Composed by Ludwig van Beethoven (1770-1827). Edited by Helmut Hell. Henle Study...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Helmut Hell.
Henle Study Scores. Study
score (paperbound). 40
pages. G. Henle #HN9043.
Published by G. Henle
(HL.51489043).
Orchestra SKU: PE.EP72293A Composed by James Dillon. Score. Peters Contem...(+)
Orchestra
SKU:
PE.EP72293A
Composed
by James Dillon. Score.
Peters Contemporary
Library. Living Composer.
Score. 94 pages. Edition
Peters #98-EP72293A.
Published by Edition
Peters (PE.EP72293A).
ISBN
9790577003856.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
About Peters
Contemporary
Library
Ma
rk Andre Milton
Babbitt Daniel
Bjarnason Earle
Brown John
Cage Henry
Cowell James
Dillon Jonathan
Dove Brian
Ferneyhough Roxanna
Panufnik Rebecca
Saunders Erkki-Sven
Tuur Charles
Wuorinen
These
are just a few of the
composers whose most
adventurous scores are
now available to purchase
through the Peters
Contemporary Library. A
new global initiative of
the Edition Peters Group,
the Peters Contemporary
Library is a project
designed to put these
bold 20th- and
21st-century works, once
available only for
rental, into the
collections of libraries,
performers, scholars, and
conductors alike.
Kicked off in 2016,
the Peters Contemporary
Library already contains
many cutting-edge works
and is constantly
expanding. We are proud
to offer these bold new
scores for sale, for the
first time ever, to
modern musicians and
students of music all
around the world.
1st
and 2nd Version -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
3
Work Stages, 2 Versions,
1
Edition
,,…
the musical text is fine.
This is a valuable
improvement. (Clifford
Bartlett, Early Music
Review)
Symphony;
Classical. Study Score.
80 pages. Duration 35'.
Breitkopf and Haertel #PB
5566-07. Published by
Breitkopf and Haertel
(BR.PB-5566-07).
ISBN
9790004213766. 6.5 x 9
inches.
With the
new edition of the
G-minor Symphony, a vital
work group in Mozart's
oeuvre is now complete:
the three late symphonies
K. 543, 550 and 551, now
available in Urtext
editions. As in his new
edition of the Hafner
Symphony, Henrik Wiese
uncovers in the present
Breitkopf Urtext score
three different stages in
the genesis of the
G-minor Symphony. Mozart
initially wrote the work
without clarinets (1st
stage), and then he added
the clarinets (2nd
stage). Not until a final
stage did he change the
wind instrumentation in
the Andante (3rd stage).
Mozart thus returned to
the 1st version again
after completing the 2nd
version (with clarinets).
This advances the
importance of the 1st
version without clarinets
as Fassung letzter Hand.
A compelling insight
which sheds new light on
the famous G-minor
Symphony. Both versions
are of equal value and
can now be compared with
one another, studied and,
above all, performed for
the first time ever
thanks to the new score
and parts.Another
extremly practical aspect
that should be noted: the
orchestral parts offer
solutions for all the
problematic page turns
for the first time ever
(please see the sample
pages of OB 5542 - Violin
II.),,... the musical
text is fine. This is a
valuable improvement.
(Clifford Bartlett, Early
Music Review)
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.
(Prelude to the Afternoon of a Faun). By Claude Debussy (1862-1918). Edited by D...(+)
(Prelude to the Afternoon
of a Faun). By Claude
Debussy (1862-1918).
Edited by Douglas
Woodfull-Harris. For
orchestra (3 flutes/2
oboes/english horn/2
clarinets/2 bassoons/4
horns/cymbal/2 harps/2
violins/viola/cello/doubl
e bass). This edition:
Stapled, Urtext edition.
Score. Text Language:
English/French/German. 44
pages. Duration 10'.
Published by Baerenreiter
Verlag
Orchestra (Study Score) SKU: HL.51489817 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489817
Orchestra Study
Score. Composed by
Ludwig van Beethoven.
