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.
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.
(Parting
Glass & Collin's
Reel). Composed by
Various. Arranged by
Deborah Baker Monday.
Solo or Ensemble. Voyager
String Orchestra. Score
and set of parts.
Duration 4 minutes, 40
seconds. Kendor Music Inc
#9115. Published by
Kendor Music Inc
(KN.9115).
UPC:
822795091151.
This
beautiful and exciting
arrangement features two
traditional Irish tunes.
It opens with Parting
Glass, a lovely air which
is traditionally sung as
a farewell to good
friends at the end of an
evening together or
before a long journey.
This setting offers
melodic material to all
voices and uses the
richest ranges of each
instrument to maximize
the expressive
possibilities. Next comes
Collin's Reel, a fiddle
dance that's great fun to
play and features a
gradual accelerando that
makes for a very fast and
furious ending. Duration
4:40.
Orchestra SKU: HL.14028038 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra
SKU:
HL.14028038
Composed
by Poul Ruders. Music
Sales America. Classical.
Score. 95 pages. Music
Sales #KP00294. Published
by Music Sales
(HL.14028038).
ISBN
9788759854730.
12.0x16.5x0.3 inches.
English.
The word
GONG is saturated with
associations: the
splendour of the Orient,
mysticism, drama, loud
metallic clangour,
violent impact, etc. The
present piece draws upon
all those connotations,
but it is primarily a
symphonic drama about the
life and behaviour of the
sun, our closest star and
prime source of life on
Earth. Describing the sun
in music is not a new
idea, of course; during a
visit to Greece, Carl
Nielsen was inspired by
the orbit of the sun and
its very un-Danish
ferocity and thus wrote
the Helios Overture. GONG
is a Helios Overture too,
of sorts, albeit more
abstract. Recent
astronomical research
shows, that the surface
of the sun reverberates
like a gong, in four
different, simultaneous
tempi (not directly
depicted in the score,
though); the sun looks
like a GONG, - the O in
the written work looks
like the sun; there is
even a solar research
group called GONG (Global
Oscillation Network
Group). Formally the
composition follows the
life and fate of the sun,
from the initial
explotional birth through
the hyper-activity as
energy source as we know
it today to the final,
predicted flaring up and
collapse into a so-called
white dwarf. But - being
a musical composition,
not an astrophysical
thesis - GONG is brought
to its compositional
conclusion by a real
concert-ending, a chord
taken from the middle of
the piece and sustained
over several bars, from
virtual nothingness to
full force.
Orchestra - Grade 1.5 SKU: AP.47482 Composed by Susan H. Day. MakeMusic C...(+)
Orchestra - Grade 1.5
SKU: AP.47482
Composed by Susan H. Day.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score and
Part(s). 62 pages.
Highland/Etling
#00-47482. Published by
Highland/Etling
(AP.47482).
UPC:
038081544564.
English.
Take a
musical journey to the
end of the rainbow in
this upbeat and majestic
piece by Susan H. Day,
written in the key of G,
featuring easy rhythms
and satisfying melodies
for all sections.
Teaching points include
dotted quarter notes,
legato bowing, two-note
slurs, and pizzicato. The
viola part doubles the
violin 2 part. Students
and audience will
consider this piece their
own pot of gold! This
title is available in
MakeMusic Cloud.
Wind
Orchestra, Grade 4, 8:45
Score. Composed by
Stephan Jaeggi. Arranged
by Gauthier Dupertuis. FC
Music Publishing. Concert
Band. Softcover. Duration
525 seconds. Hal Leonard
#FCMP007-SC. Published by
Hal Leonard (HL.4008713).
UPC:
196288190936.
As
part of the year 2023,
dedicated to Swiss
composers, the Swiss Wind
Band Association has
commissioned Gauthier
Dupertuis to write a new
orchestration of the
Overture in E-flat major
by Stephan Jaeggi.
