meyer. Orchestra.
Full Orchestra;
Masterworks; Part(s);
Score; SmartMusic.
Highland First
Philharmonic. Form:
Dance; Transcription.
Latin; Masterwork
Arrangement; Romantic.
Grade 2. 184 pages.
Published by Alfred Music
Publishing
By Georges Bizet (1838-1875). Arranged by Richard Meyer. Orchestra. Full Orchest...(+)
By Georges Bizet
(1838-1875). Arranged by
Richard Meyer. Orchestra.
Full Orchestra;
Masterworks; Score.
Highland First
Philharmonic. Form:
Dance; Transcription.
Latin; Masterwork
Arrangement; Romantic.
Grade 2. 24 pages.
Published by Alfred Music
Publishing
Jouissance vous
donnerai. Arranged by
Deborah Baker Monday.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Form: Dance.
Renaissance; Traditional.
Score and Part(s). 80
pages. Duration 1:45.
Belwin Music #00-44798.
Published by Belwin Music
(AP.44798).
UPC:
038081517292. English.
Traditional.
One of
several popular dances
from time of the French
Renaissance, jouissance
refers to a dance in
which the feet stay on
the floor, as opposed to
one with leaps or lifts.
This setting by Deborah
Baker Monday has a
driving pulse with
attractive modal
harmonies in the friendly
key of E natural minor.
All instruments have
melodic lines. This
arrangement also provides
a great opportunity for
teaching double up-bows
and two-note slurs
followed by two separate
notes. The added
percussion part will make
this piece a great
selection for festival or
your next concert!
(1:45).
Orchestra SKU: BT.YKM570369270 Composed by Robert Saxton. Score Only. Com...(+)
Orchestra
SKU:
BT.YKM570369270
Composed by Robert
Saxton. Score Only.
Composed 2021. 70 pages.
University of York Music
Press #YKM570369270.
Published by University
of York Music Press
(BT.YKM570369270).
A Hymn to the
Thames was commissioned
by James Turnbull and the
Music Director of the St
Paul’s Sinfonia, Andrew
Morley. It was begun in
2019 and completed early
in 2020. There are four
movements played without
a break, which follow the
Thames from its Cotswold
source to the North Sea.
As the first performance
took place in St
ALfege’s Church,
Greenwich, this seemed
appropriate. The solo
oboe represents both a
wanderer along the river
path and the spirit of
the river. The pitch
centres of the movements
spell out the musical
letters of the river
(tHAmES—B natural, A, E
and E flat) so that the
river’s name is
projected across the
whole work. In addition,
the musical letters found
in James Turnbull, Andrew
Morley and my wife,
Teresa Cahill ( who was
born in Maidenhead and
brought up by the river
in Rotherhithe) are
entwined in various
guises. The first
movement grows from the
depths, the soloist
entering with
fanfare-like gestures,
followed by lyrical music
and breaks into a dance
as the river gathers
momentum. The third
movement is slow and
sustained and
geographically the Thames
flows through Oxford. The
music is based on the
well-known In Nomine
‘head motif’ from the
Gloria tibi Trinitas Mass
by the early Tudor
composer, John Taverner,
who was the first
Director of Music at
Christ Church, Oxford.
The orchestra provides a
screen or veil above
which the solo oboe
dreams and ruminates.
This leads directly into
the fourth and final
movement which begins in
the depths once more,
interrupting the oboe’s
held note from the end of
the third movement. The
waters’ increasing
intensity and power are
represented throughout by
a moto perpetuo of quick,
steady semiquavers. Near
the close, the woodwind
play O Nata Lux by Thomas
Tallis, the great Tudor
composer who, with his
wife Joan, is buried in
St Alfege’s. Beneath
this, the lower strings
continue the fast
semiquaver movement of
the river and, above, the
violins are heard as a
halo of harmonics. At the
close, the oboe rises,
opening out to the
future, and celebrating
its voyage, while the
orchestra fades as the
river meets the sea. A
Hymn to the Thames lasts
approximately 17
minutes.
Symphonies. Composed by Jean- Philippe Rameau (1683-1764). Edited by Thomas Sou...(+)
Symphonies. Composed by
Jean-
Philippe Rameau
(1683-1764).
Edited by Thomas Soury.
This
edition: urtext edition.
Paperback. Score,
anthology.