Edited by Ernst
Herttrich. Henle Study
Scores. Classical.
Softcover. 120 pages. G.
Henle #HN9817. Published
by G. Henle
(HL.51489817).
UPC:
840126932782.
6.75x9.5x0.341
inches.
The
premiere of this work in
December 1813 ranks among
the greatest successes
Beethoven ever celebrated
in public as a composer.
One reviewer wrote at the
time that in its themes
the new symphony was
“so favourable and
easily comprehensible
that every music lover
falls for the powerful
allure of its
beauty.†The
incisiveness of the
themes is fundamentally
related to the basic
ostinato rhythms, which
help shape each
movementÂ’s
distinctive character.
Richard Wagner even
called the composition,
with its ecstatic finale,
an “apotheosis of
the dance.†Based
on the musical text of
the Beethoven Complete
Edition and furnished
with a new preface, this
recently prepared edition
reflects the latest in
Beethoven scholarship.
Now, in this study
edition, it is available
to everyone at a
reasonable price and in a
handy format.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
(Orchestra). By John Adams (1947-). For Orchestra (Full Score). Boosey and Hawke...(+)
(Orchestra). By John
Adams (1947-). For
Orchestra (Full Score).
Boosey and Hawkes
Scores/Books. 128 pages.
Boosey and Hawkes
#M051096275. Published by
Boosey and Hawkes
Orchestra SKU: BT.ALHE31554 Composed by Wolfgang Amadeus Mozart. Classica...(+)
Orchestra
SKU:
BT.ALHE31554
Composed
by Wolfgang Amadeus
Mozart. Classical. Study
Score. 42 pages. Heugel &
Cie #ALHE31554. Published
by Heugel & Cie
(BT.ALHE31554).
French.
Followin
g nearly 4 years without
having composed a new
symphony, although still
writing opera overtures
and works from orchestral
serenades, Mozart
composed the
_x001A_Paris_x001A_
Symphony. Mozart received
the commission from
Joseph Legros,when him
and his mother were in
Paris in 1778.Mozart
composed the work for the
largest orchestra
he_x001A_d written for
until then in a symphony,
marking the first time
which he had used
Clarinets in one of his
symphonies. Mozart
hadtaken pains to write
the work in a style that
would appeal to the
French and, despite a
dismal rehearsal, the
first performance was
well received.Available
here is a study score of
Mozart_x001A_s Symphony
No.31 in D
_x001A_Paris_x001A_
K.297, whichis ideal for
study and perusal
usage.
Composed by Ludwig van Beethoven (1770-1827). Edited by Jens Dufner. For Orchest...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Jens Dufner.
For Orchestra (Study
Score). Henle Study
Scores. Softcover. 119
pages. G. Henle #HN9816.
Published by G. Henle
Orchestra - Grade 2-3 SKU: AP.41206 Featuring Parts for Middle School ...(+)
Orchestra - Grade 2-3
SKU: AP.41206
Featuring Parts for
Middle School and High
School. Composed by
Julie Lyonn Lieberman.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Score and Part(s). 252
pages. Belwin Music
#00-41206. Published by
Belwin Music (AP.41206).
UPC: 038081465753.
English.
Newtown
wants to be remembered as
a center for
transformation. Composed
by a Newtown resident,
this music is a heartfelt
tribute to Newtown's
fallen angels and their
families and more. It is
a celebration of love
over evil and the key
role music can play as a
healing force in any
community. The
arrangement includes two
sets of parts (grade 2
and grade 3,
respectively) so that
older and younger
students may perform the
piece either together or
separately. A free
downloadable performance
video with inspirational
quotes is available, as
well as a workbook that
promotes a culture of
kindness, at
newtownpeacepark.com.
(3:00) This title is
available in MakeMusic
Cloud.
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.
(Featuring: Lily's Theme / A New Headmaster / Statues / Voldemort's End / A ...(+)
(Featuring: Lily's Theme
/ A
New Headmaster / Statues
/
Voldemort's End / A New
Beginning (with Hedwig's
Theme)). By Alexandre
Desplat
and John Williams.
