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: 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
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.
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 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.
Full orchestra SKU: LO.30-3586L Composed by Lloyd Larson. Arranged by Ed ...(+)
Full orchestra
SKU:
LO.30-3586L
Composed
by Lloyd Larson. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred.
Instrumental parts.
Lorenz Publishing Company
#30/3586L. Published by
Lorenz Publishing Company
(LO.30-3586L).
UPC:
000308150292.
The
glory of Christmas comes
to life in this inspiring
musical by Lloyd Larson.
Through a blend of
familiar carols and
original songs, choirs
and congregations alike
will experience the
beauty of the incarnation
story as if
they’re
experiencing it for the
first time. This
versatile work may be
presented in multiple
segments over the Sundays
of Advent or as a single
presentation, and will be
equally effective with
piano accompaniment or
the full orchestra option
(live instruments or
accompaniment track). The
script for two narrators
is scripturally based and
seamlessly weaves in and
out of the music to
provide an inspiring
worship experience.
Opportunities for the
congregation to sing
familiar carols as well
as the availability of
both SATB and SAB
editions ensure that this
resource is suitable for
choirs large or
small.
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.
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
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score)
SKU: HL.49046988
Lyric Trilogy After
Maurice Maeterlinck Study
Score, French.
Composed by Aribert
Reimann. Edition Schott.
Classical. Softcover. 280
pages. Duration 5400
seconds. Schott Music
#ED23491. Published by
Schott Music
(HL.49046988).
ISBN
9781705174333. UPC:
842819115281.
8.25x11.75x0.695
inches.
SYNOPSIS
Aribert Reimann's
'Trilogie lyrique' is
based on three plays by
Maurice Maeterlinck: In
L'Intruse, a family is
sitting at the table with
their blind grandfather.
They are waiting for the
doctor to arrive and tend
to his daughter who is
lying ill in bed after
having given birth: her
new-born son has not yet
made a single sound. The
old man senses that
something is wrong due to
the uneasy atmosphere in
the room. Who is sitting
in our midst? he asks. He
is the only one who
cansee the presence of
death. Interieur: Once
again a family is
gathered round the table
in the evening, but this
time we observe the
action from outside,
looking through the
window with the
grandfather and a
stranger: no sound can be
heard. Outside the house,
the stranger reports that
the eldest daughter has
drowned and that he has
pulled her out of the
river. Although the
corpse is already being
carried through the
village to the family,
the grandfather cannot
bring himself to destroy
this idyll. La Mort de
Tintagiles: The young
Tintagiles is told a
story about a mysterious
castle and the aged queen
who has all potential
heirsto the throne
murdered. His siblings
sense that Tintagiles has
been summoned to the
castle to be murdered,
but nobody openly
expresses this fact. It
is the sinister
messengers of death from
the interludes, now
visible as the queens
servants, who ful?l her
demand and snatch the
sleeping boy from his
sisters'arms. Commentary
'In comparison with his
Medea for example with
its stormy outbreaks of
emotion and violence,
Reimann's score is worked
in an impressive
refinement of sound. It
begins with rumbling,
hesitating and expressive
music in the first
section, demanding highly
ingenious sound effects
from the lower strings
including tapping and
faltering glissandos in
its noisy expression of
mortal fear. Inthe second
part, the woodwind
formation plays at times
almost in chamber music
fashion and is then
suddenly painfully
shrill. The third part
luxuriates and rages in
its rich, full
orchestration. The manner
in which Reimann displays
his mastery in textural
shading, the invention of
sounds welling up and
fading away, the rhythmic
and melodic capacity of
suffering and the music's
inner violence are all
utterly
compelling.'(Wolfgang
Schreiber, Opernwelt,
November 2017).
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.
Serie IX (Schriften) Vol. 4.3: Briefe 1952-1956. Composed by Hanns Eisler ...(+)
Serie IX (Schriften) Vol.
4.3: Briefe 1952-1956.
Composed by Hanns Eisler
(1898-1962). Edited by
Maren
Koster. Restless Times.
Breitkopf and Haertel #BV
350. Published by
Breitkopf
and Haertel
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..
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.
Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra
Dackow. Conductor's score
and set of performance
parts for string
orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- 3rd violin/viola
(treble clef), 5 - viola,
5 - cello, 5 - string
bass, 1 - piano
accompaniment). Series:
Orchestra Expressions
Series. Published by
Alfred Publishing.
