(Featuring: Opening Overture / Mine Escape / Pirates vs. Natives vs. Heroes vs. ...(+)
(Featuring: Opening
Overture / Mine Escape /
Pirates vs. Natives vs.
Heroes vs. Chickens /
Transfiguration /
Fetching the Boys).
Composed by John Powell.
Arranged by Douglas E.
Wagner. Orchestra. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Movie. Grade
3. 214 pages. Published
by Alfred Music
Featuring: Opening Overture / Mine Escape / Pirates vs. Natives vs. Heroes vs...(+)
Featuring: Opening
Overture / Mine Escape /
Pirates vs. Natives vs.
Heroes vs. Chickens /
Transfiguration /
Fetching the Boys.
Composed by John Powell.
Arranged by Douglas E.
Wagner. Full Orchestra;
Score. Pop Concert Full
Orchestra. Movie. 24
pages. Published by
Alfred Music (AP.44807S).
Arranged by Bob Cerulli. Bob Cerulli. For Full Orchestra. Full Orchestra. Pop In...(+)
Arranged by Bob Cerulli.
Bob Cerulli. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Level: grade
II-III. Conductor Score.
12 pages. Published by
Alfred Publishing.
The Chicken Dance Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
Arranged by Bob Cerulli. Arr. Bob Cerulli. For Full Orchestra. Full Orchestra. P...(+)
Arranged by Bob Cerulli.
Arr. Bob Cerulli. For
Full Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Novelty.
Level: 2.5 (grade 2.5).
Conductor Score & Parts.
62 pages. Published by
Alfred Publishing.
Orchestra SKU: HL.49018349 Kritischer Bericht zu Band 11, Teil 3, Ents...(+)
Orchestra
SKU:
HL.49018349
Kritischer Bericht zu
Band 11, Teil 3,
Entstehungs- und
Werkgeschichte,
Dokumente, Fragment fur
Kammerorchester
(1913). Composed by
Arnold Schoenberg. Edited
by Ulrich Kraemer. This
edition: Full-cloth
binding. Sheet music.
Edition Schott. Score and
critical commentary,
complete edition. 216
pages. Schott Music
#AS1011-24. Published by
Schott Music
(HL.49018349).
ISBN
9783795794033.
9.0x12.0x0.731
inches.
Arnold
Schonberg ist die
zentrale Erscheinung der
Musik dieses
Jahrhunderts. Seine
Bedeutung ist noch zu
seinen Lebzeiten offenbar
geworden, sein Einfluss
uber seinen Tod hinaus
machtig. Seine Werke
haben eine grundlegende
Wandlung des
musikalischen Weltbildes
eingeleitet.Die Ausgabe
samtlicher Werke von
Arnold Schonberg nimmt
fur sich in Anspruch, der
Forschung wie der
musikalischen Praxis
gleichermassen zu dienen.
Sie erscheint in zwei
Serien: Die Serie A in
Folioformat enthalt die
vollendeten Werke, die
vom Komponisten
gefertigten
Klavierauszuge und die
auffuhrbaren
unvollendeten Werke;
ferner Fragmente, die in
dieser Serie wegen des
Grossformats (grosse
Partituren) besser
unterzubringen sind. Die
Serie B in Quartformat
enthalt Fruhfassungen,
Skizzen, Entwurfe und
Fragmente sowie den
Kritischen Bericht und
die Genesis.
Orchestra SKU: PE.EP68783 For Cello and Orchestra. Composed by Tys...(+)
Orchestra
SKU:
PE.EP68783
For
Cello and Orchestra.
Composed by Tyshawn
Sorey. Edition Peters.
Book. 48 pages. Edition
Peters #98-EP68783.
Published by Edition
Peters (PE.EP68783).
ISBN 9790300762296.
English.
Like
his subsequent non-certo
For Marcos
Balter – also
composed during the
upheavals, political and
otherwise, of the year
2020 – Tyshawn
Sorey's For Roscoe
Mitchell for cello
and orchestra is a
single-movement work that
imagines a
non-adversarial,
non-hierarchical
relationship between the
soloist and the ensemble.
