Juhla-alkusoitto
D-duuri. Composed by
Armas Jarnefelt. Study
score. Fennica Gehrman
#55011-539-2. Published
by Fennica Gehrman
(FG.55011-539-2).
ISBN
9790550115392.
Arma
s Jarnefelt (1869-1958)
composed his
Festouverture (Festive
Overture) for the
official opening of the
Finnish National Theatre
on 9 April 1902. This was
a great event in the
history of Finnish
theatre, for it meant
that the Finnish Theatre
founded by Kaarlo and
Emilie Bergbom in 1872 at
last had a home of its
own. The eight minute
overture is a jubilant
example of Jarnefelt's
orchestral writing,
through which he
introduced a new,
Wagnerian voice into
Finnish music.
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.
(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
Composed by Doug Spata.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Spring. Score.
8 pages. Highland/Etling
#00-46715S. Published by
Highland/Etling
(AP.46715S).
UPC:
038081532424.
English.
Beginning
students will respond to
the confident, heroic
style of Spring at Last
as they work on important
technical skills like
string crossings,
approachable cut-time
rhythms, repeats,
endings, and easy slurs.
This grade 1.5 string
orchestra piece is a
great concert piece for
beginners to show off
their proficiencies.
Composed by Doug Spata.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Spring. Score
and Part(s). 62 pages.
Highland/Etling
#00-46715. Published by
Highland/Etling
(AP.46715).
UPC:
038081532417.
English.
Beginning
students will respond to
the confident, heroic
style of Spring at Last
as they work on important
technical skills like
string crossings,
approachable cut-time
rhythms, repeats,
endings, and easy slurs.
This grade 1.5 string
orchestra piece is a
great concert piece for
beginners to show off
their proficiencies.
New York, New York Orchestre [Conducteur et Parties séparées] Jazz Lines Publications
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dy...(+)
Recorded by Frank
Sinatra. Edited by
Rob DuBoff, Jeffrey
Sultanof, and Dylan
Canterbury. Arranged by
Don Costa. Jazz, Swing.
Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-9510).
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
Stabat Mater Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Choral; String Orchestra (Study Score) SKU: HL.48024551 Choir and Stri...(+)
Choral; String Orchestra
(Study Score)
SKU:
HL.48024551
Choir
and String Orchestra.
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 140
pages. Duration 3180
seconds. Boosey & Hawkes
#M060135071. Published by
Boosey & Hawkes
(HL.48024551).
ISBN
9781784544393. UPC:
888680916695.
7.25x10.0x0.472 inches.
Text: Jacopone de
Todi.
Composed in
2015, Stabat Mater was
commissioned by the
Genesis Foundation for
Harry Christophers and
The Sixteen. Scored for
mixed chorus and string
orchestra, it is a
long-awaited sequel to
the early masterpiece
Seven Last Words from the
Cross (1993), for the
same forces; indeed, the
later work begins with
the pianissimo 'dying
breaths' with which the
earlier score so
unforgettably closes.
Cast in four movements,
Stabat Mater has a
duration of 53 minutes.
Following the premiere
London's Financial Times
commented that the
composer speaks of a
'painful world of loss,
violence, and spiritual
desolation'. Both sides
of MacMillan are to be
found here, the
devotional and the
painter of bold, dramatic
canvases - the former in
the ethereal writing for
solo and ensemble voices,
the latter in the
lacerating blows and
feverish anxieties
depicted in the string
ensemble..
Orchestra SKU: FG.55011-653-5 Composed by Antti Auvinen. Study score. Fen...(+)
Orchestra
SKU:
FG.55011-653-5
Composed by Antti
Auvinen. Study score.
Fennica Gehrman
#55011-653-5. Published
by Fennica Gehrman
(FG.55011-653-5).
ISBN
9790550116535.