Baerenreiter Verlag
#BA08895_00. Published by
Baerenreiter Verlag
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
String Orchestra (Full Score) SKU: HL.51483320 For String Orchestra St...(+)
String Orchestra (Full
Score)
SKU:
HL.51483320
For
String Orchestra Study
Score. Composed by
Edvard Grieg. Edited by
Ernst-Gü and nter
Heinemann. Henle Music
Folios. Classical.
Softcover. 28 pages. G.
Henle #HN3320. Published
by G. Henle
(HL.51483320).
UPC:
196288308140.
9.25x12.25x0.13
inches.
The
occasion for the
composition, described as
a âsuite in the old
styleâ, was the
200th birthday of the
Norwegian-Danish poet
Ludvik Holberg
(1684-1754), which was
celebrated in Bergen with
several festive events.
Initially, a piano
version of the work was
written in August 1884,
but the composer already
had the arrangement for
string orchestra in mind,
which he made just one
month later. As a
starting point, Grieg
chose baroque dance
movements from Holberg's
era, but skilfully
combined them with
elements of his own tonal
language, such as
chromatic progressions
and dynamic swells. The
orchestral version of the
âHolberg
Suiteâ, which was
very successful right
from the beginning, is
still one of Grieg's most
popular compositions
today and now enriches
the Henle programme for
string orchestra.
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 workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra SKU: HL.14021025 Composed by Sir Peter Maxwell Davies. Music Sa...(+)
Orchestra
SKU:
HL.14021025
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. 48 pages. Chester
Music #CH61838. Published
by Chester Music
(HL.14021025).
ISBN
9780711986138.
5.5x7.5x0.164
inches.
Miniature
Score. This work was
commissioned by the Royal
Philharmonic Orchestra.
It was first performed on
13th May 1998 London.
This piece is based on a
genuine old tune
'Maxwell's Strathspey'
which the composer found
in an 1824 collection of
Scottish melodies, and
which unfolds at the
start of the piece on
solo cello. Variations
and a bold up-tempo to
the quick dance we know
as a reel ultimately
yield to the magic that
has been promised right
at the start: the
northern lights take over
at the end of the piece.
Its inspiration comes
from a walk to a
community event in Hoy
Hall, during which Davies
saw the lights in the sky
pulsing in and out of
time with the sounds
coming from the hall.
Duration 12 minutes.
Conductor's score and
orchestral parts are
available on hire.
Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover...(+)
Orchestral Score.
Composed by
Alan Menken. This
edition:
Paperback/Softcover.
Sheet
music. Study score.
Composed
2010. Omni Music
Publishing
#OMNI 50796. Published by
Omni
Music Publishing
(Full Score Critical Edition). Composed by Cole Porter. Orchestra. For Voice. Th...(+)
(Full Score Critical
Edition). Composed by
Cole Porter. Orchestra.
For Voice. This edition:
Full Orchestral Score
(Case Bound). Full
Orchestra (Full Score);
Score. Broadway. 754
pages. Published by
Alfred Music
Sword Dance Orchestre [Conducteur] - Débutant Alfred Publishing
Arranged by Bob Phillips. Orchestra. Full Orchestra; Masterworks; Score. Beginni...(+)
Arranged by Bob Phillips.
Orchestra. Full
Orchestra; Masterworks;
Score. Beginning Full
Orchestra. Form: Dance.
Masterwork Arrangement;
Renaissance. Grade 1. 12
pages. Published by
Alfred Music Publishing
Sword Dance Orchestre [Conducteur et Parties séparées] - Débutant Alfred Publishing
Arranged by Bob Phillips. Orchestra. For full (timpani, snare drum, bass drum, t...(+)
Arranged by Bob Phillips.
Orchestra. For full
(timpani, snare drum,
bass drum, triangle,
tamb, vln3). Full
Orchestra; Masterworks;
Part(s); Score. Beginning
Full Orchestra. Form:
Dance. Masterwork
Arrangement. Grade 1. 120
pages. Published by
Alfred Music Publishing
Orchestra (Study Score) SKU: HL.49009618 For Orchestra. Composed b...(+)
Orchestra (Study Score)
SKU: HL.49009618
For Orchestra.
Composed by Richard
Strauss. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1923. O.
Op. AV. 107. 128 pages.
Duration 32'. Eulenburg
Edition #ETP 1453.
Published by Eulenburg
Edition (HL.49009618).
ISBN 9790200211283.
UPC: 073999354379.
5.25x7.5x0.213
inches.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
Tatarian Dances Orchestre [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
Arranged by Elena Roussanova Lucas. Traditional. For Full Orchestra. Full Orches...(+)
Arranged by Elena
Roussanova Lucas.
