Composed by Thomas Ades (1971-). Mixed Instruments - Miscellaneous Ensemble; ...(+)
Composed by Thomas Ades
(1971-). Mixed
Instruments -
Miscellaneous Ensemble;
Performance Music
Ensemble.
20th Century; Adult
Contemporary. Book. Faber
Music #12-0571536565.
Published by Faber Music
SKU: BR.SON-621 Composed by Jean Sibelius. Edited by Anna Pulkkis. Linen....(+)
SKU: BR.SON-621
Composed by Jean
Sibelius. Edited by Anna
Pulkkis. Linen. Complete
Works.
Chamber music
by Jean Sibelius - a
welcome addition to the
chamber music repertoire
for strings with
piano.
Late-romantic;
Early modern. Complete
Works. 352 pages.
Breitkopf and Haertel
#SON 621. Published by
Breitkopf and Haertel
(BR.SON-621).
ISBN
9790004803233. 9 x 12
inches.
This volume
presents partly less
known, but undoubtedly
interesting and highly
welcome additions to the
chamber music repertoire
for violinists and
cellists in the reliable
Urtext of the Complete
Edition. The violin was
Sibelius's instrument. He
was active as a violinist
mainly during his studies
at the Helsinki Music
Institute from 1885-1889
and for a short time
thereafter. The present
volume contains Jean
Sibelius's opus-numbered
works for violin or cello
and piano, 36
compositions in total.
Most of the works of this
volume were created at
the beginning of the 20th
century and remained
unpublished until the
early 1920s. Sibelius
composed far less music
for the cello than for
the violin. Malinconia
(Op. 20), published in
1911, remained his only
opus-numbered work
exclusively for cello and
piano. This volume also
includes Two Pieces (Op.
77) and Four Pieces (Op.
78) as versions for
violin with piano and for
cello with
piano.
Chamber
music by Jean Sibelius -
a welcome addition to the
chamber music repertoire
for strings with
piano.
Orchestra SKU: HL.48181134 For Orchestra. Composed by Eugene Bozza...(+)
Orchestra
SKU:
HL.48181134
For
Orchestra. Composed
by Eugene Bozza. Leduc.
Classical. Softcover.
Alphonse Leduc #AL20312.
Published by Alphonse
Leduc (HL.48181134).
UPC: 888680860561.
11.0x13.5x0.083
inches.
To this
day, Eugene Bozza
(1905-1991) remains one
of the most prolific
composers French
composer. His
Instrumental Board
provides a clear glossary
of all principal
orchestral instruments.
During his studies at the
Paris Conservatoire,
Bozza won prizes for
violin, conducting and
composition, as well as
the Grand Prix de Rome.
He then conducted the
orchestra of the
Opera-Comique and became
Head of the Conservatoire
in Valenciennes, whilst
remaining a prominent
composer. Compiled in
1947, Bozza's
Instrumental Board
addresses the range of
each instruments and
their potential. The
Instrumental Board
provides a helpful aid to
orchestral writing.
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.49045561 Richard Strauss Werke Complete Edit...(+)
Orchestra (Score)
SKU:
HL.49045561
Richard Strauss Werke
Complete Edition Score
Band 4. Composed by
Richard Strauss. Edited
by Stefan Schenk and
Walter Werbeck. This
edition: Hardback/Hard
Cover. Sheet music.
Edition Schott.
Classical. Hardcover.
Composed 1888-1891. Op.
23. 236 pages. Duration
18'. Schott Music
#RSW304. Published by
Schott Music
(HL.49045561).
ISBN
9783901974045.
Stra
uss's first tone poem
distinguishes itself from
all other subsequent
orchestral compositions
in its existence in three
different versions. Even
among the operas and
other compositions in his
hand there is no other
work with a comparable
history of origin and
publication. What is
more, the final version
of Macbeth is the only
valid form of the work
and the only variant with
further sources (cf.
Critical Report) in
addition to the autograph
score. In contrast, the
second version has only
been preserved in an
autograph score and
autograph piano reduction
(the orchestral parts
which must have existed
have obviously not
survived). This was never
printed and was replaced
by the published third
version. The two
surviving versions should
therefore not be
considered to be of equal
status. Unlike the case
of Ariadne auf Naxos in
which the earlier version
was for a time the sole
valid alternative and was
yet never completely
displaced by the soon
dominating later version
of the opera, only the
final third version of
Macbeth is considered as
valid. Right from the
outset, it was a matter
of course for the editors
of the present volume to
include the second
version as a first
publication (in addition
to the above-mentioned
surviving pages of the
first version), albeit in
different forms. The
surviving pages of the
first version are
reproduced in facsimile
and the second version,
as a subordinate form of
the work, appears
alongside Strauss's piano
reduction in a modified
source edition, i.e.
without intervention on
the part of the editors.
The ultimate third
version is published as a
full edition (please
refer to the Critical
Report for further
details). In order to
facilitate a comparative
study of the second and
third versions, the
relevant page numbers of
the score are placed
opposite one another (the
autograph piano reduction
of the second version is
included at the end of
the music section of the
volume). The editors hope
that this synoptic
representation will
prompt interest in
further studies on
Strauss's art of
orchestration: a field of
research which has still
remained insufficiently
examined. A study of
Macbeth namely
illuminates as clearly as
could be wished how much
significance Strauss
allotted to sound
alongside form. The
subjects were not merely
intended to generate an
individual figure, but
also specific tonal
colours, and the
instrumentation was
simultaneously designed
to provide an optimal
communication of
thematic-motivic texture
to the audience. The 'new
path' threw up
consequences which caused
Strauss a considerable
amount of difficulty. He
was however a fast
learner and had already
swum free with Don Juan
and all the more with Tod
und Verklarung.
Orchestra SKU: BT.PWM8821 Composed by Mieczyslaw Karlowicz. Classical. Sc...(+)
Orchestra
SKU:
BT.PWM8821
Composed
by Mieczyslaw Karlowicz.
Classical. Score Only.
248 pages. Polskie
Wydawnictwo Muzyczne
#PWM8821. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM8821).
Work on this
piece began in the spring
of 1899 durng Kar owiczs
studies in Berlin and he
finished it after
graduating and returning
home in June 1902. Its
premiere took place on
March 21, 1903 in Berlin,
and the Polish premiere
on April 7, 1903 in Lviv.
The symphony has a
classic, four-movement
structure, but in terms
of architecture it is
much closer to symphonic
poems. It consists of the
movements: 1. Andante.
Allegro 2. Andante non
troppo 3. Vivace 4.
Allegro maestoso. ''In
terms of orchestration
and instrumentation
technique it represents
Kar owiczs early,
academic period. The
composer still used
double wind enriched with
piccolo flute, unlike in
his later orchestral
works the symphonic
poems. The orchestration
of the work indicates
that the composer was
guided by Tchaikovskys
symphonic model. Kar
owicz here still
willingly operates with
various sound blocks of
entire instrumental
groups, treating them in
a choral manner, with
tight chordal pillars''
(Leszek Polony). Before
the Polish premiere the
composer gave a
comprehensive literary
programme of the work in
the Lviv newspaper S owo
Polskie, in which he
referred to each
consecutive movement of
the Symphony. In his last
words he wrote, ''We hear
a hymn of revival, at
first quiet and sweet,
then wider and wider, and
fuller. Already the time
has come; to hear the
fanfare. Only one more
step! And although the
spirits fall again in
doubt, we hear a powerful
and solemn hymn of
rebirth.''.