Stan
ding recently on the
shore of the
Mediterranean Sea with a
child in his arms,
Auvinen was overwhelmed
with thoughts of refugees
attempting to cross the
sea and the images of a
drowned child that had
been shown on the news.
This work thus contains a
lot of elastic sound and
things that bend down,
grow slower and sink, but
also music that washes up
to the surface.
Score and Parts Concert Band; Wind Ensemble - Grade 5 For Wind Orchestra Score ...(+)
Score and Parts Concert
Band;
Wind Ensemble - Grade 5
For Wind Orchestra Score
and
Parts. Composed by Johan
De
Meij. Amstel Music.
Concert.
Softcover. Duration 2580
seconds. Amstel Music
#AM200-
010. Published by Amstel
Music
Orchestra SKU: HL.49006356 Set of Wind Parts. Composed by Ludwig v...(+)
Orchestra
SKU:
HL.49006356
Set of
Wind Parts. Composed
by Ludwig van Beethoven.
Arranged by Herbert von
Karajan. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Wind Band
Parts. 34 pages. Duration
2' 15''. Schott Music
#ED6488-10. Published by
Schott Music
(HL.49006356).
ISBN
9790001068871.
8.25x12.0x0.088
inches.
The
European Hymn is the hymn
not only of the European
Union but of Europe in a
broader sense. The melody
has been taken from the
Ninth Symphony by Ludwig
van Beethoven from
1823.In the last movement
of this symphony
Beethoven set music to
the 'Ode to Joy' by
Friedrich von Schiller
from 1785. This poem
sprang from Schiller's
idealistic vision of men
who become brothers - a
vision Beethoven shared
with him.In 1972 the
Council of Europe adopted
Beethoven's 'Ode to Joy'
as its anthem. The
well-known conductor
Herbert von Karajan was
commissioned to arrange
three instrumental
versions - for solo
piano, wind orchestra and
symphony orchestra.
Without words, in the
universal language of
music, the anthem is an
expression of the
idealistic values of
freedom, peace and
solidarity which Europe
stands for.In 1985 the
heads of state and
government adopted the
hymn as the EU's official
anthem. It does not
replace the national
anthems of the member
states, but rather
celebrates common values
as well as unity in
diversity.The score of
this offical anthem is
exclusively available
from the Schott
publishing house.
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Orchestra SKU: FG.706334-27-1 Composed by Harri Vuori. Score. Published b...(+)
Orchestra
SKU:
FG.706334-27-1
Composed by Harri Vuori.
Score. Published by
Fennica Gehrman
(FG.706334-27-1).
ISBN
979-0-706334-27-1.
A commission from the
Finnish Radio Symphony
Orchestra completed in
2003 and premiered in
December 2004. This is
music constructed in
broad arches culminating
in shamanistic rhythms in
the closing movement.
Lasting 40 minutes, it is
Vuori's biggest work and
rests on two simple
kernels. In his striving
to develop his material
he confesses to be a
Sibelian symphonist.
Study Score.
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 80
pages. Duration 900
seconds. Boosey & Hawkes
#M060136009. Published by
Boosey & Hawkes
(HL.48024880).
ISBN
9781784545154. UPC:
840126918670.
7.25x10.25x0.319
inches.
This
publication presents
under one cover various
short works for sundry
orchestral scorings.
Larghetto for Orchestra
is MacMillan's
orchestration (2017) of
his celebrated Miserere
for a cappella mixed
choir (2009), a setting
in Latin of Psalm 51,
'Have mercy upon me, O
God, according to thy
great mercy', the
penitential text famously
set in the 17th century
by Gregorio Allegri. The
Larghetto orchestration
was commissioned by the
Pittsburgh Symphony
Orchestra in celebration
of Manfred Honeck's 10th
Anniversary as Music
Director. Memoire
imperiale is one of a
number of variations on
General John Reids march
tune Old Gaul
commissioned from
Scottish composers to
mark the centenary in
1994 of the Faculty of
Music at Edinburgh
University. The Faculty
was established following
a bequest by General Reid
(1721-1807), a former law
student at the University
and a renowned flute
player and composer of
marches for the
BritishArmy, and he asked
that an annual concert be
organised at which one or
more of his compositions
be played. Composed in
2012 for the Britten
Sinfonia, One is a monody
in which a single line is
passed around the
instruments, painting it
with different colours as
it emerges and develops.
