For
Orchestra. Composed
by Michael Abels.
Orchestra. Study Score.
Composed 2004. Duration
10'. Subito Music
Corporation #90180020.
Published by Subito Music
Corporation
(SU.90180020).
Instrumentation
: 2,1,2,3(Eb,bcl),2;
4331; timp, 3perc; harp,
str Duration: 10'
Composed: 2004 Full Score
& Parts: available on
rental Published by:
Subito Music
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
Orchestra SKU: PR.416416140 For Flute, Oboe, Clarinet in B-flat, Basso...(+)
Orchestra
SKU:
PR.416416140
For
Flute, Oboe, Clarinet in
B-flat, Bassoon, and
Orchestra. Composed
by Narong Prangcharoen.
Full score. 53 pages.
Duration 17 minutes.
Theodore Presser Company
#416-41614. Published by
Theodore Presser Company
(PR.416416140).
UPC:
680160642441.
Time
is one of the main
factors impacting the
world and our lives.
Einstein saw time as the
relationship of the
motion of one object
relative to the position
of another object, as
measured through
observation. But can we
really measure time
objectively? Music, the
art which moves through
time, can affect our
perception of time, and
can affect each person's
perception of time
differently. Depending on
the emotion it
stimulates, music can
make time seem to pass
quickly or slowly. A
composer can use music to
convey time to an
audience and different
musical ideas can create
different sensations of
time. Absence of Time is
a concerto for woodwind
quartet and orchestra. It
has three main sections
(fast, slow, fast),
recalling traditional
concerto form, but it
does not use the solo
instruments in the
traditional way, i.e., as
soloists in contest with
the orchestra. Inspired
by the idea of
juxtaposing different
experiences of time, I
divided the instruments
into two groups: the four
soloists and the
orchestra. The orchestra
functions mostly as the
keeper of time (real
time) while the quartet
of soloists fluctuates
(in imaginary time or in
the absence of time)
around the orchestra's
time. While the quartet's
instruments do play
solos, they also play in
ensemble with the
orchestra. You could say
that they play in both
imaginary time (as
soloists) and in real
time (with the
orchestra). In addition
to this, the woodwind
section of the orchestra
plays in conversation
with the solo quartet,
calling it back to real
time. Fusion is achieved
at the end of the piece
through the use of
strong, driving rhythm.
Absence of Time was
commissioned by the
Pacific Symphony and was
first performed by the
Pacific Symphony and the
Pacific Symphony Woodwind
Quartet with Carl St.
Clair as conductor on
October 20, 2016.
Orchestra (Study Score) Waltz for Orchestra. Composed by Johann Strauss. Edited ...(+)
Orchestra (Study Score)
Waltz for Orchestra.
Composed by Johann
Strauss. Edited by Viktor
Keldorfer. Arranged by
Viktor Keldorfer. This
edition: Saddle
stitching. Sheet music.
Eulenburg
Taschenpartituren (Pocket
Scores). Classical,
Romantic. Study Score.
Composed 1885. Op. 410.
48 pages. Duration 7'.
Eulenburg Edition
#ETP869. Published by
Eulenburg Edition
Fontane Di Roma Orchestre [Conducteur d'étude / Miniature] Eulenburg
By Ottorino Respighi (1879-1936). Study Score. Study Score. Softcover. 88 pages....(+)
By Ottorino Respighi
(1879-1936). Study Score.
Study Score. Softcover.
88 pages. Eulenburg
(Schott Music) #ETP8097.
Published by Eulenburg
(Schott Music) .
Softcover.
Orchestra SKU: HL.14033079 Composed by Per Norgard. Music Sales America. ...(+)
Orchestra
SKU:
HL.14033079
Composed
by Per Norgard. Music
Sales America. Classical.
Score. 164 pages. Music
Sales #KP01073. Published
by Music Sales
(HL.14033079).
ISBN
9788759858332.
Danish.
