Orchestra - Grade 2.5 SKU: AP.38425 A Parry Gripp YouTube Suite (Featu...(+)
Orchestra - Grade 2.5
SKU: AP.38425
A
Parry Gripp YouTube Suite
(Featuring: Boogie Boogie
Hedgehog / Baby Monkey
(Riding Backwards on a
Pig) / Do You Like
Waffles?). Composed
by Parry Gripp. Arranged
by Michael Story.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert.
Score and Part(s). 160
pages. Alfred Music
#00-38425. Published by
Alfred Music (AP.38425).
UPC: 038081438689.
English.
This
three-piece suite is
based on the widely
popular music of talented
songwriter Parry Gripp.
Parry's music has gone
viral on YouTube, where
his songs accompany many
internet videos, as well
as his own music videos.
The three catchy songs
included are Boogie
Boogie Hedgehog, Baby
Monkey (Riding Backwards
on a Pig), and Do You
Like Waffles? This clever
medley of infectious
tunes will certainly put
a smile on everyone's
faces!
Full orchestra SKU: LO.30-3704MD Composed by Jay Rouse. Choral. Sacred An...(+)
Full orchestra
SKU:
LO.30-3704MD
Composed
by Jay Rouse. Choral.
Sacred Anthem, Advent,
Christmas. Orchestral
score and CD with
printable parts.
Medallion Music
#30/3704MD. Published by
Medallion Music
(LO.30-3704MD).
UPC:
000308154061.
Downl
oadable Orchestral Score
and Parts for 10/5312MD
Encourage your
congregation to behold
the Savior with this
energy-filled selection
from Jay Rouse and Rose
Aspinall. With a robust,
fanfare introduction,
powerful music from Jay
that includes a brief
passage from O Holy
Night, and inspired text
that only Rose can
provide, this unique
anthem is sure to
intensify your Christmas
worship! From the musical
Behold, A Savior!
(65/2096MD).
Composed by Larry Shackley. For orchestra. Choral. Sacred Anthem, Eastertide, Ge...(+)
Composed by Larry
Shackley. For orchestra.
Choral. Sacred Anthem,
Eastertide, General, Holy
Week. Orchestral score
and CD-ROM (with
printable parts). Lorenz
Publishing Company
#30/2789L. Published by
Lorenz Publishing Company
Full orchestra SKU: LO.30-3616MD Composed by Jay Rouse. Choral, cantatas....(+)
Full orchestra
SKU:
LO.30-3616MD
Composed
by Jay Rouse. Choral,
cantatas. Advent,
Christmas, Sacred.
Instrumental parts.
Medallion Music
#30/3616MD. Published by
Medallion Music
(LO.30-3616MD).
UPC:
000308151015.
Behol
d, A Savior! is a
portrait of a promise and
a portrait of the
fulfillment of that
promise. Throughout this
musical, Jay Rouse and
Rose Aspinall skillfully
weave scripture and
dramatic first-hand
accounts of the birth of
Jesus into beloved carols
and original songs. Each
monologue and song will
take you on a
journey—from the
longing of Zechariah, the
joy and acceptance of
Mary, and the courage of
Joseph to the accounts of
the shepherds and wise
men. Designed with
flexibility in mind,
these songs and stories
can be presented
individually across the
Advent season or in their
entirety for a special
event. An optional
introduction and closing
narration, accessible
solos, and gorgeous
orchestrations add to the
flexibility and will make
this one of the most
practical collections in
your library.
Full orchestra SKU: LO.30-3615MD Composed by Jay Rouse. Choral, cantatas....(+)
Full orchestra
SKU:
LO.30-3615MD
Composed
by Jay Rouse. Choral,
cantatas. Advent,
Christmas, Sacred. Full
score. Medallion Music
#30/3615MD. Published by
Medallion Music
(LO.30-3615MD).
UPC:
000308151008.