Lasting only a few
minutes, its singularity
is maintained until
blossoming in the lastfew
bars. For Sonny (2011,
orch 2013) and Ein
Lamplein verlosch (2018,
orch 2019) are short,
private memorial tributes
originally for string
quartet and here rescored
for string orchestra.
Hirta was composed in
2016 as part of Deccas
The Lost Songs of St
Kilda project. Nearly a
century ago, the last 36
residents were evacuated
from the most remote part
of the British Isles, St
Kilda, an isolated
archipelago off the
beautiful and rugged
western coast of
Scotland. After 86 years,
the music of St Kilda was
rediscovered, recorded in
a Scottish care home by
Trevor Morrison, an
elderly man who had been
taught piano by an
inhabitant of St Kilda.
The songs were
'reimagined' for the
Decca album by
various.
Orchestra SKU: LO.30-2422L Composed by Ruth Elaine Schram. Choral. Sacred...(+)
Orchestra
SKU:
LO.30-2422L
Composed
by Ruth Elaine Schram.
Choral. Sacred Anthem,
General, Lent. Orchestral
score and parts. Lorenz
Publishing Company
#30/2422L. Published by
Lorenz Publishing Company
(LO.30-2422L).
UPC:
000308121483.
How
great is the
Father’s love for
us! Full of awe and
wonder, this song of
reverent faith opens
quietly, with unison
voices. The vocals
thicken gradually as the
verses rise in successive
keys, warmly supported by
the artful accompaniment.
Lyrical and reflective,
it’s a gift of
love for our gracious,
compassionate God. (From
the cantata The Living
Last Supper. SATB
– 55/1110L; SAB
– 55/1116L.)
Instrumentation: Flute,
Oboe, 2 Clarinets,
Percussion, Violin 1 & 2,
Viola, Cello, and
Bass.
Orchestra (Study Score) SKU: HL.51489070 Study Score. Composed by ...(+)
Orchestra (Study Score)
SKU: HL.51489070
Study Score.
Composed by Franz Joseph
Haydn. Henle Music
Folios. Classical.
Softcover. G. Henle
#HN9070. Published by G.
Henle (HL.51489070).
UPC: 840126989410.
6.75x9.5x0.259
inches.
The twelve
“London
Symphoniesâ€
comprise the sublime
final statement of
Haydn's symphonic oeuvre.
They were written for the
London impresario Johann
Peter Salomon, and Haydn
himself conducted their
premieres during his
lengthy stays in the
English metropolis in
1791/92 and 1794/95. The
energetic, surging
B-flat-major Symphony no.
102 belongs to the group
of the last three
symphonies premiered in
early 1795.
Exceptionally, Haydn here
dispenses with the
clarinets that are
otherwise generally
featured in his late
symphonies. The
instrumentation of the
Adagio is also unusual,
in that Haydn includes
trumpets and timpani,
both muted. This study
edition adopts the
musical text of the Haydn
Complete Edition, thereby
guaranteeing the highest
scholarly quality. An
informative preface and a
brief Critical Report
make the handy score an
ideal companion for all
current and soon-to-be
Haydn fans.
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 (4(2picc).3(cor
ang).heck.Eb-clar.2.Bb-cl
ar(clar).4(dble bsn) -
8(4T-tuba).2alphn.4.4.2 -
org.cel -
2hp.2timp.perc(6).wind
m.thunder m - str - off
stage: 12hn.2trp.2tbne)
SKU: BR.PB-5710
Tone Poem -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphonic poem;
Late-romantic; Early
modern. Sheet Music. 204
pages. Duration 50'.
