Orchestra (Score & Parts) SKU: HL.48180419 For Orchestra. Composed...(+)
Orchestra (Score & Parts)
SKU: HL.48180419
For Orchestra.
Composed by Bohuslav
Martinu. Leduc.
Classical. 50 pages.
Alphonse Leduc #AL17700.
Published by Alphonse
Leduc (HL.48180419).
UPC: 888680846893.
9.0x12.0x0.34
inches.
Composed by
the Czech composer
Bohuslav Martinu in 1927,
The Kitchen Revue is a
ballet initially created
for a sextet. This score
was reviewed and tailored
for an orchestra. This
ballet, talking about the
life of kitchen utensils,
is divided in ten
sections: 1. Prologue
(Allegretto) 2.
Introduction (Tempo de
marche) 3. Danse du
moulinet autour du
caudron (Poco meno) 4.
Danse du chaudron et du
couvercle (Allegro) 5.
Tango (Danse d'amour.
Lento) 6. Duel (Poco a
poco allegro. Tempo di
Charleston) 7. Entracte
(Lamentation du chaudron.
Allegro moderato) 8.
Marche funebre (Adagio)
9. Danse radieuse (Tempo
di marche) 10. Fin du
drame (Allegretto) The
story focuses on the
marriage of the Pot and
Lid which is put at risk
by the Twirling Stick,
and the music features
some strong jazz
influences. Bohuslav
Martinu (1890-1959) also
wrote 13 other ballets,
15 operas and 6
symphonies and some
orchestral and chamber
music.
By John Williams. Arranged by Jerry Brubaker. Music by John Williams / arr. Jerr...(+)
By John Williams.
Arranged by Jerry
Brubaker. Music by John
Williams / arr. Jerry
Brubaker. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Movie.
Conductor Score & Parts.
Published by Alfred
Publishing. Level:
3.5 (grade 3.5).
By John Williams. Arranged by Jerry Brubaker. Music by John Williams / arr. Jerr...(+)
By John Williams.
Arranged by Jerry
Brubaker. Music by John
Williams / arr. Jerry
Brubaker. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Movie.
Level: grade III 1/2.
Conductor Score.
Published by Alfred
Publishing.
By Barry Gibb And John Farrar. Arranged by Michael Story. For Full Orchestra. Fu...(+)
By Barry Gibb And John
Farrar. Arranged by
Michael Story. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Movie.
Conductor Score. 28
pages. Published by
Alfred Publishing.
Level: 2.5 (grade
2.5).
Seventy Six Trombones by Meredith Willson (1902-1984). Arranged by Ted Ricketts....(+)
Seventy Six Trombones by
Meredith Willson
(1902-1984). Arranged by
Ted Ricketts. For Full
Orchestra (Score and
Parts). HL Full
Orchestra. Grade 3-4.
Published by Hal Leonard
Arranged by Jerry Brubaker. Arr. Jerry Brubaker. For Full Orchestra. Full Orches...(+)
Arranged by Jerry
Brubaker. Arr. Jerry
Brubaker. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. TV.
Conductor Score. 32
pages. Published by
Alfred Publishing.
Level: 3 (grade 3).
Arranged by Jerry Brubaker. Arr. Jerry Brubaker. For Full Orchestra. Full Orches...(+)
Arranged by Jerry
Brubaker. Arr. Jerry
Brubaker. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. TV.
Conductor Score and
Parts. 296 pages.
Duration 4:31. Published
by Alfred Publishing.
Level: 3 (grade 3).
Arranged by Robert W. Smith. Arr. Robert W. Smith. For Full Orchestra. Full Orch...(+)
Arranged by Robert W.
Smith. Arr. Robert W.
Smith. For Full
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. Level:
3.5 (grade 3.5).
Conductor Score. 20
pages. Published by
Alfred Publishing.
Arranged by Robert W. Smith. Arr. Robert W. Smith. For Full Orchestra. Full Orch...(+)
Arranged by Robert W.
Smith. Arr. Robert W.
Smith. For Full
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. Level:
3.5 (grade 3.5).
Conductor Score and
Parts. 236 pages.
Duration 2:32. Published
by Alfred Publishing.
By Elmer Bernstein. Arranged by Roy Phillippe. By Elmer Bernstein / arr. Roy Phi...(+)
By Elmer Bernstein.
Arranged by Roy
Phillippe. By Elmer
Bernstein / arr. Roy
Phillippe. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Level: grade 3
Green. Conductor Score
and Parts. Published by
Alfred Publishing.
By Elmer Bernstein. Arranged by Roy Phillippe. By Elmer Bernstein / arr. Roy Phi...(+)
By Elmer Bernstein.
Arranged by Roy
Phillippe. By Elmer
Bernstein / arr. Roy
Phillippe. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Level: Grade
3. Conductor Score.
Published by Alfred
Publishing.
Prmenade, the Great Gate of Kiev. By Modest Petrovich Mussorgsky. Arranged by La...(+)
Prmenade, the Great Gate
of Kiev. By Modest
Petrovich Mussorgsky.