Behol
d, A Savior! is a
portrait of a promise and
a portrait of the
fulfillment of that
promise. Throughout this
musical, Jay Rouse and
Rose Aspinall skillfully
weave scripture and
dramatic first-hand
accounts of the birth of
Jesus into beloved carols
and original songs. Each
monologue and song will
take you on a
journey—from the
longing of Zechariah, the
joy and acceptance of
Mary, and the courage of
Joseph to the accounts of
the shepherds and wise
men. Designed with
flexibility in mind,
these songs and stories
can be presented
individually across the
Advent season or in their
entirety for a special
event. An optional
introduction and closing
narration, accessible
solos, and gorgeous
orchestrations add to the
flexibility and will make
this one of the most
practical collections in
your library.
Orchestra
(pic.2.afl.2.ca.2Acl.0.bc
l.2.cbsn-4.3.2.btbn.1-tim
p.3perc(glsp, mar, crot,
tub bells, bell tree,
2sus cym, clash cym,
claves, b.d, wdbl)-str)
SKU: HL.49018422
Reflections on the
life and work of Paula
Modersohn-Becker
(1876-1907). Composed
by Sir Peter Maxwell
Davies. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Das 30minutige
Orchesterwerk in drei
Satzen, das von den
Bremer Philharmonikern in
Auftrag gegeben und von
diesen 2007 uraufgefuhrt
wurde, gehort zu den
Schlusselwerken von
Maxwell Davies der
letzten Jahre. Study
score. Composed 2006. Op.
276. 8 pages. Duration
30'. Schott Music
#ED13366. Published by
Schott Music
(HL.49018422).
ISBN
9790220132391. UPC:
884088614515.
8.25x11.75x0.232
inches.
Maxwell
Davies' 'Das Rauschende
der Farbe' (The Sound of
Colour) is a reflection
on the life and work of
the German artist Paula
Modersohn-Becker who died
aged 31 in 1907. Maxwell
Davies first got to know
the artist's work whilst
on a school exchange in
Hamburg in 1951 and the
composer has since
written that
Modersohn-Becker's work
has influenced the way
that he views the
relationship between art
and the landscape in
which it is produced.
This is a particularly
significant statement for
a composer whose music is
often a response to the
land and seascape of his
adopted home in the
Orkney Isles.
Commissioned by the
Bremer Philharmoniker and
first performed by them
in 2007, the 30 minute
orchestral work in three
movements is one of the
key works by Maxwell
Davies in recent
years.
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
Cape Horn Orchestre [Conducteur] - Intermédiaire/avancé Hal Leonard
F Horn; Orchestra (Score) - Grade 4-5 SKU: HL.4008328 For Solo Horn an...(+)
F Horn; Orchestra (Score)
- Grade 4-5
SKU:
HL.4008328
For
Solo Horn and Orchestra,
Grade 4 / Solo 5
Score. Composed by
Otto M. Schwarz.
Symphonic Dimensions.
Concert. Softcover. 40
pages. Duration 500
seconds. Hal Leonard
#SDP156-22-401. Published
by Hal Leonard
(HL.4008328).
ISBN
9781705198056. UPC:
196288148401.
Cape
Horn is situated at the
southern point of South
America, on the Chilean
island “Isla
Hornosâ€. For
centuries, sailing around
thehorn was said to be
one of he most dangerous
passages for ships that
wanted to sail from the
Atlantic Ocean westwards
to the PacificOcean.
Tradition has it that Sir
Francis Drake discovered
Cape Horn in 1578 and the
Dutch voyager Willem
Cornelisz Schouten was
the first to round it in
1616. It was the latter
who named the promontory
after his Dutch hometown
Hoorn. It is estimated
that over 800 ships and
10,000 men in total sank
into the icy waters
during attempts to
circumnavigate the cape.
The work Cape Horn
– a solo for Horn
and concert band –
attempts to reflect the
beauty, but also the
peril of this region. It
is a matter of great
importance to thecomposer
Otto M. Schwarz to write
new repertoire in the
wind band solo works
genre. The tonal language
of his main genre
– film music
– is as
unmistakable as the
experimental parts and
catchy tunes.
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.49016259 Einfuhrung und Analyse. Composed by Joh...(+)
Orchestra
SKU:
HL.49016259
Einfuhrung und
Analyse. Composed by
Johannes Brahms. Edited
by Giselher Schubert.
This edition:
Paperback/Soft Cover.
