Orchestra (3 vl1, 3 vl2, 3 vl3, 2 vlc)

SKU: HL.50485103

By Laszlo Zempleni. By Franz Schubert. Arranged by Lá, Zemplé, ni, and szló. EMB. Children. Score and parts. Editio Musica Budapest #Z14335. Published by Editio Musica Budapest (HL.50485103).

ISBN 9790080143353. UPC: 073999457063. 9.0x12.0x0.319 inches. Franz Schubert; Laszlo Zempleni.

The material of this volume consists of the dances most popular in Vienna at he beginning of the 19th century: landler, ecossaises and German dances. They were originally piano pieces, but were certainly performed on all sorts of instruments at social gatherings and in public places of entertainment. This transcription for children's orchestra of these miniature compositions is a modern continuation of the old tradition of their 'transcription'.

Orchestra (2(picc).2.0.2. - 2.2 post-hn.2.0.0. - timp.perc(3) - str(without va))

SKU: BR.PB-4906

With the Trio Die Schlittenfahrt. Composed by Wolfgang Amadeus Mozart. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Dances/marches; Classical. Full score. 8 pages. Duration 7'. Breitkopf and Haertel #PB 4906. Published by Breitkopf and Haertel (BR.PB-4906).

ISBN 9790004207024. 9 x 12 inches.

Orchestra (2(picc).2.2.2. - 2.2.0.0. - timp.perc -str(without va))

SKU: BR.PB-4770

Composed by Wolfgang Amadeus Mozart. Orchestra; stapled. Partitur-Bibliothek (Score Library). Dances/marches; Classical. Full score. 16 pages. Duration 14'. Breitkopf and Haertel #PB 4770. Published by Breitkopf and Haertel (BR.PB-4770).

ISBN 9790004205747. 10 x 12.5 inches.

Orchestra (picc.2.2.2.2. - 2.2.corn.0.0. - timp.perc(2) - str (ohne va))

SKU: BR.PB-4799

With Post-horn Solo. Composed by Ludwig van Beethoven. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Dances/marches; Classical. Full score. 28 pages. Duration 21'. Breitkopf and Haertel #PB 4799. Published by Breitkopf and Haertel (BR.PB-4799).

ISBN 9790004206010. 9 x 12 inches.

Orchestra (picc.2.2.2.2. - 2.2.0.0. - timp - str(without va))

SKU: BR.PB-4771

With the Trio The Canary. Composed by Wolfgang Amadeus Mozart. Orchestra; stapled. Partitur-Bibliothek (Score Library). Dances/marches; Classical. Full score. 12 pages. Duration 12'. Breitkopf and Haertel #PB 4771. Published by Breitkopf and Haertel (BR.PB-4771).

ISBN 9790004205754. 9 x 12 inches.

Orchestra (Study Score)

SKU: HL.50510086

Score. Composed by Bela Bartok. 20th Century. EMB. Pocket score. 26 pages. Duration 5'. Editio Musica Budapest #Z40071. Published by Editio Musica Budapest (HL.50510086).

ISBN 9790080400715. UPC: 073999621211. 5.5x8.0x0.091 inches. Hungarian, English, German. Bela Bartok.

'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartok had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartok explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartok was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartok New Series Vol. 5, Virag Buky).

Study Score. By Sir Michael Tippett. Study Score. 140 pages. Published by Eulenburg London (Schott).

Study Score. By Pietro Antonio Locatelli. Misc. 92 pages. Published by Eulenburg Germany (Schott).

Study Score. By Pietro Antonio Locatelli. Study Score. 104 pages. Published by Eulenburg Germany (Schott).

Study Score. By Pietro Antonio Locatelli. Study Score. 106 pages. Published by Eulenburg Germany (Schott).

Orchestra - Grade 2.5

SKU: AP.49893S

Composed by Various. Arranged by Michael Story. Full Orchestra; Performance Music Ensemble; Single Titles. Belwin Intermediate String/Full Orchestra. Christmas; Holiday Pops; Winter. Score. Duration 3:15. Belwin Music #00-49893S. Published by Belwin Music (AP.49893S).

ISBN 9781470662370. UPC: 038081579573. English.

Christmas at the Symphony, arranged by Michael Story, is a medley of three classical holiday tunes. Although it is scored for full orchestra, this arrangement is playable by string orchestra alone or with any number of added winds or percussion. Mozart's Sleigh Ride German Dance No. 3, Tchaikovsky's The Nutcracker, and Bizet's March of the Kings are all included in this fantastic arrangement. (3:15).

String Orchestra - Grade 2.5

SKU: KN.8893

Composed by Ludwing Van Beethoven. Arranged by Deborah Baker Monday. Voyager String Orchestra. Score and set of parts. Kendor Music Inc #8893. Published by Kendor Music Inc (KN.8893).

UPC: 822795088939.

This German dance is the 4th of 6 movements in Beethoven's final quartet, composed the year before his death. As with most string quartet music there is lots of interest in parts as they weave back and forth with imitative motives. The dynamics are exquisite and make a great teaching point as well as the 3 beat slurs which occur in all parts. Duration 3:00.

By Wolfgang Amadeus Mozart (1756-1791). Arranged by Sandra Dackow. For Full Orchestra. Grade 1. Set of parts

Orchestra - Grade 2.5

SKU: AP.49893

Composed by Various. Arranged by Michael Story. Full Orchestra; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Intermediate String/Full Orchestra. Christmas; Holiday Pops; Winter. Score and Part(s). Duration 3:15. Belwin Music #00-49893. Published by Belwin Music (AP.49893).