There were
wild oatsAnd the soil was
blackBut sparkledWhen the
sun was outThe air sharp
in the nostrilsHard to
defineSomewhere between
knife and coal andAcid
and that special light
and sweetWhiteness
thornbushes exhaleIt was
nothing specialBecause
everything was
special...Thus the
opening line of the poem
TERRAINS VAGUES by Klaus
Rifbjerg, the Danish
Poet. I chose to adopt
this title for my
orchestral work, because
of its closeness in
associations: an
indeterminable, often
polarized, state of
rhythmic and tonal
ambiguity.The expression
seems created by the
Franch author, Victor
Hugo:And here lies the
fascination: in the kinds
of terrains vagues, which
are simultaniously
bizarre and ugly, as if
created by two alien
species of nature. To
watch the suburb is like
observing and amphibium:
trees vanish, roofs
appear, grass vanish,
cobble stones appear,
ploughing fields vanish,
shops appear, beaten
tracks vanish - passions
appear; the murmur of
Nature Divine ends, the
noise of Mankind takes
over. (Victor Hugo)Still,
the atmosphere as well as
the material of TERRAINS
VAGUES have its origin,
in my SYMPHONY NO. 6
(1999), the last minute
of which, cut up rough,
appears as the start of
my new work. The music of
TERRAINS VAGUES
subdivides itself,
without breaks, into
three sections, or
shades:I: TERRAINS - II:
VAGUES (Waves) III:
TERRAINS VAGUES.Per
Norgard, March 2001.
(Suite from Volume Alpha). Composed by Daniel Rosefeld. Arranged by Ralph Fo...(+)
(Suite from Volume
Alpha).
Composed by Daniel
Rosefeld.
Arranged by Ralph Ford.
Concert Band. Concert
Band;
Score. Pop Young Band.
Form:
Suite. Video Game. Grade
2.5. 24 pages. Published
by
Alfred Music
(Death
& Transfiguration)
Clothbound Score,
Complete Edition in
G. Edition Schott.
Classical. Hardcover.
Duration 1440 seconds.
Schott Music #RSW306.
Published by Schott Music
(HL.49047172).
UPC:
196288143406.
When
the 24-year-old Richard
Strauss, assistant
conductor in Munich,
began the composition of
his third tone poem in
the summer of 1888, he
saw himself close to the
aspiration prescribed by
his mentor Alexander
Ritter: to become the
successor of Richard
Wagner as a musical
dramatist. Strauss had
already been working on
the text of his first
opera Guntram for a year
and additionally devoted
himself to programmatic
orchestral works oriented
to the musical language
of Liszt and Wagner in
order to prepare himself
compositionally for his
new task. With the aid of
Strauss and other
musicians including
Ludwig Thuille and
Friedrich Rösch who
had been gathering for
“Ritter's round
table†in Munich
between 1886 and 1889,
RitterÂ’s intention
was to achieve success on
a broad front with the
New German School
following the death of
its two protagonists
Wagner and Liszt. We do
not know whether Ritter
and his supporters
jointly planned Strauss's
compositional path
towards opera, determined
the subjectsof his
prospective tone poems
and considered various
strategies of their
musical realization, but
the influence of this
group shouldnot be
underestimated. It cannot
be ruled out that the
number of three tone
poems was fixed, as was
their sequence of
composition, which would
progressively achieve its
zenith in an increasing
orientation to Liszt and
Wagner. The circle could
possibly have also
discussed initial links
to literary subjects
(Macbeth and Don Juan)
and ultimately the
abstention from this
practice in the third and
final tone poem. The
subject of the work, or
rather in StraussÂ’s
formulation its
“poetic
modelâ€, has
occasionally been
interpreted from an
autobiographical aspect.
Strauss however did not
experience serious
illness until May 1891
and once more in June
1892, long after Tod und
Verklärung had been
composed. Even without an
external reason, the
material would have been
only too attractive for
an admirer of Wagner and
Liszt like Strauss, not
to mention for his mentor
Alexander Ritter. The
concept of 'death and
transfiguration' had
already played a central
role in LisztÂ’s
symphonic poems Tasso and
Prometheus.