Sheet music. Serie Musik.
Siehe Rubrik
Bucher/Multimedia.
Classical. Study Score.
Op. 68. 256 pages. Schott
Music #SP 8107. Published
by Schott Music
(HL.49016259).
ISBN
9783795781071.
5.0x7.5x0.538 inches.
German.
Als
Johannes Brahms im Jahre
1876 seine 1. Sinfonie
der Offentlichkeit
vorstellte, war dies ein
lang erwartetes Ereignis.
Zwar war der Komponist
schon eine geraume Zeit
beruhmt und hatte sich in
fast allen musikalischen
Gattungen hervorgetan: er
hatte Klaviersonaten,
Lieder, Konzerte sowie
Orchester- und Chorwerke
(u.a. das Deutsche
Requiem) vorgelegt und
mit drei
Streichquartetten
Beitrage zu einer Gattung
geliefert, die seit
Beethovens spaten
Quartetten als
kunstvollste und intimste
musikalische Gattung
uberhaupt galt. Nur eine
Sinfonie hatte er noch
nicht komponiert, denn er
gehorte zu den
Komponisten, denen die
Schwierigkeit bewusst
war, mit einem
sinfonischen Werk
gegenuber dem
Beethovenschen Erbe
bestehen zu
konnen.Giselher Schubert
schildert diese Umstande
in diesem Buch und
verdeutlicht, dass ein
selbstkritischer
Komponist, wie es Brahms
ausgepragt war, sich so
lange Zeit schwer tun
musste, bis er glaubte,
den Erwartungen von
Freunden und Fachleuten
entsprechen zu konnen. Er
beschreibt neben der
Entstehungsgeschichte
dieser Sinfonie, der
schon bald der Beiname
die Zehnte (Beethovens)
gegeben wurde, die
Quellenlage, gibt
kommentierend die
Reaktionen auf die ersten
Auffuhrungen wieder und
stellt Betrachtungen an
zu einer Analyse des
Werkes. Anregungen zur
weiteren Beschaftigung
mit dieser Sinfonie geben
in einer Auswahl
Literaturverzeichnis und
eine Diskographie. Anhand
der vollstandig
wiedergegebenen Partitur
kann der Leser den
Notentext beim Horen
verfolgen und die
analytischen Kommentare
nachvollziehen.
Study score.
Composed by Manuel
Hidalgo. Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Donaueschingen
(Donaueschinger
Musiktage), October 16,
1983
Music post-1945;
New music (post-2000).
Study Score. Composed
1982. 64 pages. Duration
22'. Breitkopf and
Haertel #PB 5119-07.
Published by Breitkopf
and Haertel
(BR.PB-5119-07).
ISBN
9790004208670. 9 x 12
inches.
Jeder
Kultur wohnt eine Moral
inne, welche die
menschlichen Handlungen
bewertet und in zwei
Kategorien einteilt:
gut/schlecht,
positiv/negativ usw. Der
Titel HARTO - zu deutsch:
satt, uberdrussig -
bezieht sich auf das
Unbehagen, das diese
dichotomische Auffassung
hervorruft: eine
Auffassung, die
gleichwohl in uns
verwurzelt ist und gerade
darum den Prozess
Wahrnehmung Ausserung
Kenntnis beeinflusst, ihm
zugehort. Tatsachlich
wird das musikalische
Phanomen dualistisch
konzipiert: Klang =
Ton/Gerausch;
Tonhohenanordnung =
Konsonanz/Dissonanz,
tonal/atonal; Struktur =
symmetrischer Bau
(Vordersatz/Nachsatz),
das scholastische Ideal
des Gleichgewichts, das
seinerseits eine
Symmetrieachse zur
Voraussetzung hat. Diese
Strukturierung des
Materials ergibt sich aus
dem fast
ausschliesslichen
Interesse des Komponisten
an den expressiven
Moglichkeiten des
musikalischen Apparats.
Die Motivation des
Komponierens aus dem
Drang, etwas Inneres
ausdrucken zu mussen,
erscheint mir jedoch
heute der Grundlage zu
entbehren und folglich
auch unnotig. Die
letztliche
Daseinsberechtigung
dieser Motivation liegt
in der dualistischen
Vorstellung, die beim
Menschen zwischen Leib
und Seele unterscheidet.