Indeed, an update of the
instrumentation was
necessary for the
interpretation of this
work with modern
orchestras. Therefore,
the orchestration that
Gauthier Dupertuis
proposes and which he
wanted to be faithful to
the original while
meeting current
standards, will allow
todayÂ’s orchestras to
perform this piece of
classical-romantic
inspiration. Stephan
Jaeggi was a Swiss
composer and conductor
who was born into a large
family in Fulenbach
(Canton of Solothurn) in
1903. He began playing
the clarinet at the age
of 13, then studied music
at the Basel Conservatory
and attended his military
training with the Swiss
Army Band. Thereafter, he
became the conductor of
several wind orchestras.
In this role, and also
that of a composer,
Stephan Jaeggi went on to
achieve great success.
His early death in 1957
put a premature end to
Stephan Jaeggi's creative
life. All the more reason
why his work lives on
with unbroken power to
this day.
Full orchestra SKU: LO.30-1899L A Service of Worship. Composed by ...(+)
Full orchestra
SKU:
LO.30-1899L
A
Service of Worship.
Composed by Lloyd Larson.
Arranged by Victoria
Ligon. Choral, cantatas.
Evangelism, General,
Government Holiday,
Missions, Patriotic.
Orchestration. Exaltation
Publications #30/1899L.
Published by Exaltation
Publications
(LO.30-1899L).
UPC:
000308093391.
This
is a creative worship
experience built around
prayers (both sung and
spoken) for our world's
leaders as well as
elusive goals such as
peace, the end of
terrorism and racism, and
prayers for the needy in
our world. It is global
rather than nationalistic
in scope and is
distinctively Christian
in nature, with prayers
that the church may take
the lead in responding to
a world in need. It is an
appropriate consideration
for a missions or global
focus, any national or
patriotic thrust, as well
as any general observance
where an inspirational
worship experience is
desired.
(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald...(+)
(The Journey from
Darkness to Light). By
Lloyd Larson. Arranged by
Mary Mcdonald. Orchestra.
For Flute, Clarinet, 2
Trumpet, Horn, 2
Trombone, Percussion,
Piano, Synthesized
Strings. Cantata. Choral:
Advent. Orchestral Score
and Parts. Published by
Lorenz Publishing Company
(Clarinet, Bassoon, Horn, Violin, Viola, Cello, and Double Bass Set of Parts). B...(+)
(Clarinet, Bassoon, Horn,
Violin, Viola, Cello, and
Double Bass Set of
Parts). By Ludwig van
Beethoven (1770-1827).
Edited by Egon Voss.
Henle Music Folios.
Softcover
Romantic opera in
three acts. Composed
by Franz Schubert. Edited
by Walther Durr. This
edition: complete
edition, urtext edition.
Linen. New Schubert
Edition (Neue Ausgabe
samtlicher Werke) Series
II, Volume 6. 3 part
volumes. Opern, dt.
(German Opera). Complete
edition, Score. D 732.
Duration 2 hours, 30
minutes. Baerenreiter
Verlag #BA05540_00.
Published by Baerenreiter
Verlag (BA.BA05540).
ISBN 9790006497126. 33
x 26 cm inches. Text:
Franz von
Schober.
In late
September or early
October 1821 Schubert and
his close friend, Franz
von Schober, vacationed
in the countryside of
Lower Austria. Their
first stopover was at
Ochsenburg Castle, which
belonged to the Bishop of
St. Pölten (a close
relative of
Schober’s), after
which they moved on to
St. Pölten itself.
Roughly a year earlier,
two stage works by
Schubert had been
performed in Vienna: the
one-act singspiel Die
Zwillingsbrüder and
the melodrama Die
Zauberharfe. The
librettos were both
written by the seasoned
Viennese playwright Georg
von Hofmann, who blamed
the press for the
indifferent reception the
two works were given by
the audience. Schubert
and Schober now decided,
it would seem, to write a
grand romantic opera
uninfluenced by the
workaday world of the
theatre and beholden
solely to their own ideas
of what an opera should
be.