Arranged by Larry Clark.
String orchestra. Carl
Fischer Performance
Series for String
Orchestra - Beginning.
Classical. Level:
beginning. Full Score -
Large. 7 pages. Published
by Carl Fischer.
By Blake Neely. Arranged by Roy Phillippe. For Full Orchestra. Full Orchestra. P...(+)
By Blake Neely. Arranged
by Roy Phillippe. For
Full Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Pop. Conductor
Score & Parts. 60 pages.
Published by Alfred
Publishing. Level:
2.5 (grade 2.5).
Score and Parts Concert Band; Wind Ensemble - Grade 5 For Wind Orchestra Score ...(+)
Score and Parts Concert
Band;
Wind Ensemble - Grade 5
For Wind Orchestra Score
and
Parts. Composed by Johan
De
Meij. Amstel Music.
Concert.
Softcover. Duration 2580
seconds. Amstel Music
#AM200-
010. Published by Amstel
Music
Orchestra SKU: HL.14014101 Composed by Johan Halvorsen. Music Sales Ameri...(+)
Orchestra
SKU:
HL.14014101
Composed
by Johan Halvorsen. Music
Sales America. Classical.
Score. Composed 2005. 68
pages. Edition Wilhelm
Hansen #WH24209.
Published by Edition
Wilhelm Hansen
(HL.14014101).
ISBN
9788759854440.
This
is the full score edition
of Johann Halvorsen's
Norske Eventyrbilleder
for Orchestra.
Ouverture JS 145,
Baletscen JS 163.
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Linen. Complete
Works. Late-romantic;
Early modern. Complete
Works. 196 pages.
Breitkopf and Haertel
#SON 627. Published by
Breitkopf and Haertel
(BR.SON-627).
ISBN
9790004803295. 10 x 12.5
inches.
In 1998, at
the end of the 20th
century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts … are models
of scholarly editions,
and should be required
reading for all
bibliography and
music-editing courses.
… In sum, the JSW
is a remarkable project:
the scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. … For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. … JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Scenes
historiques op.25,
op.66. Composed by
Jean Sibelius. Edited by
Kari Kilpelainen. Linen.
Complete Works.
Late-romantic; Early
modern. Complete Works.
228 pages. Breitkopf and
Haertel #SON 625.
Published by Breitkopf
and Haertel (BR.SON-625).
ISBN 9790004803271. 10
x 12.5 inches.
In
1998, at the end of the
20th century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts ... are models of
scholarly editions, and
should be required
reading for all
bibliography and
music-editing courses.
... In sum, the JSW is a
remarkable project: the
scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. ... For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. ... JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
(Conductor's Score). By Bob Phillips and Kirk Moss. Orchestra. For Conductor's S...(+)
(Conductor's Score). By
Bob Phillips and Kirk
Moss. Orchestra. For
Conductor's Score.
Method/Instruction;
Score; SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations Series for
Strings. 228 pages.
Published by Alfred Music
Publishing
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Study Score. 40
pages. Duration 10'.
Breitkopf and Haertel #PB
5549-07. Published by
Breitkopf and Haertel
(BR.PB-5549-07).
ISBN
9790004213599. 6.5 x 9
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
SKU: CL.016-0181-00 Reverie. Composed by King. Orchestra. Score an...(+)
SKU:
CL.016-0181-00
Reverie. Composed
by King. Orchestra. Score
and set of parts.
Composed 1914. C.L.
Barnhouse #016-0181-00.
Published by C.L.
Barnhouse
(CL.016-0181-00).
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 (Viola) SKU: BA.BA08841-79 Composed by Claude Debussy. Edited b...(+)
Orchestra (Viola)
SKU:
BA.BA08841-79
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Folded.
Barenreiter Urtext.
Single part. 4 pages.
Duration 10 minutes.
Baerenreiter Verlag
#BA08841_79. Published by
Baerenreiter Verlag
(BA.BA08841-79).
ISBN
9790006541232. 32.5 x
25.5 cm
inches.
Prelude a
l'apres-midi d'un faune,
often referred to as the
first composition of the
modern era, is one of
Debussy's most popular
and frequently performed
orchestral works. The
piece comes down to us in
an array of sources, and
several important ones
are drawn upon for the
first time in
Baerenreiter's new
scholarly-critical
edition. Most of the
currently available
editions are based on the
first edition from 1895
which, however, contains
many engraver errors.
When the corresponding
orchestral parts are also
taken into consideration,
countless discrepancies
are
revealed.
Baerenreiter
's Urtext edition
incorporates readings of
a printed copy of the
score from c. 1908 which
shows corrections and
emendations by the
composer. These important
changes, found in no
other source, include
metronome markings,
different pitches and
additional notes, as well
as added tempo and
articulation markings,
which all subtly enhance
Debussy's finely sculpted
work. There is even a
breath mark added to the
famous solo flute passage
which opens the
work.* Scholarly
critical edition with
many corrections in the
score and orchestral
parts * Clear
presentation of
orchestral parts in an
enlarged format.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through