Ein Bluff, Produkt
kleinlicher
Disputiersucht. Eine
Analyse auf der Basis
empirischer Logik stellt
fest, dass es keine Seele
gibt, sondern ein
Nervensystem mit
bestimmten Fahigkeiten,
und dass nichts
auszudrucken ist, weil
Musik die Empfindungen
des Komponisten nicht
wiedergeben kann. sondern
lediglich unbestimmte
Eindrucke im Horer
erzeugt. Da aber jede
bewusste Wahrnehmung
Erkenntnis ist, ware es
nun die Aufgabe des
Komponisten, Musik mit
diesem Ziel, das heisst:
Musik als
Erkenntnismittel zu
schaffen. Dies alles ist
der Versuch, die
Erkenntnistheorie von
David Hume und anderen,
spateren Epistemologen
auf Musik anzuwenden. Der
Beitrag des Empirismus
zur Erkenntnistheorie
wurde zwar in der
wissenschaftlichen
Forschung genutzt, fand
jedoch in der Kunst kaum,
in der Musik keinerlei
Beachtung. Warum?
Vielleicht, weil in der
Musik noch immer der
naive, >>expressive<<
Komponist vorherrscht,
den das elitar-bourgeoise
Publikum verlangt und dem
es applaudiert. Der
Einwand, dass Kunst immer
bourgeois war und es
weiterhin ist, gibt zwar
keine Losung, sollte aber
auch nicht unterschatzt
werden. Ich habe HARTO in
zwei Teilen konzipiert,
wobei jeder Teil im
Verhaltnis zum anderen
sowohl irgendwie das
gleiche als auch das
Gegenteil darstellt. Der
Grund fur diese
Zweiteilung des Werkes
ist leicht aus dem vorhin
Gesagten abzuleiten. Als
Vorarbeit zur Komposition
habe ich versucht, die
historische dichotomische
Gestaltung des Materials
besonders hervorzuheben,
und zwar durch eine
Potenzierung jener
Aspekte, die diesen
-zweigeteilten<<
Charakter in sich tragen.
Ich habe also den
Zeitverlauf lediglich als
eine Folge von Spannungs-
und
Entspannungs-Einheiten
betrachtet; ich habe
Tonhohen-Anordnungen
verwendet, die
ausschliesslich auf
Symmetrie beruhen; ich
habe zweiteilige
Strukturen aufgebaut,
deren Halften durch eine
Pause mit konstantem Wert
geteilt sind; ich habe -
je nach den Moglichkeiten
des Orchesters - den
Gerausch- oder Tonanteil
des Klanges ubertrieben.
Dieser Gedankengang wurde
im Hinblick darauf
realisiert, neue
Anwendungsmoglichkeiten
zu finden, die fur das
Ziel einer Musik als
Erkenntnismittel von
Nutzen sein
konnen.(Manuel
Hidalgo).
Cello; Orchestra (Study Score) SKU: HL.48024646 Cello and Orchestra St...(+)
Cello; Orchestra (Study
Score)
SKU:
HL.48024646
Cello
and Orchestra Study
Score. Composed by
Sergei Prokofiev. Boosey
& Hawkes Chamber Music.
Classical, Russian.
Softcover. 104 pages.
Duration 2100 seconds.
Boosey & Hawkes
#M060134852. Published by
Boosey & Hawkes
(HL.48024646).
ISBN
9781784544041. UPC:
888680949105.
7.25x10.25x0.363
inches.
New
edition, with preface by
Gerard McBurney. The work
was composed in 1933-38
for one of the greatest
cellists of the 20th
century, Gregor
Piatigorsky. McBurney
explains that, somehow
this concerto had come to
seem jinxed to the
composer. And when, in
1947, he heard it in
Moscow once again, this
time played by the young
Mstislav Rostropovich, he
decided to recast it
(albeit using much of the
same material) as an
entirely new piece, the
Sinfonia Concertante, op
125. The earlier version
never entirely
disappeared, however,
with a scattering of
cellists always
preferring it to the
later one. And in recent
years, it has found new
favor and new champions,
its spectacularly
difficult cello writing
and virtuosic orchestral
effects offering a
brilliance, pungency and
fascination all of their
own..