Orchestra SKU: BR.SON-511 Orchestermusik. Composed by Hanns Eisler...(+)
Orchestra
SKU:
BR.SON-511
Orchestermusik.
Composed by Hanns Eisler.
Edited by Knud Breyer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 248 pages.
Breitkopf and Haertel
#SON 511. Published by
Breitkopf and Haertel
(BR.SON-511).
ISBN
9790004803448. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-506 Kammersymphonie op.69. Composed by Hanns...(+)
Orchestra
SKU:
BR.SON-506
Kammersymphonie
op.69. Composed by
Hanns Eisler. Edited by
Tobias Fasshauer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 148 pages.
Breitkopf and Haertel
#SON 506. Published by
Breitkopf and Haertel
(BR.SON-506).
ISBN
9790004802779. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-508 Filmmusik zu The Grapes of Wrath/Hangmen Als...(+)
Orchestra
SKU:
BR.SON-508
Filmmusik zu The
Grapes of Wrath/Hangmen
Also Die. Composed by
Hanns Eisler. Edited by
Johannes C. Gall.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 508. Published by
Breitkopf and Haertel
(BR.SON-508).
ISBN
9790004803301. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-509 Filmmusik zu Nuit et brouillard. Compose...(+)
Orchestra
SKU:
BR.SON-509
Filmmusik zu Nuit et
brouillard. Composed
by Hanns Eisler. Edited
by Knud Breyer and Oliver
Dahin. Hardback. Complete
Works. Early modern;
Music post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 509. Published by
Breitkopf and Haertel
(BR.SON-509).
ISBN
9790004803318. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: CF.PO192S On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192S
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown.
Condensed score. Carl
Fischer Music #PO192S.
Published by Carl Fischer
Music (CF.PO192S).
ISBN 9781491157367.
UPC:
680160915927.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra SKU: CF.PO192F On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192F
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown. Full
score. Carl Fischer Music
#PO192F. Published by
Carl Fischer Music
(CF.PO192F).
ISBN
9781491157374. UPC:
680160915934.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra (Full Score) SKU: HL.244904 For Orchestra. Composed by B...(+)
Orchestra (Full Score)
SKU: HL.244904
For Orchestra.
Composed by Bryce
Dessner. Music Sales
America. Classical.
Softcover. Composed 2017.
64 pages. Duration 1020
seconds. Chester Music
#CH83985. Published by
Chester Music
(HL.244904).
8.25x12.0x0.508
inches.
Quilting,
co-commissioned by the
BBC Symphony Orchestra
and the Los Angeles
Philharmonic, is my first
stand alone work for
orchestraand is loosely
inspired by the American
tradition of quilt
making. I composed
Quilting while living
most of last year in
Paris.During my time
there, I thought a lot
about what it means to
compose symphonic music
as a young American in
the 21st century, when so
many of the many
masterworks which are
programmed year in and
out by orchestras across
the country are European.
I considered which
artistic traditions
defined the American
19th-century. I began to
think of the American
crafts-tradition of
quilting as a foilto the
high-art tradition of
European orchestral
composition. As the score
for my new work began to
take shape, I started
thinking about the
manuscript itself as an
object, its vertical and
horizontal planes create
a kind of patterned
geometry of their own.
Visually the way a
musical score is woven
together like patchwork
brought to mind quilts
and the great American
tradition of quilting. I
imagined about how
conducting an orchestra
can feellike stitching a
piece together, or sewing
together a large number
of musical ideas and
musicians into a coherent
and transcendent whole.
Quilting was an integral
part of American
vernacular in the 18th
and 19th centuries, the
African-American quilting
tradition is especially
fascinating, and the
quilts tell the stories
of the women and
communities who made
them. The names of the
quilt patterns themselves
can have their own sense
of narrative: 'jacobs
ladder', 'drunkards
path', 'solomon's
puzzle', and (my favorite
for its relevance to this
piece) 'the road to
California. - Bryce
Dessner.