Not until 24
June 1854 was the opera
finally performed in
Weimar, under the baton
of Franz Liszt. It only
achieved success,
however, in an
arrangement by Johann
Nepomuk Fuchs that was
staged on many German and
Austrian stages in
1881–2, allegedly
with brilliant
acclaim.
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
Overture to Scenes
from Goethe's Faust WoO 3
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). The
Faust Overture in its
First Urtext Edition.
Overture; Romantic. Study
Score. 36 pages. Duration
7'. Breitkopf and Haertel
#PB 5545-07. Published by
Breitkopf and Haertel
(BR.PB-5545-07).
ISBN
9790004213551. 6.5 x 9
inches.
The
question Why add music to
such perfect poetry?
preoccupied Schumann long
and intensively. His
first compositional
approach to Goethes Faust
began in 1844, but it was
not until 1851 that he
finally completed the
Scenes. At Liszts
suggestion, Schumann
added an overture in
1853, a symphonic
instrumental introduction
which atmospherically
evokes the action of the
Scenes but has no direct
thematic reference to
them. As an independent
overture, the work has
been played relatively
rarely in concert halls
to this day; the general
prejudice towards
Schumanns late works was
no doubt partly
responsible for this. The
first Urtext edition of
the overture was based on
the autograph score that
was revised by Schumann
and served as the
principal source. It
should give new impulses
to the future reception
of this work which Paul
Dukas hailed as a
miracle, from beginning
to end.
Orchestra SKU: FG.55011-610-8 Two mythical scenes op 1. Composed b...(+)
Orchestra
SKU:
FG.55011-610-8
Two
mythical scenes op 1.
Composed by Aulis
Sallinen. Study score.
Fennica Gehrman
#55011-610-8. Published
by Fennica Gehrman
(FG.55011-610-8).
ISBN
9790550116108.
Two
Mythical Scenes for
orchestra was completed
in 1956, when Sallinen
was Aarre Merikanto's
composition student for
his second term. The work
received its premiere
performance only after a
good deal of pressure
from Prof. Merikanto's
side, and was finally
premiered in a concert by
the Sibelius Academy
Symphony Orchestra,
conducted by Jussi Jalas.
The work received opus
number 1, as it was the
first publicly performed
work by Sallinen.
The composer has told
that he was inspired by a
1947 book published by
the Finnish Literary
Society (SKS) Myytillisia
kuvia (Mythical
Scenes/Images). The
second movement of the
work, Kalmanvaen
joulukirkko (The
Christmas Service of the
Dead) is based on the
stories in which the dead
rise from their graves
early in the Christmas
Day morning to attend
their own special
ceremony led by a dead
priest. The opening
movement Kulkue
(Procession) depicts the
dead in a procession
towards the church.
In 2020 Sallinen revised
the score slightly. In
his own words with very
small changes helping the
sixty years younger and
less experienced self.
The revisions mostly
concerned nuances and
dynamics, bowings and
some bridges. The
original structure,
rhythmic and harmonic
world is still the same
as they were when young
Sallinen composed the
work in 1956.
(A Christmas Worship Experience of the Christ-Light). By Mary Mcdonald. Arranged...(+)
(A Christmas Worship
Experience of the
Christ-Light). By Mary
Mcdonald. Arranged by
Laura Kathryn Rosser. For
full orchestra. Cantatas.
Christmas. Orchestral
score and parts.
Published by Monarch
Music
Full orchestra SKU: LO.30-3763MD Composed by Jay Rouse. Choral. Sacred An...(+)
Full orchestra
SKU:
LO.30-3763MD
Composed
by Jay Rouse. Choral.
Sacred Anthem, General,
Good Friday, Holy Week.
Orchestral score and CD
with printable parts.
Medallion Music
#30/3763MD. Published by
Medallion Music
(LO.30-3763MD).
UPC:
000308156263.
Orche
stral Score and CD with
Printable Parts for
10/5418MD This emotive
ballad by Jay Rouse
reflects on the pivotal
moment that Jesus was
abandoned by God the
Father and was left alone
to die--sacrificing His
life and taking on the
sin of the world. The
dynamic lyrics then
rejoice in the
Resurrection with a
euphoric and victorious
ending.