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: SU.27040190 For Orchestra. Composed by Gregory J. H...(+)
Orchestra
SKU:
SU.27040190
For
Orchestra. Composed
by Gregory J. Hutter.
Orchestra. Full Score.
Subito Music Corporation
#27040190. Published by
Subito Music Corporation
(SU.27040190).
Conductor's
scoreInspired by the
German-born architect
Ludwig Mies van der Rohe,
the intention was to
create an orchestral work
that would somehow
reflect these urban
corporate trophies. The
piece as a whole makes
use of a very sparse
harmonic
arsenal—employing
simple, cellular
collections of pitches.
The music is at times
very angular, always
highly charged with
energy, and filled with
mechanical imagery.2,1
2,1 2,1 2,1; 4331; timp,
3 perc, hp, pno/cel; stgs
Duration: 8'30 Composed:
2001 Published by: Hutter
Music Performance
materials available on
rental only:.
Composed by Larry Shackley. Choral. Sacred Anthem, Eastertide, General, Holy ...(+)
Composed by Larry
Shackley. Choral. Sacred
Anthem, Eastertide,
General, Holy Week.
Orchestral score and
parts. Lorenz Publishing
Company #30/2788L.
Published by Lorenz
Publishing Company
(LO.30-2788L).
(A Christmas Celebration for Choir and Four Narrators with optional Full Orchest...(+)
(A Christmas Celebration
for Choir and Four
Narrators with optional
Full Orchestra). By Stan
Pethel. Orchestra. For
Flute, Oboe, 2 Horns, 2
Trumpets, 2 Trombones,
Percussion (Drum Set),
Rhythm, 2 Violins, Viola,
Cello, Contrabass, Piano.
Cantata. Choral:
Christmas. Orchestration.
Published by Lorenz
Publishing Company
Composed by Lloyd Larson. Arranged by Michael Lawrence. Choral. Sacred Anthem, ...(+)
Composed by Lloyd Larson.
Arranged by Michael
Lawrence. Choral. Sacred
Anthem, All Saints' Day,
General. Orchestral
score and CD with
printable parts. Lorenz
Publishing Company
#30/3502L. Published by
Lorenz Publishing Company
(LO.30-3502L).
Composed by Various. Choral. Sacred Anthem, Christmas, General. Orchestral sco...(+)
Composed by Various.
Choral. Sacred Anthem,
Christmas, General.
Orchestral score and
parts. Lorenz Publishing
Company #30/3506L.
Published by Lorenz
Publishing Company
(LO.30-3506L).
Composed by Various. Choral. Sacred Anthem, Christmas, General. Orchestral sco...(+)
Composed by Various.
Choral. Sacred Anthem,
Christmas, General.
Orchestral score and CD
with printable parts.
Lorenz Publishing Company
#30/3507L. Published by
Lorenz Publishing Company
(LO.30-3507L).
Full orchestra SKU: LO.30-3501L Composed by Lloyd Larson. Arranged by Mic...(+)
Full orchestra
SKU:
LO.30-3501L
Composed
by Lloyd Larson. Arranged
by Michael Lawrence.
Choral. Sacred Anthem,
All Saints' Day, General.
Orchestral score and
parts. Lorenz Publishing
Company #30/3501L.
Published by Lorenz
Publishing Company
(LO.30-3501L).
UPC:
000308147995.
This
dramatic anthem
celebrates the personal
encounter the believer
has with Jesus as they
enter into the eternal
reward of heaven. From
the wonder-filled
beginning to the
climactic conclusion, it
promises an exhilarating
moment of worship for
choirs and
congregations.
Suffering Servant,
Crucified Christ, Risen
Redeemer. Composed by
Lloyd Larson. Arranged by
Michael Lawrence. Choral,
cantatas. Ready to
Worship. Holy Week,
Eastertide, Sacred.
Orchestral score and
parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/2906L. Published by
Lorenz Publishing Company
(LO.30-2906L).