The 20-minute piece is
named in admiration of
Sorey's friend and
collaborator Roscoe
Mitchell, the
Chicago-based bandleader,
composer, educator, and
performer. Cellist Seth
Parker Woods gave the
world premiere in
November 2020 alongside
conductor David Robertson
and the Seattle Symphony,
who commissioned the
piece.
This full
score is available for
purchase as part of the
Peters Contemporary
Library, with solo and
orchestral parts
available on
hire.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
By Fred Ebb And John Kander. Arranged by Victor Lopez. Words and music by Fred E...(+)
By Fred Ebb And John
Kander. Arranged by
Victor Lopez. Words and
music by Fred Ebb and
John Kander / arr. Victor
Lopez. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Conductor
Score and Parts. 142
pages. Duration 4:04.
Published by Alfred
Publishing. Level:
3.5 (grade 3.5).
By Fred Ebb And John Kander. Arranged by Victor Lopez. Words and music by Fred E...(+)
By Fred Ebb And John
Kander. Arranged by
Victor Lopez. Words and
music by Fred Ebb and
John Kander / arr. Victor
Lopez. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Conductor
Score. 28 pages.
Published by Alfred
Publishing. Level:
3.5 (grade 3.5).
Orchestra (picc.2.2.cor
ang.2.B-clar.2.dble bsn -
4.3.3.1. - timp.perc(3) -
hp - cel - str)
SKU:
BR.PB-5105-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Bremen,
February 1, 1982
Symphony; Music
post-1945. Study Score.
Composed 1981. 68 pages.
Duration 17'. Breitkopf
and Haertel #PB 5105-07.
Published by Breitkopf
and Haertel
(BR.PB-5105-07).
ISBN
9790004208557. 9 x 12
inches.
Gesualdo,
Don Carlo, Furst von
Venosa (1560-1613) gehort
zu den eigenwilligsten
italienischen
Madrigal-Komponisten der
Spatrenaissance. Seine
ungewohnlich kuhne,
selbst fur heutige Ohren
modern klingende
Harmonik, seine
chromatischen
Stimmfortschreitungen,
seine ubersteigerte
expressive Tonsprache
regten mich schon vor
Jahren zu einer grosseren
Orgelkomposition an und
inspirierten mich 1981 zu
den >>Sinfonischen
Metamorphosen<<. Dieses
Werk ist eine
vielgestaltige
weitausgesponnene
Fantasie. Sieben
choralartige typische
Klangbeispiele aus
Gesualdos spaten
funfstimmigen Madrigalen
(4., 5. u. 6. Band)
werden teils streng,
teils frei zitiert und
von Holz- oder
Blechblasern intoniert.
Diese Zitate gliedern,
als formale und
inhaltliche Schwer- und
Ruhepunkte, den Verlauf
des gesamten Werks. Jedes
Zitat steht zu Beginn
eines neuen
Satzabschnitts; die
darauffolgenden
>>Metamorphosen<<
entwickeln sich als
rhapsodische
kontrastreiche
Charakterstucke. Im
>>Preludio<< werden aus
den vertonbaren
Buchstaben vom Namen
>>Gesualdo<< (G - E - Es
- A - D) schwebende
Klangflachen,
rezitativische Gedanken
und ein pragnantes
rhythmisches Paukenthema
gebildet. Diese
,,Grundelemente
(Grundstrukturen) tauchen
im Verlauf des Stucks
immer wieder
leitmotivisch auf. Im
zweiten Abschnitt stehen
sich lineare
Streicher-Episoden und
dichte
Blaser-Klangballungen
kontrastierend gegenuber.
Der dritte Teil lauft als
Passacaglia (Thema ist
der Bass eines
Gesualdo-Zitats) in
mehreren Variationen ab.
Im vierten Abschnitt
dominiert lebhafte
Streicherbewegung,
kontrapunktiert von
tiefen Blaser-Signalen.