Traditional. For Full
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. Level: 5
(grade 5). Conductor
Score and Parts. 324
pages. Published by
Alfred Publishing.
Composed by Sheila
Sandys-Wunsch.
Performance Music
Ensemble; Quartet; String
Quartet. Ludwig Masters.
Score. LudwigMasters
Publications
#36-52703425. Published
by LudwigMasters
Publications
(AP.36-52703425).
ISBN
9781628761757. UPC:
679360720424.
English.
Experience
adventures in 3rd
position for Violin 1
with experimentation in
easy flat keys, 6/8 time
and mixed meters!
With thematic
material in all parts,
this set is a
technique-builder for
intermediate players.
The score is
included with the parts.
Contents: Skye Boat
Song, Marie's Wedding,
She's Like the Swallow,
Greensleeves, Dashing
White Sergeant, Amazing
Grace, Blow the Wind
Southerly, Country Dance,
Hornpipe, In a Manger He
is Lying, Zither
Carol.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
7 Modern Dances for
Orchestra Study
Score. Composed by
Má, s Seiber, and
tyá. Arranged by
Wolfgang Lichter. This
edition: Saddle
stitching. Sheet music.
Concertino. Classical.
Softcover. Composed 1935.
48 pages. Duration 20'.
Schott Music #CON257.
Published by Schott Music
(HL.49018017).
ISBN
9790001152419.
9.0x12.0x0.2
inches.
After
completing his studies
with Zoltan Kodaly, the
Hungarian composer
Mathias Seiber
(1905-1960) first worked
as a musician in a dance
orchestra on an ocean
liner which gave him the
opportunity to listen to
jazz music in New York.
From 1928 he taught the
first jazz class
worldwide at Dr. Koch's
Conservatoire in
Frankfurt. In the winter
term of 1928/29, 19
students had registered
with whom he gave a
public concert on 3 March
1929 which was broadcast
by Radio Frankfurt. After
the Nazis had seized
power, the jazz class was
dissolved, Seiber lost
his job and emigrated to
London.In 1932 he wrote
his piano cycle 'Leichte
Tanze' (Easy Dances), one
of the early examples of
the adoption of jazz
forms and styles in
so-called serious music.
The present arrangement
for orchestra is easily
playable and is aimed at
youth and amateur
orchestras.
Instrumentation: 2
flutes, clarinet, oboe
(ad lib.), alto
saxophone, trumpet,
bassoon and strings.
Movements: Cake Walk -
Novelty Foxtrot - Gipsy
Tango - Waltz - Walzer -
Blues - Charleston.
Lake Dance Orchestre - Intermédiaire Highland/Etling
Orchestra - Grade 3.5 SKU: AP.31615 Composed by William Harbinson. Full O...(+)
Orchestra - Grade 3.5
SKU: AP.31615
Composed by William
Harbinson. Full
Orchestra; Performance
Music Ensemble; Single
Titles. Highland/Etling
Full Orchestra. Form:
Dance. Meters. Score and
Part(s). 228 pages.
Duration 6:02.
Highland/Etling
#00-31615. Published by
Highland/Etling
(AP.31615).
UPC:
038081355993.
English.
Recurring
themes within contrasting
sections, ranging from
the majestic to a
spirited dance, will
delight audiences and
players alike. Mixed
meters, asymmetrical
meters and the playful
development of previous
motives characterize the
development section,
leading into a rousing
finale. Great
contemporary composition!
(6:02).
Cumberland Cross Orchestre [Conducteur] - Intermédiaire Alfred Publishing
Concert Band; Orchestra - Grade 4 SKU: AP.49212S Composed by Carl Stromme...(+)
Concert Band; Orchestra -
Grade 4
SKU:
AP.49212S
Composed by
Carl Strommen. 5 or More;
Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Alfred Concert Band.
Score. Duration 3:30.
Alfred Music #00-49212S.
Published by Alfred Music
(AP.49212S).
ISBN
9781470648534. UPC:
038081569338.
English.
This
version of Cumberland
Cross by Carl Strommen 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 5 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. 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.
Your band will
sound great with Carl
Strommen's classic
original piece.
Cumberland Cross explores
the rich American folk
style in two sections.
The first has broad,
moving harmonies under a
Shenandoah-like melody,
and the second a lively
dance reminiscent of
Copland. It is not too
difficult, yet very
impressive!
Concert Band; Orchestra - Grade 4 SKU: AP.49212 Composed by Carl Strommen...(+)
Concert Band; Orchestra -
Grade 4
SKU:
AP.49212
Composed by
Carl Strommen. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Alfred Concert Band.