Breitkopf and Haertel #PB
5710. Published by
Breitkopf and Haertel
(BR.PB-5710).
ISBN
9790004216477. 10.5 x 14
inches.
Richard
Strauss's last completed
tone poem is regarded as
the pinnacle of his art
of orchestration: Now
I've finally learned to
orchestrate, he himself
is once supposed to have
said about it after the
dress rehearsal. The
single-movement Alpine
symphony that we know
today ultimately evolved
- over almost 15 years -
from the original drafts
of an artist's tragedy,
titled Der Antichrist.
Eine Alpensinfonie [The
Antichrist. An Alpine
Symphony] up to the stage
of the last sketches.
With unprecedented
plasticity, the work
showcases a
(metaphysical?) mountain
hike with stops in the
forest, at the waterfall,
on the alpine pasture
and, of course, at the
summit. Apropos alpine
pastures: up to the
score's fair copy stage,
Strauss envisaged a high
and a low alphorn for the
section Auf der Alm [On
the Alpine Pasture] and
the well-known Dulioh
theme, though for various
reasons first detailed in
our new Urtext edition,
these exotic instruments
did not find their way
into the printed version.
In the new edition, the
editor, Nick Pfefferkorn,
reproduces the alphorn
passages in small print,
also adding two alphorn
parts to the performance
material, besides
evaluating the
corrections made by
Walter Seifert at
Strauss's
request.
First
Urtext edition since the
first editionEvaluation
of all available sources,
including sketches and
the score corrected by
Walter Seifert Extensive
preface on the work's
compositional history and
receptionDetailed
Critical ReportFacsimile
pages.
Suite from Hamilton Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Upt...(+)
Featuring: You'll Be Back
/ Helpless / My Shot /
Dear Theodosia / It's
Quiet Uptown / One Last
Time. Composed by
Lin-Manuel Miranda
(1980-). Arranged by
Jerry Brubaker. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Broadway. 214
pages. Published by
Alfred Music
Suite from Hamilton Orchestre [Conducteur] - Intermédiaire Alfred Publishing
Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Upt...(+)
Featuring: You'll Be Back
/ Helpless / My Shot /
Dear Theodosia / It's
Quiet Uptown / One Last
Time. Composed by
Lin-Manuel Miranda
(1980-). Arranged by
Jerry Brubaker. Full
Orchestra; Score. Pop
Concert Full Orchestra.
Broadway. 28 pages.
Published by Alfred Music
One Last Journey Orchestre [Conducteur et Parties séparées] - Intermédiaire/avancé Hal Leonard
Orchestra, Grade 4 3:55 Score and Parts. Composed by Robin Hoffmann. Symphonic...(+)
Orchestra, Grade 4 3:55
Score
and Parts. Composed by
Robin
Hoffmann. Symphonic
Dimensions. Classical.
Softcover. 131 pages.
Duration
235 seconds. Hal Leonard
#SDP20123402. Published
by Hal
Leonard
Orchestra SKU: HL.48187646 Composed by Robert Schumann. Heugel. Romantic....(+)
Orchestra
SKU:
HL.48187646
Composed
by Robert Schumann.
Heugel. Romantic.
Softcover. Heugel & Cie
#HE31440. Published by
Heugel & Cie
(HL.48187646).
UPC:
888680845186.
5.5x7.5x0.568
inches.