Der funfte Teil steigert
sich- nach kantablem
Beginn- zum ekstatischen
Trauermarsch. Abschnitt
sechs stellt sich als
>>Rondello<< dar, mit um
sich selbst kreisenden
Klangfiguren (in
verschiedenen Tongruppen
(zwei, drei, funf). Im
siebten und letzten Teil
wird die
verhalten-resignierende
Stimmung des Anfangs
beschworen, ehe eine
knappe Stretta in den
hymnischen Schluss
mundet. In den Textender
ausgewahlten Zitatstellen
geht es meist um
Todessehnsucht,
Liebesqual und
Verzweiflung. z. B. 1.
und 2. Zitat: Moro lasso,
al mio duolo (Ich sterbe,
matt, an meiner Qual) (6.
Buch) 3. Zitat: Gia
piansi nel dolore; o
dolorosa Sorte (Schon
weinte ich in Schmerzen,
oh schmerzliches
Geschick) (6. Buch) 4.
Zitat: Ahi gia mi
discolero (Ach schon
entfarbte ich mich)
(Wehe, der Tod kommt) (4.
Buch) 5. Zitat:
Dolcissima mia vita (Mein
allerliebstes Leben)
(Dich zu lieben oder zu
sterben) (5. Buch) 6.
Zitat: lo moro (Ich
sterbe) (5. Buch) Dem
Werk liegen zwar eine
Reihe von
dodekaphonischen
Strukturen zugrunde (die
teilweise von Gesualdos
Klangzitaten abgeleitet
wurden), doch sind die
einzelnen Abschnitte
auf,,tonale Pfeiler (G -
E - A - D) gegrundet; das
Stuck beginnt in G und
endet aufD, ist also
ubergeordnet tonal
konzipiert, - der Versuch
einer Synthese moderner
Ausdrucksmittel von
Vergangenheit und
Gegenwart. Die
>>Metamorphosen<< sind
ein Stuck Bekenntnismusik
- Bekenntnis zum Leben
und Schaffen Gesualdos,
eines Mannes, der vom
Schicksal gezeichnet war,
denn der Chronik Neapels
bekannt war durch die
Ermordung seiner ersten
Frau und ihres
Liebhabers. Dieser
eminente Musiker war
zugleich ein Mensch von
ubertriebener
Sensibilitat und wilder
ekstatischer Heftigkeit:
,,Er wurde von einer
Horde von Damonen
heimgesucht, die ihm
keine Ruhe gaben, heisst
es in einem
zeitgenossischen Bericht.
Seine Kunst und sein
Leben stand unter dem
Gesetz der inneren
Zerrissenheit, zwischen
Auflehnung und
Resignation (Verzweiflung
und Hoffnung), zwischen
Zartheit und
Leidenschaft. Davon will
meine Musik etwas
aussagen. (Jurg
Baur)CD:Sinfonieorchester
des Westdeutschen
Rundfunks, cond. Rudolf
BarschaiCD Thorofon CTH
2270Bibliography:Abels,
Robert: Studien zur
Gesualdo-Rezeption durch
Komponisten des 20.
Jahrhunderts (= Studien
zur Musik 20), Leiden u.
a.: Wilhelm Fink 2017,
pp. 277-345,
485-489.Wallerang, Lars:
Die Orchesterwerke Jurg
Baurs als Dialog zwischen
Tradition und Moderne,
Koln: Dohr 2003.
Orchestra SKU: HL.49000569 Study Score. Composed by Heinz Holliger...(+)
Orchestra
SKU:
HL.49000569
Study
Score. Composed by
Heinz Holliger. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1966-1967. 78
pages. Duration 21'.
Schott Music #AVV 301.
Published by Schott Music
(HL.49000569).
ISBN
9790200101324. UPC:
073999292336.
7.5x11.0x0.272
inches.