Score and Part(s).
Duration 3:30. Alfred
Music #00-49212.
Published by Alfred Music
(AP.49212).
ISBN
9781470648527. UPC:
038081569321.
English.
This
version of Cumberland
Cross by Carl Strommen 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 5 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. 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.
Your band will
sound great with Carl
Strommen's classic
original piece.
Cumberland Cross explores
the rich American folk
style in two sections.
The first has broad,
moving harmonies under a
Shenandoah-like melody,
and the second a lively
dance reminiscent of
Copland. It is not too
difficult, yet very
impressive!
Lake Dance Orchestre [Conducteur] - Intermédiaire Highland/Etling
Orchestra - Grade 3.5 SKU: AP.31615S Composed by William Harbinson. Full ...(+)
Orchestra - Grade 3.5
SKU: AP.31615S
Composed by William
Harbinson. Full
Orchestra; Performance
Music Ensemble; Single
Titles. Highland/Etling
Full Orchestra. Score. 24
pages. Duration 6:02.
Highland/Etling
#00-31615S. Published by
Highland/Etling
(AP.31615S).
UPC:
038081356006.
English.
Recurring
themes within contrasting
sections, ranging from
the majestic to a
spirited dance, will
delight audiences and
players alike. Mixed
meters, asymmetrical
meters and the playful
development of previous
motives characterize the
development section,
leading into a rousing
finale. Great
contemporary composition!
(6:02).
Composed by Antonin
Dvorak. Arranged by
Richard Meyer. Full
Orchestra; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Highland/Etling First
Philharmonic. Masterwork
Arrangement; Romantic.
Score. Duration 3:30.
Highland/Etling
#00-49925S. Published by
Highland/Etling
(AP.49925S).
ISBN
9781470662356. UPC:
038081579559.
English.
Faithful
to the original, Richard
Meyer's arrangement of
Dance No. 7 retains
Dvorák's bold and
brilliant orchestration,
with exciting and
meaningful parts for
every instrument. Your
students and audience
will love the immediately
appealing melodies, the
delightful shifts from
major to minor modes, and
the imaginative canonic
effects that permeate
this work. (3:30).
Chamber Orchestra (Full Score) SKU: HL.238501 For Soprano Saxophone an...(+)
Chamber Orchestra (Full
Score)
SKU:
HL.238501
For
Soprano Saxophone and
Chamber Orchestra.
Composed by Michael
Nyman. Music Sales
America. Classical,
Contemporary. Softcover.
Composed 2017. 116 pages.
Duration 1440 seconds.
Chester Music #CH76296.
Published by Chester
Music (HL.238501).
UPC: 888680797225.
12.0x16.5
inches.
This
saxophone concerto,
written in one continuous
movement with a wide
variety of tempi,
celebrates the talents of
John Harle, who has been
a central player in the
Michael Nyman Band for
over ten years. Composed
in 1991, The title is in
refence to the spiraling
dance of a scout bee who
has discovered a food
source and intends to
communicate this back to
the members of the hive.
These circluar motions
are reflected in
figurations of the work.
It was first performed in
2002 by the Central
England Ensemble with
Sarah James as the
soloist.
ISBN 9790006523375.
32.9 x 23.9 cm inches.
Text Language:
French/German. Preface:
Soury, Thomas. Louis de
Cahusac.
Rameau's
“Les Fêtes de
l'Hymen et de
l'Amour†was long
considered second-rate
because its première
was associated with a
political event. Yet this
ballet abounds in novel
dramaturgical effects
that foreshadow his later
operas, such as
“Zaïsâ€,
“Zoroastreâ€
and “Les
Boradesâ€. Working
together with his
librettist Cahusac,
Rameau sought to weave
the dance numbers,
choruses and stage
machinery more tightly
into the main plot. He
also experimented with
stylistic devices unique
to this work, the most
famous being
unquestionably the scene
in which the Nile
overflows its banks (an
impressive ten-voice
double chorus with solo
voices and orchestra) and
the sextet from
“Arurisâ€, a
scoring found nowhere
else in his
uvre.
For the
first time, this
scholarly-critical
edition of “Les
Fêtes de l'Hymen et de
l'Amour†presents a
reference version of the
work that is based on all
the major sources for
both the libretto and the
music, including two
recent musical
discoveries. As most of
the performance material
for the première has
vanished, our edition is
based on the version
prepared for the Acadmie
Royale de Musique in
1748.
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