Interesting
ly, Schumann?s Third
Symphony was in fact his
last symphony, as the
fourth symphony was
actually composed after
the first. The Symphony
No.3 in E flat Op.97 was
written 1850 during the
composer?s tenure as
conductor at Dusseldorf
on the famous river
Rhine. Schumann claimed
that the history and
spirit surrounding the
noble river inspired him
when writing the
symphony, hence it being
called the ?Rhenish?
symphony. The symphony
was less successful at
its premiere in February
1851 (conducted by
Schumann himself) than
his previous two
symphonic premiers had
been.This symphony is in
five movements, with the
?extra? fourth movement,
originally subtitled ?In
the style of an
accompaniment to a solemn
ceremony?, was inspired
by a visit to Cologne
Cathedral.Available here
is a study score of
Schumann?s Symphony No.3
in E flat ?Rhenish? Op.97
, which is ideal for
study and perusal
usage..
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
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 - Grade 2 SKU: AP.49463 Arranged by Jim Palmer (ASCAP). MakeMus...(+)
Orchestra - Grade 2
SKU: AP.49463
Arranged by Jim Palmer
(ASCAP). MakeMusic Cloud;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Folk;
Traditional. Score and
Part(s). Duration 2:25.
Alfred Music #00-49463.
Published by Alfred Music
(AP.49463).
ISBN
9781470650247. UPC:
038081571027.
English.
The Last
Rose of Summer is a
traditional Irish tune
arranged by Jim Palmer.
The beautiful melody,
rich harmonies, and
interesting accompaniment
will help your young
orchestra sound mature.
The long phrases are
highlighted with
beautiful slurs and a
variety of dynamics.
Pizzicato, slurs and ties
create the interesting
accompaniments.
Well-developed phrases
and unexpected chords
provide opportunities for
artistic expression. A
perfect choice to teach a
broad range of musical
ideas. Correlated to
Sound Innovations, Book
2, Level 2. (2:25) This
title is available in
MakeMusic Cloud.
Orchestra - Grade 2 SKU: AP.49463S Arranged by Jim Palmer (ASCAP). Series...(+)
Orchestra - Grade 2
SKU: AP.49463S
Arranged by Jim Palmer
(ASCAP). Series; Single
Titles; String Orchestra.
Sound Innovations for
String Orchestra. Folk;
Traditional. Score.
Duration 2:25. Alfred
Music #00-49463S.
Published by Alfred Music
(AP.49463S).
ISBN
9781470650254. UPC:
038081571034.
English.
The Last
Rose of Summer is a
traditional Irish tune
arranged by Jim Palmer.
The beautiful melody,
rich harmonies, and
interesting accompaniment
will help your young
orchestra sound mature.
The long phrases are
highlighted with
beautiful slurs and a
variety of dynamics.
Pizzicato, slurs and ties
create the interesting
accompaniments.
Well-developed phrases
and unexpected chords
provide opportunities for
artistic expression. A
perfect choice to teach a
broad range of musical
ideas. Correlated to
Sound Innovations, Book
2, Level 2. (2:25).
Alto Saxophone, String Orchestra (Full Score) SKU: HL.48180797 For Alt...(+)
Alto Saxophone, String
Orchestra (Full Score)
SKU: HL.48180797
For Alto Sax and
String Orchestra.
Composed by Alexander
Glazunov. Leduc.
Romantic. Softcover. 28
pages. Alphonse Leduc
#AL19257. Published by
Alphonse Leduc
(HL.48180797).
UPC:
888680852542. 9x12.25
inches.
Russian
composer, Alexander
Glazounov (1865-1936) was
director of the Saint
Petersburg Conservatory
for a large part of his
career. As a prolific
composer, his works were
always well-received,
Concerto in E-flat for
Alto Saxophone and String
Orchestra being no
exception. Glazounov's
compositional style was
particularly significant
due to his successful
reconciliation of
nationalism and
cosmopolitanism in
Russian music. Composed
in 1934, a typical
performance of
Concerto in E-flat for
Alto Saxophone and String
Orchestra last about
fourteen minutes and is
played without a pause.
The work is highly
romantic and remains part
of the standard Saxophone
repertoire. For all
advanced saxophonists,
Glazounov's Concerto
in E-flat ensures a
riveting and exciting
performance for players
and audiences alike.