UPC:
000308133608.
This
product includes the full
orchestral score, printed
parts, and digital parts
(delivered on a CD) for
Wondrous Love. The parts
include 2 Flutes/Piccolo,
Oboe, 2 Clarinets, 3
Trumpets, 2 Horns
(substitute Flugelhorn or
Trumpet), 2 Trombones,
Tuba, Percussion, Piano,
2 Violins, Viola, Cello,
and Bass.
Composed by Poul Ruders.
Music Sales America.
Classical. Set. 86 pages.
Edition Wilhelm Hansen
#WH29830. Published by
Edition Wilhelm Hansen
(HL.14027994).
ISBN
9788759864593.
New
York is the city which
fascinates and inspires
Ruders. Time and again he
goes back there to work.
'Manhattan Abstraction'
(1982) subtitles - a
symphonic skyline for
large orchestra - was
conceived there. Ruders'
Brittish colleague Oliver
Knussen defines the piece
as: - a performance of an
extraordinary
Morden-Times-like
construction. It is a
sort of symphonic
sculpture, which in the
composer's own words
words propels forth from
one particular
inspiration: the New York
profile, as seen from
Liberty Island, one icy
cold January day with
it's open, clear sky and
dazzling sun light.
'Manhatten Abstraction'
appears as an amalgam of
some of the
compositorical habits
found in present pieces.
For instance, are present
here compositorical ideas
and melodic loans from
'Capriccio Pian'e Forte',
2nd String Quartet(1979),
'Four Compositions'
(1980), and 2nd Piano
Sonata(1982). The
question at hand is
mainly concerned with the
enhanced elaboration of
Ruders' use of the
classic English
change-ringing system: a
permuting method
pre-determining the order
of tone-appearances and
/or tone groups; a serial
technique in other words.
In spite of the rigidly
fixed material, Ruders
somehow manages to chisel
out a personal expression
by way of emphasising
contrasting elements
already existing within
the material itself. The
spiky, repetitive
sections form a
counterpart to a more
human violin-solo. This
dialectical tension is -
as hinted by the title -
a symphonic abstraction
of a fascinating
metropolis; the most
beautiful and the
ugliest. The subtitle: a
symphonic skyline
reflects the musical
erection of the Manhattan
profile, which under the
clear sky, materializes
into the most powerful
and compelling man-made
sculpture on earth. Thus
'Manhattan Abstraction'
is a homage to, as well
as a vision of, this
giant contraption of
concrete, glass, and
chrome.
Suffering Servant,
Crucified Christ, Risen
Redeemer. Composed by
Lloyd Larson. Arranged by
Michael Lawrence. Choral,
cantatas. Ready to
Worship. Holy Week,
Eastertide, Sacred. Set
of full orchestral parts.
Lorenz Publishing Company
#30/2904L. Published by
Lorenz Publishing Company
(LO.30-2904L).
UPC:
000308133639.
This
product is the set of
printed parts only for
Wondrous Love, and it
includes parts for 2
Flutes/Piccolo, Oboe, 2
Clarinets, 3 Trumpets, 2
Horns (substitute
Flugelhorn or Trumpet), 2
Trombones, Tuba,
Percussion, Piano, 2
Violins, Viola, Cello,
and Bass.
Full orchestra SKU: LO.30-3653L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3653L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Score and
parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3653L. Published by
Lorenz Publishing Company
(LO.30-3653L).
UPC:
000308152227.
Score
and parts plus CD with
printable parts for The
Body of Christ (55/1197L)
Pepper Choplin
beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..
Full orchestra SKU: LO.30-3650L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3650L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Full score.
Lorenz Publishing Company
#30/3650L. Published by
Lorenz Publishing Company
(LO.30-3650L).
UPC:
000308152197.
Full
score for The Body of
Christ (55/1197L) Pepper
Choplin beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..
Full orchestra SKU: LO.30-3651L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3651L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Instrumental
parts. Lorenz Publishing
Company #30/3651L.
Published by Lorenz
Publishing Company
(LO.30-3651L).
UPC:
000308152203.
Set
of parts for The Body of
Christ (55/1197L) Pepper
Choplin beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..