Orchestra - Grade 3 SKU: AP.48092 Composed by Richard Meyer. Masterworks;...(+)
Orchestra - Grade 3
SKU: AP.48092
Composed by Richard
Meyer. Masterworks;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score and
Part(s). 128 pages.
Duration 7:30.
Highland/Etling
#00-48092. Published by
Highland/Etling
(AP.48092).
UPC:
038081553948.
English.
This
emotional and heartfelt
piece, From Darkness,
Joyful Sounds Are Born,
by Richard Meyer, is all
about facing and
overcoming the hardships
we all encounter during
our lifetime. It begins
with a brief depiction of
happy times and then
descends into sounds of
sadness and sorrow.
Before long, joy emerges
in the form of cheerful
melodies, clapping,
stomping, and singing,
performed by the
orchestra and the
audience in a rousing
call-and-response
celebration. An amazing
way to bring together
everyone in the concert
hall, this selection is
sure to provide an
unforgettable experience
for your students and
their audience!
(7:30).
Orchestra - Grade 3 SKU: AP.48092S Composed by Richard Meyer. Masterworks...(+)
Orchestra - Grade 3
SKU: AP.48092S
Composed by Richard
Meyer. Masterworks;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score. 24
pages. Duration 7:30.
Highland/Etling
#00-48092S. Published by
Highland/Etling
(AP.48092S).
UPC:
038081553955.
English.
This
emotional and heartfelt
piece, From Darkness,
Joyful Sounds Are Born,
by Richard Meyer, is all
about facing and
overcoming the hardships
we all encounter during
our lifetime. It begins
with a brief depiction of
happy times and then
descends into sounds of
sadness and sorrow.
Before long, joy emerges
in the form of cheerful
melodies, clapping,
stomping, and singing,
performed by the
orchestra and the
audience in a rousing
call-and-response
celebration. An amazing
way to bring together
everyone in the concert
hall, this selection is
sure to provide an
unforgettable experience
for your students and
their audience!
(7:30).
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 - Grade 3 SKU: AP.44849S Composed by Richard Meyer. Performance...(+)
Orchestra - Grade 3
SKU: AP.44849S
Composed by Richard
Meyer. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Novelty.
Score. 20 pages. Duration
3:45. Highland/Etling
#00-44849S. Published by
Highland/Etling
(AP.44849S).
UPC:
038081520148.
English.
Put all
those extra-curricular
sounds your students like
to make on their
instruments to good use
in this fun and
entertaining novelty
selection. Your audience
will laugh out loud as
each section takes a turn
adding an unusual sound
to a simple dance in 3/4
time. As the piece
progresses the counting
gets more and more
challenging, keeping all
of your students on their
toes. There's even a part
for a solo vocalist to
show off their screaming
and gargling skills!
(3:45).
Tuonelan joutsen -
Urtext based on the
Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Early modern;
Late-romantic. Full
score. 24 pages. Duration
10'. Breitkopf and
Haertel #PB 5583.
Published by Breitkopf
and Haertel (BR.PB-5583).
ISBN 9790004213933. 10
x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
parts may have found
their way into the
Lemminkainen pieces which
he started composing
during that time.
Definitely the overture
had, it is now known and
loved as The Swan of
Tuonela. Lemminkainen
became popular from the
beginning and has
attained a fixed position
in the concert
repertoire.
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)
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.
Orchestra (Orchestra) SKU: BA.BA04558-01 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04558-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Christoph Hellmut Mahling
and Friedrich Schnapp.
This edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series IV, Volume
11, No. 6. Klassik
(Classical). Complete
edition, Score,
anthology. Baerenreiter
Verlag #BA04558_01.
Published by Baerenreiter
Verlag (BA.BA04558-01).
ISBN 9790006450619. 33
x 26 cm inches.
The
New Mozart Edition offers
researchers a
musicologically
unimpeachable text based
on all the available
sources (first and
foremost Mozart's
autograph manuscripts).
At the same time, it also
serves as an aid to
authentic
performances.
The
principal Series I to IX,
containing Mozart's
actual oeuvre, appeared
between 1956 and 1991.
They are regarded as a
supreme achievement of
Mozart scholarship in our
time; modern performances
of Mozart's music are
unthinkable without them.
