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.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
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: HL.48182136 Composed by Olivier Messiaen. Leduc. Classical...(+)
Orchestra
SKU:
HL.48182136
Composed
by Olivier Messiaen.
Leduc. Classical.
Softcover. 226 pages.
Alphonse Leduc #AL23077.
Published by Alphonse
Leduc (HL.48182136).
UPC: 888680835514.
7.25x10.75x0.704
inches.
Completed
in 1960, Time-Colour by
Olivier Messiaen is a
famous orchestral piece
composed by this author.
This edition, published
as a book, features the
conductor?s score with
all the following
instruments: 16 First
Violins, 16 Second
Violins, 14 Violas, 12
Cellos, 10 Double Basses,
1 Piccolo, 3 Flutes, 3
Oboes, 4 Clarinets, 3
Bassoons, 1 Piccolo
Trumpet, 3 C Trumpets, 4
F Horns, 3 Trombones, 1
Tuba, Suspended And
Chinese Cymbal, 1
Glockenspiel, 1
Xylophone, 1 Marimba. It
is written in seven
movements: Introduction,
Strophe I, Antistrophe I,
Strophe II, Antistrophe
II, Epode and Coda; and
The Epode features
birdsong and is played by
18 of the string
instruments. Olivier
Messiaen (1908-1992) was
a French organist and
composer passionate about
Ornithology and one of
the most important
composer of his century.
Inspired by Japanese
music, he had a very
special way of composing
and his work can be
identified by its
complexity, its diatonic
aspect, its harmony with
limited transposition,
its colour and its
additive rhythms. He
composed many works
related to ornithology
and birdsong, including
the 'Bird Catalogue' in 7
volumes..
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
Aragonaise from Carmen Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
By Georges Bizet (1838-1875). Arranged by Richard Meyer. Orchestra. Full Orchest...(+)
By Georges Bizet
(1838-1875). Arranged by
Richard Meyer. Orchestra.
Full Orchestra;
Masterworks; Part(s);
Score; SmartMusic.
Highland First
Philharmonic. Form:
Dance; Transcription.
Latin; Masterwork
Arrangement; Romantic.
Grade 2. 184 pages.
Published by Alfred Music
Publishing
By Georges Bizet (1838-1875). Arranged by Richard Meyer. Orchestra. Full Orchest...(+)
By Georges Bizet
(1838-1875). Arranged by
Richard Meyer. Orchestra.
Full Orchestra;
Masterworks; Score.
Highland First
Philharmonic. Form:
Dance; Transcription.
Latin; Masterwork
Arrangement; Romantic.
Grade 2. 24 pages.
Published by Alfred Music
Publishing
Loch Lomond Orchestre [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by Traditional. Edited by J. Cameron Law. Arranged by David Bobrowi...(+)
Composed by Traditional.
Edited by J. Cameron Law.
Arranged by David
Bobrowitz.
For string orchestra.
Grade
2+. Score and set of
parts.
Duration 3 minutes.
Published
by Grand Mesa Music
By Georges Bizet (1838-1875). Arranged by Richard Meyer. Orchestra. Full Orchest...(+)
By Georges Bizet
(1838-1875). Arranged by
Richard Meyer. Orchestra.
Full Orchestra;
Masterworks; Score;
SmartMusic. Highland
First Philharmonic. Form:
Transcription. Latin;
Masterwork Arrangement;
Romantic. Grade 2. 12
pages. Published by
Alfred Music (AP
Orchestra - Grade 3.5 SKU: AP.FO9912C Arranged by Jerry Brubaker. Full Or...(+)
Orchestra - Grade 3.5
SKU: AP.FO9912C
Arranged by Jerry
Brubaker. Full Orchestra;
Performance Music
Ensemble; Single Titles.
Pop Concert Full
Orchestra. Light Concert;
Movie. Score. 44 pages.
Duration 7:24. Belwin
Music #00-FO9912C.
Published by Belwin Music
(AP.FO9912C).
UPC:
654979000365.
English.
The world
has waited years, and
finally, last May, the
motion picture event of
the century exploded on
the screen. Jerry
Brubaker presents a
highly creative mix of
these great themes from
the power-packed John
Williams' score: Star
Wars (Main Theme),
Anakin's Theme, Augie's
Great Municipal Band,
Duel of the Fates, and
the End Credits. Every
orchestra in the world
will be playing this one!
(7:24).
5 soloists (SSATB),
speaker, 3 mixed choirs
and orchestra
SKU:
HL.49045487
For 5
soloists (SSATB),
narrator, 3 mixed choirs
and orchestra.