Arranged by
Douglas E. Wagner.
Orchestra.
Full Orchestra; Part(s);
Score. Pop Intermediate
Full
Orchestra. Form: Medley.
Light
Concert; Movie. Grade 3.
244
pages. Published by
Alfred
Music Publishing
(Featuring: Lily?s Theme / Underworld / Dragon Flight / Neville / A New Head...(+)
(Featuring: Lily?s Theme
/
Underworld / Dragon
Flight /
Neville / A New
Headmaster /
The Resurrection Stone /
Showdown / A New
Beginning
with Hedwig's Theme). By
Alexandre Desplat and
John
Williams. Arranged by
Jerry
Brubaker. Orchestra. Full
Orchestra; Part(s);
Score. Pop
Concert Full Orchestra.
Form:
Medley. Light Concert;
Movie;
Pop. Grade 4. 226 pages.
Published by Alfred Music
Publishing
(Featuring: Lily's Theme / A New Headmaster / Statues / Voldemort's End / A ...(+)
(Featuring: Lily's Theme
/ A
New Headmaster / Statues
/
Voldemort's End / A New
Beginning (with Hedwig's
Theme)). By Alexandre
Desplat
and John Williams.
Arranged by
Douglas E. Wagner.
Orchestra.
Full Orchestra; Score.
Pop
Intermediate Full
Orchestra.
Form: Medley. Light
Concert;
Movie. Grade 3. 24 pages.
Published by Alfred Music
Publishing
(Featuring: Lily?s Theme / Underworld / Dragon Flight / Neville / A New Head...(+)
(Featuring: Lily?s Theme
/
Underworld / Dragon
Flight /
Neville / A New
Headmaster /
The Resurrection Stone /
Showdown / A New
Beginning
with Hedwig's Theme). By
Alexandre Desplat and
John
Williams. Arranged by
Jerry
Brubaker. Orchestra. Full
Orchestra; Score. Pop
Concert
Full Orchestra. Form:
Medley.
Light Concert; Movie;
Pop.
Grade 4. 28 pages.
Published
by Alfred Music
Publishing
(Score and Sound Masterworks). By Antonin Dvorak (1841-1904). Study Score. Study...(+)
(Score and Sound
Masterworks). By Antonin
Dvorak (1841-1904). Study
Score. Study Score with
CD. Softcover with CD. 88
pages. Published by Hal
Leonard . Sheet music
CD.
Featuring Theme from New York, New York, Forty-Second Street, Lullaby of Broadwa...(+)
Featuring Theme from New
York, New York,
Forty-Second Street,
Lullaby of Broadway, and
New York, New York.
Arranged by Calvin
Custer. Arr. Calvin
Custer. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Conductor
Score and Parts. 264
pages. Duration 6:48.
Published by Alfred
Publishing. Level:
2.5 (grade 2.5).
The Fairy-Queen Orchestre [Conducteur d'étude / Miniature] Eulenburg
Opera. Composed by Henry Purcell (1659-1695). Edited by Michael Burden. This edi...(+)
Opera. Composed by Henry
Purcell (1659-1695).
Edited by Michael Burden.
This edition:
Paperback/Soft Cover.
Sheet music. Eulenburg
Miniature Scores.
Classical, Opera. Study
score. 388 pages.
Eulenburg Edition #ETP
8027. Published by
Eulenburg Edition
Orchestra (Score) SKU: HL.50512014 Score. Composed by Gyorgy Kurta...(+)
Orchestra (Score)
SKU:
HL.50512014
Score. Composed by
Gyorgy Kurtag.
Contemporary Music. EMB.
Softcover. Composed 2013.
Op. 34/a. 40 pages.
Duration cca 15'. Editio
Musica Budapest #Z14261.
Published by Editio
Musica Budapest
(HL.50512014).
ISBN
9790080142615.
12.0x16.5x0.5 inches.
Gyorgy Kurtag.