The important
supplementary volumes
shed fresh and
illuminating light on
neglected aspects of
Mozart's creative work,
such as his activities as
a teacher or as an
arranger of other
composer's works.
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
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; Softcover.
Eulenburg Orchestral
Series.
The world
premiere of the play
L'Arlesienne
with the incidental music
by Georges Bizet was a
notable failure not only
for the playwright
Alphonse Daudet, but also
for the composer.
Suite; Romantic. Full
score. 60 pages. Duration
17'. Breitkopf and
Haertel #EOS 20828.
Published by Breitkopf
and Haertel
(BR.EOS-20828).
ISBN
9790004784693. 10 x 12.5
inches.
The two
four-movement orchestral
suites, in turn, are
still thrilling
concert-goers all over
the world, ever since
their first performances
in 1872 and 1880
respectively. In 1998 and
2001, Lesley A. Wright
presented the score and
orchestral parts of the
two repertoire pieces in
an Urtext edition
prepared for the first
time on the basis of all
relevant sources. Thus
not only will the yellow
Urtext angel be gracing
the conducting score and
orchestral parts, but,
next to the standardized
large format and new
layout of the parts,
there are other
user-friendly
improvements, such as
practical page-turns,
page-turn aids and
intelligent cue
notes.
A Day at Disneyland Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Featuring "Mickey Mouse March," "The Great Outdoors," "It's a Small World," "You...(+)
Featuring "Mickey Mouse
March," "The Great
Outdoors," "It's a Small
World," "You Can Fly! You
Can Fly! You Can Fly!,"
"The Best Time of Your
Life," and "Yo Ho (A
Pirate's Life for Me)".
Arranged by Michael
Story. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Novelty.
Level: 3 (grade 3).
Conductor Score and
Parts. 160 pages.
Published by Alfred
Publishing.
Divertimento teatrale
in one act. Operetta for
four voices. Composed
by Antonio Salieri.
Edited by Adrian La
Salvia and Thomas
Betzwieser. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 1.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Duration 1 hour,
15 minutes. Baerenreiter
Verlag #BA08811_00.
Published by Baerenreiter
Verlag (BA.BA08811).
ISBN 9790006539840.
33.1 x 26.5 cm inches.
Text Language: Italian.
Preface: Betzwieser,
Thomas. Text:
Giambattista
Casti.
A memorable
musical competition
commissioned by the
emperor Joseph II took
place on 7 February 1786
as part of a festival in
the orangery of the
Schönbrunn palace. A
German Singspiel ensemble
performed Mozart’s
“Schauspieldirektor
†whilst Antonio
Salieri’s
“Prima la musica e
poi le parole†was
performed by the Italian
court singers and
musicians. This charming
opera satire belongs to
the genre of
“metamelodrammaâ
in which the opera
itself becomes the
subject of the action.
The people who are part
of an opera production,
for example the
librettist, composer and
prima donna, appear as
characters on the stage
and are presented in a
humorous self-reflection.
In this ‘theatre
about theatre’
Salieri parodies the
music from Giuseppe
Sarti’s
“Giulio
Sabino†in his
insert arias, thus
playing on the music
which was totally
familiar with the
audience of the time. By
reflecting on the
musical-dramatic style of
that period and
discussing whether
‘the word’
or ‘the
music’ should take
priority, this
masterpiece is considered
to be an early forerunner
to Richard
Strauss’s
“Capriccioâ€.<
br> The new edition of
the score is published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€.
There are several
alterations regarding the
libretto text, stage
directions, articulation,
ornamentation, etc. which
have been incorporated
into this newly engraved
vocal score. Furthermore,
all appendix numbers from
the score which concern
the quotations from
Giuseppe Sarti’s
“Giulio
Sabino†have also
been
incorporated.
â
¢ Urtext vocal score
based on the
historical-critical
hybrid score published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€
edited by Thomas
Betzwieser (music
edition) and Adrian La
Salvia (text
edition). •
Original Italian libretto
with singable German
translation •
Comprehensive bilingual
foreword (Ger/Eng) on the
genesis and reception of
the work, on
metamelodramma and
intertextuality
etc. • Includes
an extensive appendix to
the quotations taken from
Giuseppe Sarti’s
“Giulio
Sabino†•
Idiomatic piano
reduction
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