Orchestra - Grade 3 SKU: AP.48090S Composed by Richard Meyer. Performance...(+)
Orchestra - Grade 3
SKU: AP.48090S
Composed by Richard
Meyer. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Novelty.
Score. 24 pages. Duration
8:50. Highland/Etling
#00-48090S. Published by
Highland/Etling
(AP.48090S).
UPC:
038081550947.
English.
Pay
tribute to your school
with this imaginative
musical portrait of the
school day as viewed by
typical students through
the inspired genius of
composer Richard Meyer.
Six creative musical
interludes portray the
subjects of the school
day (History, Math,
English, Physical
Education, Science, and
Orchestra), each
introduced with a short
poem read by a narrator.
The delightful poems were
written by middle-school
students and offer
amusing and enlightening
insights into their
encounters with the
wonders (and perils) of
education. The subjects
are linked together by
brief and hectic musical
passing periods based on
the Promenade from
Mussorgsky's famous
Pictures at an
Exhibition. Use the poems
included or, for a
wonderful writing prompt,
have your students
compose their own! School
is the perfect piece for
an assembly, a concert
for the parents, or a
recruiting tour.
(8:50).
Orchestra - Grade 3 SKU: AP.48090 Composed by Richard Meyer. Performance ...(+)
Orchestra - Grade 3
SKU: AP.48090
Composed by Richard
Meyer. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Novelty;
Programmatic. Score and
Part(s). 128 pages.
Duration 8:50.
Highland/Etling
#00-48090. Published by
Highland/Etling
(AP.48090).
UPC:
038081550930.
English.
Pay
tribute to your school
with this imaginative
musical portrait of the
school day as viewed by
typical students through
the inspired genius of
composer Richard Meyer.
Six creative musical
interludes portray the
subjects of the school
day (History, Math,
English, Physical
Education, Science, and
Orchestra), each
introduced with a short
poem read by a narrator.
The delightful poems were
written by middle-school
students and offer
amusing and enlightening
insights into their
encounters with the
wonders (and perils) of
education. The subjects
are linked together by
brief and hectic musical
passing periods based on
the Promenade from
Mussorgsky's famous
Pictures at an
Exhibition. Use the poems
included or, for a
wonderful writing prompt,
have your students
compose their own! School
is the perfect piece for
an assembly, a concert
for the parents, or a
recruiting tour.
(8:50).
Orchestra - Grade 2.5 SKU: AP.41193S Featuring: 25 or 6 to 4 / It Don'...(+)
Orchestra - Grade 2.5
SKU: AP.41193S
Featuring: 25 or 6 to
4 / It Don't Mean a Thing
(If It Ain't Got That
Swing) / Theme from Ice
Castles (Through the Eyes
of Love) / Any Way You
Want It. Arranged by
Michael Story.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Beginning String
Orchestra. Movie; Pop.
Score. 16 pages. Alfred
Music #00-41193S.
Published by Alfred Music
(AP.41193S).
UPC:
038081471730.
English.
This is a
set of four individual
arrangements of classic
popular songs, each of
which introduce or
reinforce specific
musical objectives. In
addition, this collection
is designed to serve as a
complete or partial
repertoire for any
concert program. These
highly recognizable tunes
with identifiable
teaching objectives can
be performed in one
concert or distributed
throughout the year.
There are piano
accompaniment and
percussion parts
included, which are both
completely optional. The
percussion part is easy
enough for your string
players to perform.
Orchestra (Study Score) SKU: HL.48024642 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.48024642
Orchestra Study
Score. Composed by
Sergei Prokofiev. Boosey
& Hawkes Scores/Books.
Classical, Russian.
Softcover. 68 pages.
Duration 780 seconds.
Boosey & Hawkes
#M060133053. Published by
Boosey & Hawkes
(HL.48024642).