ISBN 9781470662363. UPC: 038081579566. English.

Christmas at the Symphony, arranged by Michael Story, is a medley of three classical holiday tunes. Although it is scored for full orchestra, this arrangement is playable by string orchestra alone or with any number of added winds or percussion. Mozart's Sleigh Ride German Dance No. 3, Tchaikovsky's The Nutcracker, and Bizet's March of the Kings are all included in this fantastic arrangement. (3:15).

Orchestra (2.Picc.2.2.2-2.2.Cnt.0.0 -Timp-Perc-Str (No Vla))

SKU: KU.OCT-10077

Composed by Ludwig van Beethoven. Edited by Mátyás Kovács. Letter format (190 x 270). Woo 8. Staple Bound. Full score. 30 pages. Edition Kunzelmann #OCT-10077. Published by Edition Kunzelmann (KU.OCT-10077).

For Orchestra. By Antonin Dvorak. (Study Score). Schott. Size 5.25x7.5 inches. 124 pages. Published by Eulenburg Germany (Schott).

For Orchestra. By Antonin Dvorak. (Study Score). Schott. Size 5.25x7.5 inches. 117 pages. Published by Eulenburg Germany (Schott).

By Henry Purcell. Arranged by Ellen Harris. (Study Score). Schott. Size 5.25x7.5 inches. 98 pages. Published by Eulenburg.

Orchestra

SKU: BT.EMBZ40071

Composed by Bela Bartok. EMB Study Scores. Book Only. Composed 1985. 28 pages. Editio Musica Budapest #EMBZ40071. Published by Editio Musica Budapest (BT.EMBZ40071).

English-German-Hungari an.

'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartók had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartók explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartók was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartók New Series Vol. 5, Virág Büky).

Orchestra (Fl-Picc, Fl, Trp, V, Va, timpani, bassoon, Vc, double bass, Continuo)

SKU: BA.BA07569

Ballet héroïque in one prologue and three entrées. Composed by Jean-Philippe Rameau. Edited by Thomas Soury. This edition: urtext edition. Paperback. Symphonies. Score, anthology. Baerenreiter Verlag #BA07569_00. Published by Baerenreiter Verlag (BA.BA07569).

ISBN 9790006523375. 32.9 x 23.9 cm inches. Text Language: French/German. Preface: Soury, Thomas. Louis de Cahusac.

Rameau's “Les Fêtes de l'Hymen et de l'Amour” was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as “Zaïs”, “Zoroastre” and “Les Borades”. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from “Aruris”, a scoring found nowhere else in his uvre.

For the first time, this scholarly-critical edition of “Les Fêtes de l'Hymen et de l'Amour” presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Acadmie Royale de Musique in 1748.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra - Grade 2

SKU: AP.47481

Composed by Johann Strauss Jr. Arranged by Richard Meyer. Full Orchestra; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Highland/Etling First Philharmonic. Form: Transcription; Dance. Masterwork Arrangement. Score and Part(s). 200 pages. Duration 4:08. Highland/Etling #00-47481. Published by Highland/Etling (AP.47481).

UPC: 038081544489. English.

A beautiful arrangement by Richard Meyer of Waltz Number 1, Waltz Number 2, and the Coda from the original, set perfectly for the first full-orchestra experience. Perhaps the most widely popular composer of light classical music ever, Johann Strauss, Jr. wrote over 150 waltzes, bringing the form to perfection as an extended musical composition. The Blue Danube (the common English title of An der schonen blauen Donau---German for By the Beautiful Blue Danube), was composed in 1866 and was premiered in February of 1867. It has been one of the most popular classical pieces ever since. This title is available in MakeMusic Cloud.

Orchestra (2.2.2.2/4.2.3.1,timp,str )

SKU: TM.06943SET

Composed by George Chadwick. Set Type: D. Set of parts. Lucks Music Library #A8037. Published by Lucks Music Library (TM.06943SET).

Chorus in English (no piano reduction); Vocal Score in French/English; Score in German/English. Narrator in score and vocal score only. Clothbound score. Overture, No. 1 Scherzo, No. 2 Melodram, Elfenmarsch (A March of Fairies), No. 3 Lied mit Chor (Song with Chorus), No. 4 Melodram, No. 5 Intermezzo, No. 6 Melodram, No. 7 Notturno, No. 8 Melodram, No. 9 Hochzeitmarsch (Wedding March), No. 10 Melodram, No. 11 Ein Tanz Von Ruplein (Dance of Clowns), No. 12 Melodram, No. 13 Finale.

Orchestra (2.2.2.2/4.2.3.1,timp,str )

SKU: TM.06943SC

Composed by George Chadwick. Score. Lucks Music Library #A8037. Published by Lucks Music Library (TM.06943SC).

Chorus in English (no piano reduction); Vocal Score in French/English; Score in German/English. Narrator in score and vocal score only. Clothbound score. Overture, No. 1 Scherzo, No. 2 Melodram, Elfenmarsch (A March of Fairies), No. 3 Lied mit Chor (Song with Chorus), No. 4 Melodram, No. 5 Intermezzo, No. 6 Melodram, No. 7 Notturno, No. 8 Melodram, No. 9 Hochzeitmarsch (Wedding March), No. 10 Melodram, No. 11 Ein Tanz Von Ruplein (Dance of Clowns), No. 12 Melodram, No. 13 Finale.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

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.