Orchestra SKU: HL.51489069 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.51489069
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Horst Walter.
Henle Music Folios.
Classical. Softcover. 93
pages. G. Henle #HN9069.
Published by G. Henle
(HL.51489069).
UPC:
840126951905.
6.75x9.5x0.291
inches.
Haydn
arrived in London at the
beginning of February
1794 for his second stay
in England. By this time,
he had completed three
movements of the Symphony
in D major Hob. I:101,
and the finished work was
premiered on 3 March.
Even the members of the
audience at the premiere
took note of the
pendulum-like
accompanying figure in
the second movement,
which was in fact
explicitly mentioned in a
review: “The
management of the
accompaniments of the
andante, though perfectly
simple, was
masterly.†The even
tick-tock oscillations
sparked the imagination
of listeners so much,
apparently, that the
nickname
“Clock†came
into use later in the
nineteenth century. And
while this name may have
nothing to do with Haydn,
is it even possible to
listen to the famous
second movement today
without making the
association? To everyone
wishing to become more
acquainted with this
symphony, let this
inexpensive study edition
be commended - with
reliable commentaries on
its genesis, sources, and
edition as well as an
unassailable musical text
taken from the Haydn
Complete Edition.
Concert Overture No. 1
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Hans Christian
Schmidt. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Christian Martin Schmidt
is laying bare to musical
practice the original
form of Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time. Overture;
Romantic. Full score. 72
pages. Duration 12'.
Breitkopf and Haertel #PB
5364. Published by
Breitkopf and Haertel
(BR.PB-5364).
ISBN
9790004211458. 10 x 12.5
inches.
Autograph
lays bare Mendelssohn's
Overture to A Midsummer
Night's Dream To this
day, Mendelssohns
epoch-making Overture to
A Midsummer Night's Dream
has been performed on the
basis of a more than
dubious transmission.
Neither the first edition
of the parts (1832), and
certainly not the print
of the score based on
these parts (1835) go
back directly to the
autograph of the
17-year-old composer,
which is now located in
Krakow. No wonder, since
Mendelssohn had breezily
given away his original
at an early date. The
result: during his
lifetime, versions were
published with his
authorization, even
though they were full of
unintended
inconsistencies. Yet the
autograph of 1826 is
unequivocal: it is clear,
practically free of
irregularities and
diverges considerably
from the corrupted
printed version.
Christian Martin Schmidt
comes up with
occasionally differing
musical passages, but
above all with logical
and compositionally
compelling performance
instructions, laying bare
to musical practice the
original form buried
beneath layers of
falsified material for
the first
time.
Christian
Martin Schmidt is laying
bare to musical practice
the original form of
Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time.
Orchestra (2.2.2.2. -
4.3.3.0. - timp.perc - hp
-str)
SKU:
BR.PB-4862-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Hannover, March
13, 1972
Music
post-1945. Study Score.
Composed 1972. 82 pages.
Duration 15'. Breitkopf
and Haertel #PB 4862-07.
Published by Breitkopf
and Haertel
(BR.PB-4862-07).
ISBN
9790004206591. 7 x 9.5
inches.
Variationen
(Ouverture / Thema /
Variation / Coda),
Lyrisches Intermezzo
(Sostenuto), Symphonische
Nachklange (Allegro con
moto).Immer wieder lassen
sich Komponisten von
Themen alterer oder auch
zeitgenossischer Meister
zu Variations-Zyklen
anregen (Brahms: Handel-
und Haydn-Variationen,
Reger:
Mozart-Variationen,
Holler:
Sweelinck-Variationen).
Themen von Robert
Schumann fanden bisher
relativ selten Beachtung
- (Regers
Schumann-Variationen fur
zwei Klaviere sind eine
Ausnahme) - vielleicht,
weil sie zu sehr in sich
vollendet und
abgeschlossen sind und
deshalb kaum
Moglichkeiten zur
Veranderung enthalten.