ISBN
9781784542658. UPC:
888680949068.
7.25x10.25x0.241
inches.
New edition
of this enigmatic,
single-movement work for
full orchestra lasting 13
minutes and dating from
the early-1930s. In his
preface, Gerard McBurney
comments that, Despite
the music's modernist
surface, the Chant
symphonique's 'three
closely integrated
movements' correspond
rather neatly to a
traditional sonata-form
exposition, development
and recapitulation. There
is even an overall
tonality of sorts - D
major. But 'parts',
'moods', keys and
cadences are all
subjected in this unusual
work to tremendous
pressure and distortion,
so that we quickly begin
to suspect that something
other, different and more
mysterious, is really
going on here..
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.
Featuring: Sleigh Ride
/ Rockin' Around the
Christmas Tree / Let It
Snow! Let It Snow! Let It
Snow! / Santa Claus Is
Comin' to Town.
Composed by Various.
Arranged by Michael
Story. Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Beginning String
Orchestra. Form: Medley.
Christmas; Secular;
Winter. Score. 16 pages.
Duration 4:00. Alfred
Music #00-43755S.
Published by Alfred Music
(AP.43755S).
UPC:
038081496283. English.
Various.
Featuring
a set of four
arrangements that can be
performed individually or
as a complete program.
Each piece reinforces
specific musical
objectives. (4:00).
Orchestra (Study Score) SKU: HL.49018854 For orchestra. Composed b...(+)
Orchestra (Study Score)
SKU: HL.49018854
For orchestra.
Composed by Richard
Ayres. This edition:
Saddle stitching. Sheet
music. Study Score. Study
score. Composed 2006. 90
pages. Duration 25'.
Schott Music #ED13362.
Published by Schott Music
(HL.49018854).
ISBN
9790220132384. UPC:
884088675011.
8.25x11.75x0.304
inches.
No. 37b is
a suite of four short
pieces for orchestra.
Like many of the
composer's works the
subject matter revolves
around death and after
life. Featuring some of
the composer's most
chaotic and frenzied
mixes of musical ideas
this new score is
essential study material
for aspiring conductors
and composers.
Orchestra (Study Score) SKU: HL.50600436 Study Score. Composed by ...(+)
Orchestra (Study Score)
SKU: HL.50600436
Study Score.
Composed by Guoping Jia.
Study Score. Classical,
Contemporary. Softcover.
36 pages. Sikorski
#SIK8794. Published by
Sikorski (HL.50600436).
11.5x16.25x0.142
inches.
“'Kal
aviuka' is an incarnated
figure of the Buddha, the
head of which looks human
and the lower half like a
bird with wings. In my
work I would like to
express the unity of man
and nature, a conception
deeply rooted in
traditional Chinese art
and culture, with a
modern awareness. The
musical material derives
from traditional Chinese
instrumental works which
have birds as their
subjects. In particular,
these are passages
(neither sung nor
melodic) that imitate
birdsong or depict the
forms of birds by means
of various instruments.
These musical sections
mostly consist of a
combination of specially
selected musical
instruments with special
techniques of sound
production. My aim in
composing this piece was
to find out how these
sounds could be
transferred into an
orchestra in order to
develop a new musical
vocabulary and new means
of expression.â€
(Guoping Jia) The work
was commissioned by
Munich Biennale 2012 and
Ernst von Siemens
Musikstiftung.
<
p>The ballet â??Les
Fêtes d'Hbâ? deals
with the talents that are
usually the subject of
the Opra and are placed
at the service of love on
stage: poetry and
declamation (1st entre,
La Posie), song and
harmony (2nd entre, La
Musique) and finally
dance and choreography
(3rd entre, La Danse);
hence the alternative
title of the ballet
â??Les Talents
lyriquesâ?. In this
ballet opera, Rameau
consistently gives
priority to the female
roles. The prologue
glorifies Hb, the goddess
of youth, and her
alliance with love, while
â??La Posieâ? praises
the poetress Sappho, who
sings almost throughout,
and â??La Musiqueâ?
concentrates on the
omnipresent princess
Iphise; finally, â??La
Danseâ? has as its
main character the
shepherdess Ã?gl, who
excels in dance and
song.