Bei der
Arbeit am 'Siebengesang'
setzte ich mir zum Ziele,
die vielschichtigen
Wechselwirkungen zwischen
einem Individuum (dem
Solisten) und seiner
Umwelt (dem Orchester)
aufzuzeigen und daraus
formgebende
satztechnische Impulse zu
gewinnen.Das Werk
'Siebengesang' ist
7teilig: in den drei
ersten Teilen treten sich
das Soloinstrument und
verschiedene
selbstandige, nach
Register und Klangfarben
geordnete
Orchestergruppen
gegenuber. Im 4. Teil
durchdringen sich
Solooboe und ein Ensemble
von 4 linearen
Instrumenten. Der 5. Teil
ist ein grossangelegtes
Orchester-Crescendo. Uber
23 von Gong-Signalen
markierten
5-Sekunden-Abschnitten
werden nach und nach die
verschiedenen
Orchestergruppen (jede
mit individuellem Tempo)
ubereinander geschichtet.
Der 6. Teil konfrontiert
mit Hilfe eines im Innern
des Instrumentes
angebrachten Mikrophons
verstarkten und
verzerrten Oboenklang mit
dem ganzen Orchester,
wobei die neuen,
ungewohnten Klange der
Oboe das Klangspektrum
des Orchesters in grossem
Masse beeinflussen. Auf
knappstem Raum werden
hier in hektischem
Wechsel die aussersten
strukturellen Gegensatze
zusammengedrangt. Im sehr
ruhigen Schlussteil
vervielfacht sich die
Oboenpartie in 7
Singstimmen, denen als
phonetisches Material die
Schlussverse von Georg
Trakls Gedicht
'Siebengesang des Todes'
zugrunde liegen
[.].-Heinz
Holliger
2 (auch 1
Altfl., 2 Picc.) * 2
(auch Engl. Hr.) * 2
(auch 1 Es-Klar., auch 2
Bassklar.) * 0 * Kfg. - 2
* 2 * 2 * 1 - S. (3 Beck.
* 3 Gongs * 3 Tamt. * 3
Tomt. * 4 Bong. * kl. Tr.
* gr. Tr. * 2 Mar. * 13
Plattengl. * 2 Woodbl. *
2 Tempelbl. * Glsp. *
Xyl.) (3-5 Spieler) - 2
Hfn. * Cel. u. Klav. (1
Spieler) - Str. (7 * 0 *
5 * 4 * 3 [1 m. 5
Saiten]) - Singstimmen (4
S * 3 A; ad lib. chorisch
12 S * 9 A).
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: PR.466000580 Opera in One Act. Composed by Vincent ...(+)
Orchestra
SKU:
PR.466000580
Opera
in One Act. Composed
by Vincent Persichetti.
With Standard notation.
95 pages. Theodore
Presser Company
#466-00058. Published by
Theodore Presser Company
(PR.466000580).
Reduced Orchestration Score. By Leonard Bernstein. (Score). Boosey and Hawkes S...(+)
Reduced Orchestration
Score. By Leonard
Bernstein. (Score).
Boosey and Hawkes Scores
and Books. Book only.
Size 9x12 inches. 52
pages. Published by
Boosey and Hawkes.
Orchestra (Study Score) SKU: HL.49045924 Opera in 3 Acts Study Score(+)
Orchestra (Study Score)
SKU: HL.49045924
Opera in 3 Acts Study
Score. Composed by
Erich Wolfgang Korngold.
This edition:
Hardback/Hard Cover.
Sheet music. Study Score.
Die tote Stadt war von
Anfang an ein
durchschlagender Erfolg.
Bei der Urauffuhrung 1920
war der Komponist
Korngold, der spater in
Hollywood Karriere als
Filmkomponist machte,
gerade einmal 23 Jahre
alt. Das Libretto, ein
vielschichtig
gebrochenes, morbide.
Classical, Opera.
Hardcover. Composed
1916-1919. Op. 12. 696
pages. Duration 8700
seconds. Eulenburg
Edition #ETP8113.
Published by Eulenburg
Edition (HL.49045924).
ISBN 9783795711764.
UPC: 888680949426.
8.0x10.5x1.8 inches.
German. Korngold -
Librettist: Paul Schott;
Author of Original Text:
Georges
Rodenbach.
This
masterpiece, composed by
Erich Wolfgang Korngold
when he was only 23, was
one of the great stage
successes of the 1920s
and 30s before being
removed from theatre
schedules by the National
Socialists. Rediscovered
in the 1970s, it has
enjoyed continuing
popularity ever since.