Arranged by Calvin Custer. Arr. Calvin Custer. For Full Orchestra. Full Orchestr...(+)
Arranged by Calvin
Custer. Arr. Calvin
Custer. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Conductor
Score. 52 pages.
Published by Alfred
Publishing. Level:
2.5 (grade 2.5).
Eulenburg Audio Score Series. By Ludwig van Beethoven. This edition: EAS150. Eul...(+)
Eulenburg Audio Score
Series. By Ludwig van
Beethoven. This edition:
EAS150. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
295 pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Antonin Dvorak. This edition: EAS112. Eulenburg...(+)
Eulenburg Audio Score
Series. By Antonin
Dvorak. This edition:
EAS112. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
168 pages. Published by
Eulenburg.
Urtext
from the new Brahms
Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Musgrave. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library).
The
study score
(,,Studien-Edition) is
available at G. Henle
Verlag.
Serenade/divertimento;
Romantic. Full score. 92
pages. Duration 30'.
Breitkopf and Haertel #PB
16106. Published by
Breitkopf and Haertel
(BR.PB-16106).
ISBN
9790004214336. 10 x 12.5
inches.
Classical
ReminiscencesDuring his
time as conductor of the
Detmold court orchestra,
the young Brahms was
inspired by the local
wind ensemble to compose
two serenades. Serenade
No. 2, scored for five
pairs of winds, violas,
cellos, and string basses
(leaving out the violins)
is strongly reminiscent
in sound of Mozart's wind
serenades. The expressive
Adagio is the heart of
the five-movement work.
Quite untypical of
Brahms, he acquired a
liking for the work from
the outset, still
undertaking a revision
scarcely 15 years after
the premiere of 1860;
this has now been made
available in a new
practical edition based
on the Johannes Brahms
Complete Edition
(JBG).
By Peter Ilyich Tchaikovsky. Edited by Van Ragsdale. Arranged by V. F. Safranek....(+)
By Peter Ilyich
Tchaikovsky. Edited by
Van Ragsdale. Arranged by
V. F. Safranek. Concert
Band. For Piccolo, Flute
I, Flute II, Oboe I, Oboe
II, Clarinet I, Clarinet
II, Clarinet III, Bass
Clarinet, Bassoon I,
Bassoon II, 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 (Bass
Clef), Tuba, Contrabass,
Timpani, Snare Drum,
Triangle, Bass Drum. Carl
Fischer Classic Band
Editions. Classical.
Score and Set of Parts.
60 pages. Published by
Carl Fischer.
(5 Orchestral Pieces Eulenburg Audio Score). By Felix Bartholdy Mendelssohn (180...(+)
(5 Orchestral Pieces
Eulenburg Audio Score).
By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Boris von
Haken. For Orchestra
(Study Score). Eulenberg
Audio plus Score.
Softcover with CD. 120
pages. Hal Leonard
#EAS161. Published by Hal
Leonard
Orchestra (3.2.2.2 - 4.2.0.0 - timp - hp - str) SKU: BR.PB-5225 Urtext...(+)
Orchestra (3.2.2.2 -
4.2.0.0 - timp - hp -
str)
SKU:
BR.PB-5225
Urtext. Composed
by Max Reger. Edited by
Bruno Weil. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library).
Variations; Romantic;
Late-romantic. Full
score. 116 pages.
Duration 27'. Breitkopf
and Haertel #PB 5225.
Published by Breitkopf
and Haertel (BR.PB-5225).
ISBN 9790004209554. 10
x 12.5 inches.
The
publishers of the Reger
Complete Edition present
Reger's most frequently
performed orchestral work
as a new addition to the
acclaimed PB/OB Library.
The critical examination
of the main sources - the
autograph, Reger's
corrections for the first
edition, a working copy
belonging to the
composer, and the
Complete Edition -
brought forth a number of
changes with respect to
the previously known
material. This is thus
the first reliable,
practice-oriented edition
with orchestral parts
available for sale -
which is another first
for this extensive and
important work.