Composed by Krzysztof
Penderecki. This edition:
Saddle stitching. Sheet
music. Study Score. Das
grosse Vokalwerk wurde
1995 zum 3000-jahrigen
Bestehen Jerusalems
komponiert. Der Zahl
sieben hat darin eine
besondere Bedeutung:
sieben Satzen, die fur
die sieben Tore stehen,
sieben gewaltige
Fortissimo-Akkorde, die
das Oratorium
beschliessen. Softcover.
Composed 1996. 158 pages.
Duration 68'. Schott
Music #ED20533. Published
by Schott Music
(HL.49045487).
ISBN
9790001157179. UPC:
888680747992.
8.25x11.75x0.41 inches.
Latin -
German.
Deeply
moved by his first visit
to the city of Jerusalem
with its seven gates,
Krzysztof Penderecki
composed this major vocal
work to celebrate the
city's 3,000th
anniversary in 1995. Two
years later, it was
premiered as Symphony No.
7 in which the magic
number seven has a
special meaning: From the
seven movements
representing the seven
gates to the seven
powerful fortissimo
chords concluding the
oratorio, the biblical
number runs through the
entire work.
4 (3.
u. 4. auch Picc.) * 3 *
Engl. Hr. * 3 (3. auch
Es-Klar.) * Bassklar. * 3
* Kfg. - 4 * 3 * 4 (3.
auch Basstrp.) * 1 - S.
(I.: P. * Beckenpaar * 2
Tamt. (t.) * Rohrengl. *
gr. Tr. m. Beck. *
Crotalenbaum * 5 Tomt. *
Marimba * Bin-Sasara *
kl. Tr. * Ruhrtr.; II.:
Trgl.-baum * 4 hg. Beck.
* Tamt. (t.) * Rohrengl.
* Kirchengl. * Tubaphon *
Glsp. * Xyl. * Vibr. *
Ruhrtr. * Tempelbl. * 2
Gongs; III.: 3 hg. Beck.
* Mil. Tr. * Tubaphon *
Kuhgl. * Tempelbl. * 2
Gongs; IV.: P. * hg.
Beck. * 2 Tamt. *
Beckenpaar * 5 Tomt. *
gr. Tr. * Ruhrtr. *
Bin-Sasara) (12 Spieler)
- Cel. * Klav. * Org. ad
lib. - Str. Im Saal: 0
* 0 * 3 * Bassklar. (auch
Es-Klar.) * 3 * Kfg. - 4
* 3 * 4 * 1.
Orchestra SKU: HL.49017939 In memoriam Robert Schumann. Composed b...(+)
Orchestra
SKU:
HL.49017939
In
memoriam Robert
Schumann. Composed by
Aribert Reimann. This
edition: Saddle
stitching. Sheet music.
Study Score. Study score.
Composed 1988. 56 pages.
Duration 14'. Schott
Music #ED20024. Published
by Schott Music
(HL.49017939).
ISBN
9790001144711. UPC:
884088566869.
8.25x11.75x0.205
inches.
This most
frequently played
orchestral work by
Aribert Reimann quotes
from and makes use of
Robert Schumann's last
finished composition, the
so-called
'Geistervariationen'
[Ghost Variations] in E
flat major for piano from
1854, composed shortly
before Schumann's suicide
attempt. Reflecting on
Schumann's subsequent
life in Endenich, Reimann
leaves the lyrical
character of the original
unchanged. But the
breaking up of the theme
into the third, fifth and
seventh fragments
symbolizes the transition
from dreamy imagination
to sickly brooding.
Orchestra SKU: FG.55011-468-5 Composed by Armas Jarnefelt. Study score. F...(+)
Orchestra
SKU:
FG.55011-468-5
Composed by Armas
Jarnefelt. Study score.
Fennica Gehrman
#55011-468-5. Published
by Fennica Gehrman
(FG.55011-468-5).
ISBN
9790550114685.
To
mark the 150th
anniversary of Armas
Jarnefelt, Fennica
Gehrman publishes his
hitherto unpublished
works. Jarnefelt's
first composition for
stage was music for Z.
Topelius's play Miranda
in 1900-1901. It is a
kind of melodrama with
recitation and choral
singing, not so much
incidental music.
Jarnefelt composed a
rather broad array of
numbers for Miranda,
seven movements in total.
Miranda is characterized
by a downwards moving
chromatic chord
progression. Listeners
especially liked the
Nymf- och trolldans
movement, its slowly and
elegantly swinging waltz,
and the Oriental colours
of one of the dance
movements. Orchestral
parts available for
hire.
Orchestra - intermediate SKU: HL.49001813 Set of Supplementary Parts(+)
Orchestra - intermediate
SKU: HL.49001813
Set of Supplementary
Parts. Composed by
Georg Philipp Telemann.