Dennoch beschaftigte mich
schon langer die Idee,
eine ,,Musik mit
Schumann, Nachklange oder
Erinnerungen an Schumann
zu gestalten, mit der
Absicht, ein heiteres,
liebenswurdiges (und
nachdenkliches) Werk zu
schreiben, einmal ohne
Experimente-, als
,,Divertimento fur den
Normalhorer, gelegentlich
behutsam verbunden mit
modernen Techniken -
nicht ohne
hintergrundigen Humor.
Der 1. Satz wurde
inspiriert von den
,,Papillons (opus 2 fur
Klavier); er gliedert
sich in vier
variationsahnliche
Abschnitte. Die
,,Ouverture exponiert
drei kurze Themen, die
sich trotz ihres
gegensatzlichen
Charakters wie
selbstverstandlich
erganzen
(Einleitungsgirlande und
Schlussfanfare der
Papillons und das
bekannte Anfangsmotiv aus
,,Vogel als Prophet). Die
Abschnitte ,,Thema,
,,Variationen und ,,Coda
entwickeln und verandern
das Hauptthema der
,,Papillons; dieses
dominiert uber weite
Strecken des Satzes und
wird mit den Motiven der
Ouverture kombiniert.
Vielfaltig gegliedert ist
das ,,Lyrische
Intermezzo. Zu Beginn
gewinnt ein Motiv aus den
,,Nachtstucken (fur
Klavier) Bedeutung,
taucht mehrere Male auf,
von mehrtonigen b-a-c-h
Clustern ,,gestort. Im
Mittelpunkt stehen das
Thema des 2. Satzes der
g-moll Klavier-Sonate op.
22 (ein Mondnachtlied
ohne Worte; Holzblaser)
und ein Adagio-Gedanke
aus dem Klavier-Zyklus
,,Kreisleriana (tiefe
Streicher); beide Themen
werden kontrapunktiert
von zwolftonigen
Strukturen und
Klangbandern
(Holzblaser). Die
,,Fruhlings-Symphonie-Fan
fare eroffnet das Finale.
Danach bilden sich uber
rotierenden Klangflachen
(Streicher) einzelne Tone
und Intervalle,
aleatorisch frei,
verdichten sich, wie aus
der Erinnerung
auftauchend, zu Motiven
aus Schumanns
bekanntester Symphonie.
Nach diesem zogernden
Beginn entwickelt sich
ein fast klassisch
anmutender
Sonaten-Durchfuhrungsteil
mit mehreren melodischen
Gedanken (Kopfmotiv der
g-moll Klaviersonate,
tanzerische und ostinate
Themen aus der
Fruhlings-Symphonie), die
zum Teil in- und
ubereinander geschichtet
werden, bis auf dem
Hohepunkt des Satzes das
Schlussthema der
Klavierfantasie op. 17,
pathetisch-ironisch in
den Blechblasern
erklingt. Eine kurze
Reprise mit dem
Hauptgedanken fuhrt zur
Anfangsfanfare zuruck;
der Satz verklingt im
pianissimo. Wollte man
dem ganzen opus ein Motto
voranstellen, dann die
Schumann-Uberschrift (aus
den Kinderszenen) :
,,Fast zu ernst - aber
eben nur ,,fast. (Jurg
Baur)CD:Sinfonieorchester
des Bayerischen
Rundfunks, cond.
Hanns-Martin SchneidtCD
Thorofon CTH 2270
Bibliography:Wallerang,
Lars: Die Orchesterwerke
Jurg Baurs als Dialog
zwischen Tradition und
Moderne, Koln: Dohr
2003.Nonnenmann, Rainer:
Vergegenwartigungen.
Umgang mit historischem
Material bei Zimmermann,
Baur, Killmayer, Schnebel
und Zender, in: Jurg
Baur, hrsg. von Ulrich
Tadday (= Musik-Konzepte.