Since the
premiere, the text of the
libretto has been
perceived as rather
unbalanced. Rameau
compensates for these
poetic shortcomings with
musical boldness and
innovations of the
highest order. Be it the
overture that throws
Lully's model overboard,
the varied choral
movements such as that of
the Thessalians â??Que
jusqu'au fond de nos
grottes profondesâ?,
the virtuoso arias such
as Sappho's air â??Un
jour pass dans les
tourmentsâ? or the
magnificent monologues
for Iphise and Tirte â??
the originality and
beauty of the music
testify to incredible
ingenuity.
Orchestra (Score) SKU: HL.49045561 Richard Strauss Werke Complete Edit...(+)
Orchestra (Score)
SKU:
HL.49045561
Richard Strauss Werke
Complete Edition Score
Band 4. Composed by
Richard Strauss. Edited
by Stefan Schenk and
Walter Werbeck. This
edition: Hardback/Hard
Cover. Sheet music.
Edition Schott.
Classical. Hardcover.
Composed 1888-1891. Op.
23. 236 pages. Duration
18'. Schott Music
#RSW304. Published by
Schott Music
(HL.49045561).
ISBN
9783901974045.
Stra
uss's first tone poem
distinguishes itself from
all other subsequent
orchestral compositions
in its existence in three
different versions. Even
among the operas and
other compositions in his
hand there is no other
work with a comparable
history of origin and
publication. What is
more, the final version
of Macbeth is the only
valid form of the work
and the only variant with
further sources (cf.
Critical Report) in
addition to the autograph
score. In contrast, the
second version has only
been preserved in an
autograph score and
autograph piano reduction
(the orchestral parts
which must have existed
have obviously not
survived). This was never
printed and was replaced
by the published third
version. The two
surviving versions should
therefore not be
considered to be of equal
status. Unlike the case
of Ariadne auf Naxos in
which the earlier version
was for a time the sole
valid alternative and was
yet never completely
displaced by the soon
dominating later version
of the opera, only the
final third version of
Macbeth is considered as
valid. Right from the
outset, it was a matter
of course for the editors
of the present volume to
include the second
version as a first
publication (in addition
to the above-mentioned
surviving pages of the
first version), albeit in
different forms. The
surviving pages of the
first version are
reproduced in facsimile
and the second version,
as a subordinate form of
the work, appears
alongside Strauss's piano
reduction in a modified
source edition, i.e.
without intervention on
the part of the editors.
The ultimate third
version is published as a
full edition (please
refer to the Critical
Report for further
details). In order to
facilitate a comparative
study of the second and
third versions, the
relevant page numbers of
the score are placed
opposite one another (the
autograph piano reduction
of the second version is
included at the end of
the music section of the
volume). The editors hope
that this synoptic
representation will
prompt interest in
further studies on
Strauss's art of
orchestration: a field of
research which has still
remained insufficiently
examined. A study of
Macbeth namely
illuminates as clearly as
could be wished how much
significance Strauss
allotted to sound
alongside form. The
subjects were not merely
intended to generate an
individual figure, but
also specific tonal
colours, and the
instrumentation was
simultaneously designed
to provide an optimal
communication of
thematic-motivic texture
to the audience. The 'new
path' threw up
consequences which caused
Strauss a considerable
amount of difficulty. He
was however a fast
learner and had already
swum free with Don Juan
and all the more with Tod
und Verklarung.
(A Practical Application of Rudolf von Laban's Movement Language). By James Jord...(+)
(A Practical Application
of Rudolf von Laban's
Movement Language). By
James Jordan with Meade
Andrews and Giselle
Wyers. Book and DVD. 362
pages. Published by GIA
Publications