Edited by Guenter Kehr.
Sheet music. Concertino
(Chamber Orchestra).
Classical. Set of
supplemental string
parts. 78 pages. Duration
23'. Schott Music #CON
154-60. Published by
Schott Music
(HL.49001813).
ISBN
9790001024150.
9.0x12.0x0.28
inches.
Right at
the beginning of the
overture, Telemann comes
up with a surprising
idea. After the -'bare'
entry of the wind
section, the string tutti
do not join in the
playing until the third
bar. The 'harlequinade'
often appearing in
Telemann's overture
suites obtains its
attraction not least from
syncopes and from a
permanent change of tone
colour. The 'Espagniol'
whose title prom-ises a
bit of urbanity turns out
to be a saraband, the
'Bourree en Trompette'
justifies its name by the
tone repetitions typical
of trumpet music.In the
context of the whole, the
'Sommeille', a
harmonically unusual
movement in C minor, is
almost a piece across the
border. Even in this
gently rocking piece,
Telemann is not at a loss
for unobtrusive wit when
he lets the upper parts
die down shortly before
the end, only a single
bass tone represents the
last chord.
Orchestra (Score) SKU: HL.49005353 Study Score. Composed by Hans W...(+)
Orchestra (Score)
SKU:
HL.49005353
Study
Score. Composed by
Hans Werner Henze. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1962. 100 pages.
Duration 18'. Schott
Music #ED5029. Published
by Schott Music
(HL.49005353).
ISBN
9790001057646. UPC:
884088085544.
8.25x11.75x0.334
inches.
Like my
oratorio Novae de
infinito laudes, this
work, too, has been
influenced by the human
world and the scenery of
Rome, indeed, perhaps
even by the greater
hardness of the roman
language compared to that
of Naples. The first four
notes of the subsidiary
theme of the second
movement which appears
for the first time in bar
36 are borrowed from the
song My own, my own from
the second act of my
opera Elegy for Young
Lovers; they appear again
and again in various
forms, even in the second
and third movements.-
Hans Werner Henze.
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.
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.
By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by ...(+)
By Antonio Carlos Jobim.
Edited by Rob Duboff and
Jeffrey Sultanof.
Arranged by Claus
Ogerman. For studio
orchestra (English Vocal,
Portuguese Vocal,
Woodwind 1: Piccolo/Bass
Flute (Alto Flute Alt
Part)/C Flute, Woodwind
2: Piccolo/Bass Flute
(Alto Flute Alt Part)/C
Flute/Alto Flute,
Woodwind 3: Bass Flute
(Alto Flute Alt Part)/C
Flute/Alto Flute,
Woodwind 4: Bass Flute).
Recorded by Antonio
Carlos Jobim. Bossa Nova.
Medium. Score and parts.
Published by Jazz Lines
Publications
The Magnificent Seven Orchestre [Conducteur et Parties séparées] - Intermédiaire 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.
Orchestra - intermediate SKU: HL.49001811 Full Score. Composed by ...(+)
Orchestra - intermediate
SKU: HL.49001811
Full Score.
Composed by Georg Philipp
Telemann. Edited by
Guenter Kehr. This
edition: Saddle
stitching. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Score. TWV 55:C6. 46
pages. Duration 23'.
Schott Music #CON 154.
Published by Schott Music
(HL.49001811).
ISBN
9790001024136. UPC:
073999276060.
9.0x12.0x0.129
inches.
Right at
the beginning of the
overture, Telemann comes
up with a surprising
idea. After the -'bare'
entry of the wind
section, the string tutti
do not join in the
playing until the third
bar. The 'harlequinade'
often appearing in
Telemann's overture
suites obtains its
attraction not least from
syncopes and from a
permanent change of tone
colour. The 'Espagniol'
whose title prom-ises a
bit of urbanity turns out
to be a saraband, the
'Bourree en Trompette'
justifies its name by the
tone repetitions typical
of trumpet music.In the
context of the whole, the
'Sommeille', a
harmonically unusual
movement in C minor, is
almost a piece across the
border. Even in this
gently rocking piece,
Telemann is not at a loss
for unobtrusive wit when
he lets the upper parts
die down shortly before
the end, only a single
bass tone represents the
last chord.
Hawkes Pocket Score 1554. Composed by James Macmillan. Boosey and Hawkes ...(+)
Hawkes Pocket Score
1554. Composed by
James Macmillan. Boosey
and Hawkes Scores/Books.
Classical. Softcover. 76
pages. Boosey and Hawkes
#M060132148. Published by
Boosey and Hawkes
(HL.48024126).