The libretto was compiled
by the composer's father,
the music critic Julius
Korngold, writing under
the pseudonym 'Paul
Schott', a combination of
the name of the
protagonist and the
publishing house. A
vivacious theatre group
comes to liven up the
gloomy city of Bruges
(here, a symbol of death)
and the widower Paul is
forced to decide between
the past and the present.
Korngold was fascinated
by this symbolic plot and
created an iridescent
orchestral score washed
in vivid colours. A
variety of operatic
devices are intermingled
as if viewed through a
kaleidoscope: opulent
melodic arias, advanced
harmonies, psychoanalytic
profundity and cinematic
transitions oscillating
between reality and dream
worlds guarantee the
continuing modernity of
this work up to the
present day.
Orchestra SKU: PR.416412490 Composed by Shulamit Ran. Full score. With St...(+)
Orchestra
SKU:
PR.416412490
Composed
by Shulamit Ran. Full
score. With Standard
notation. 28 pages.
Duration 7 minutes.
Theodore Presser Company
#416-41249. Published by
Theodore Presser Company
(PR.416412490).
Chicago Remains Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
(Hawkes Pocket Score 1416). Composed by Mark-Anthony Turnage (1960-). For Orches...(+)
(Hawkes Pocket Score
1416). Composed by
Mark-Anthony Turnage
(1960-). For Orchestra,
Score (Study Score).
Boosey and Hawkes
Scores/Books. Softcover.
66 pages. Boosey and
Hawkes #M060120541.
Published by Boosey and
Hawkes
For All Band Programs. By Tim Lautzenheiser and Charles Menghini. Essential Elem...(+)
For All Band Programs. By
Tim Lautzenheiser and
Charles Menghini.
Essential Elements.
CD-ROM only. Size 9x12
inches. 48 pages.
Published by Hal Leonard.
Orchestra SKU: SU.27040180 For Orchestra. Composed by Gregory J. H...(+)
Orchestra
SKU:
SU.27040180
For
Orchestra. Composed
by Gregory J. Hutter.
Orchestra. Full Score.
Subito Music Corporation
#27040180. Published by
Subito Music Corporation
(SU.27040180).
Conductor's
scoreElectric Traction is
the second offering in a
trilogy of urban-inspired
symphonic works, and was
initially inspired while
traveling from Chicago
through Northern Indiana
via an electric
interurban commuter
railway. Train sounds are
to some degree depicted
musically—which is
demonstrated throughout
by the spinning out of
various motoric and
textural devices at a
very high rate of
speed.2,1,2,1,2,1,2,1;
4331; timp, 3 perc, hp,
pno/cel; stgs Duration:
6'30 Composed: 2002
Published by: Hutter
Music Performance
materials available on
rental only:.
For Orchestra. By Lukas Foss. For Piccolo, Flute, Oboe, English Horn, Clarinet, ...(+)
For Orchestra. By Lukas
Foss. For Piccolo, Flute,
Oboe, English Horn,
Clarinet, Bass Clarinet,
Bassoon, Horn, Trumpet,
Tenor, Tuba, Timpani,
Percussion, Harp, Organ,
Piano, Celesta, Violin,
Viola, Cello, Contrabass.
World Premiere Chicago
Symphony Orchestra
February 19, 1992.
Classical. Full Score -
Study. 104 pages.
Published by Carl
Fischer.
For Orchestra. By Lukas Foss. For Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet,...(+)
For Orchestra. By Lukas
Foss. For Flute, Oboe,
Clarinet, Bassoon, Horn,
Trumpet, Piano, Guitar,
Percussion, Violin I,
Violin II, Viola, Cello.
Premiered July 7, 1967 by
the Chicago Symphony with
seiji Ozawa Conducting.
Classical. Performance
score. 50 pages.
Published by Carl
Fischer.
Texan Tenebrae Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48025168 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.48025168
Orchestra Study
Score. Composed by
Mark-Anthony Turnage.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 48 pages.
Duration 480 seconds.
Boosey & Hawkes
#M060126192. Published by
Boosey & Hawkes
(HL.48025168).