Neue Folge, Heft
184/185), Munchen:
Edition Text+Kritik 2019,
S. 26-46.
Composed by Joshua
Reznicow. Solo or
Ensemble. Apex String
Orchestra. Score and set
of parts. Kendor Music
Inc #9997. Published by
Kendor Music Inc
(KN.9997).
UPC:
822795099973.
We
welcome Joshua Reznicow
to the Kendor family of
writers with this festive
original that sounds more
difficult to play than it
is. Written in G major
and its relevant minor
key, it gives directors a
chance to teach both
sharp and flat keys while
using open strings to
maintain a solid pitch
center. Controlling bow
speed and style using
hooked bow, spiccato, and
slurred techniques helps
to drive the musical
energy throughout. Short
solos and a brief violin
cadenza lead to a
rewarding finish and
allow more advanced
players to showcase their
skills. Duration ca.
3:40. Available in
SmartMusic.
Orchestra SKU: LO.30-2423L The followers of Jesus reflect on His final...(+)
Orchestra
SKU:
LO.30-2423L
The
followers of Jesus
reflect on His final
days. Composed by
Lloyd Larson. Choral,
cantatas. Eastertide,
Lent, Sacred. Orchestral
score and parts. Lorenz
Publishing Company
#30/2423L. Published by
Lorenz Publishing Company
(LO.30-2423L).
UPC:
000308120899.
This
compelling reflection
upon Jesus’ final
days is viewed through
His eyes and the eyes of
those surrounding Him:
Mary, sister of Martha;
an officer to Caiaphas;
Judas; Peter; Jesus
Himself; Pilate; Mary,
the mother of Jesus; Mary
Magdalene; and Thomas. A
sequence of dramatic,
scripture-based
monologues tells the
story, alternating with
Lloyd Larson’s
masterfully inspired
music as the “voice
of the believerâ€
responds. Flexibly
conceived, this work may
be presented as simply or
as elaborately as you
wish, depending upon your
resources and
preferences. Performance
options range from use as
a source of single
anthems for your seasonal
service needs to a short
worship program with
monologues and choruses
or a special, fully
staged production. It is
our hope that this work
will prompt your own
reflections upon the
great wonder and mystery
of the Incarnate God Who,
for the love of His
people, humbled Himself,
dying for our salvation
and triumphing over
death.
Day of Wrath Orchestre - Intermédiaire Highland/Etling
Orchestra - Grade 3.5 SKU: AP.45884 Dies Irae from Requiem....(+)
Orchestra - Grade 3.5
SKU: AP.45884
Dies Irae from
Requiem.
Composed by Giuseppe
Verdi. Arranged by
Deborah Baker Monday.
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Masterwork
Arrangement; Romantic;
Sacred; Video Game. Score
and Part(s). 126 pages.
Duration 2:05.
Highland/Etling
#00-45884. Published by
Highland/Etling
(AP.45884).
UPC:
038081524481.
English.
Day of
Wrath (translated from
the Latin Dies Irae),
with its dramatic
extremes of emotion, is
the perfect choice for
any concert or festival.
Students may recognize it
from the video game
Mobile Strike! This
setting by Verdi in his
Requiem Mass was first
performed in 1874 and now
has been arranged by
Deborah Baker Monday.
Repeated sixteenth notes
are used extensively
along with divided parts
to create a full,
sonorous effect with huge
dynamic contrasts from
the fortissimo opening to
the morendo ending.
(2:05).
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Set of
Orchestra Parts. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140209. Published by
Carus Verlag
(CA.3140209).
ISBN
9790007301576.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Set of
Orchestra Parts. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140219. Published by
Carus Verlag
(CA.3140219).
ISBN
9790007300258.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Vocal
score. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140203. Published by
Carus Verlag
(CA.3140203).
ISBN
9790007295080.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140212. Published by
Carus Verlag
(CA.3140212).
ISBN
9790007301590.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140211. Published by
Carus Verlag
(CA.3140211).
ISBN
9790007301583.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140249. Published by
Carus Verlag
(CA.3140249).
ISBN
9790007301620.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.