ISBN
9780851628639. UPC:
196288110736.
8.25x11.75x0.194
inches.
This work
was commissioned by the
Canary Islands Festival,
the Royal Concertgebouw
Orchestra and the Chicago
Symphony Orchestra. It
was composed in 2009 and
first performed on 21
January 2010 at Auditorio
de Tenerife, Santa Cruz
de Tenerife, Spain, by
the London Philharmonic
Orchestra, conducted by
Vladimir Jurowski. This 8
minute atmospheric piece
is moody and full of
suspense, structured in a
single slow movement.
Suitable for advanced
standard performers.
Orchestra (Full Score) SKU: HL.1189996 Composed by William Bolcom. E.B. M...(+)
Orchestra (Full Score)
SKU: HL.1189996
Composed by William
Bolcom. E.B. Marks.
Opera. Softcover. Edward
B. Marks Music #MP078038.
Published by Edward B.
Marks Music (HL.1189996).
ISBN 9781705192443.
UPC:
196288131649.
â€
œBased on the motion
picture A Wedding by
Robert Altman and John
Considine, premiered at
Lyric Opera of Chicago.
Libretto by Arnold
Weinstein and Robert
Altman....there is no
reason to resist this
rarest of creations: a
meaningful American comic
opera.†-Mark Swed,
LA Times.
SKU: CL.016-0070-00 March. Composed by Fulton. Orchestra. Score an...(+)
SKU:
CL.016-0070-00
March. Composed by
Fulton. Orchestra. Score
and set of parts.
Composed 1903. C.L.
Barnhouse #016-0070-00.
Published by C.L.
Barnhouse
(CL.016-0070-00).
Orchestra SKU: AP.12-0571540104 Concerto for Trombone and Orchestra(+)
Orchestra
SKU:
AP.12-0571540104
Concerto for Trombone
and Orchestra.
Composed by Carl Vine.
Full Orchestra;
Masterworks; Performance
Music Ensemble; Single
Titles. Faber Edition.
Form: Concerto. 20th
Century; Masterwork.
Score. Faber Music
#12-0571540104. Published
by Faber Music
(AP.12-0571540104).
ISBN 9780571540105.
English.
Inspired
by Oliver Sacks's
fascinating exploration
of atypical mental
states, Five
Hallucinations, Carl
Vine's trombone concerto,
was premiered in October
2016 by Michael Mulcahy
and the Chicago Symphony
Orchestra under James
Gaffigan. Each movement
of the 20-minute concerto
is based on a different
hallucination, from the
ominous Doppelgänger
to the rather absurd The
Lemonade Speaks.
Mixed Choir; Orchestra (Study Score) SKU: HL.48025342 Opera in Three A...(+)
Mixed Choir; Orchestra
(Study Score)
SKU:
HL.48025342
Opera
in Three Acts Study
Score. Composed by
Igor Stravinsky. Boosey &
Hawkes Scores/Books.
Classical, Opera.
Softcover. Boosey &
Hawkes #M060140211.
Published by Boosey &
Hawkes (HL.48025342).
UPC:
196288176404.
New
edition of Stravinsky's
largest work, his only
full-length work for the
theatre, and his first
major work in English. It
also represents the
culmination of his
neoclassical years, after
which he started to
rethink his musical
language. Inspired by an
exhibition in Chicago in
1947 of a series of
Hogarth prints, the
depiction of the ironic
progress of the
spendthrift heir of a
miser from wealth via
debt to madness and death
is, in essence, retained
in the opera. Auden and
Kallman's 'fable' wittily
grafts onto Hogarth's
quest narrative aspects
of, among other sources,
Classical pastoral, the
Faust legend, fairy tale,
circus, the Bible and
opera in many different
manifestations. This is
brilliantly matched by
Stravinsky's music, which
takes as its source the
whole of operatic history
from Monteverdi to Verdi
via Rossini and Donizetti
and large doses of
Mozart, yet it is neither
parody nor pastiche. The
RakeÂ’s Progress can
be appreciated on many
levels, which might
explain why it is still
one of only a handful of
20th-century operas never
to have been out of the
repertoire.