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.
Serie IX (Schriften) Vol. 4.3: Briefe 1952-1956. Composed by Hanns Eisler ...(+)
Serie IX (Schriften) Vol.
4.3: Briefe 1952-1956.
Composed by Hanns Eisler
(1898-1962). Edited by
Maren
Koster. Restless Times.
Breitkopf and Haertel #BV
350. Published by
Breitkopf
and Haertel
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.
Orchestra SKU: BR.SON-444 Complete Works. Composed by Felix Bartho...(+)
Orchestra
SKU:
BR.SON-444
Complete Works.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Ralf Wehner.
Linen. Complete Works.
Editorial Board:
Christian Martin Schmidt
(chairman), Peter Ward
Jones, Friedhelm
Krummacher, R. Larry
Todd, Ralf Wehner;
research associates: Ralf
Wehner, Clemens Harasim,
Birgit Muller
Romantic period. Complete
Works. 312 pages.
Breitkopf and Haertel
#SON 444. Published by
Breitkopf and Haertel
(BR.SON-444).
ISBN
9790004803523. 10 x 12.5
inches.
The
Leipziger Ausgabe der
Werke von Felix
Mendelssohn Bartholdy
pursues the goal of
making accessible to the
public in an adequately
scholarly form all of
Mendelssohn's accessible
compositions, letters and
writings, along with all
other documents of his
artistic oeuvre. A
considerable number of
Mendelssohn's works are
still waiting to be
published; many others
have been published in an
unsatisfactory
manner.Though the new
Mendelssohn Complete
Edition follows the ten
volumes of the Leipziger
Mendelssohn Ausgabe (LMA)
published by the
Deutscher Verlag fur
Musik (DVfM) in Leipzig
since 1961, it sees
itself as a fundamentally
new conception which
reflects the present-day
standard of scholarly
editions.The first
volumes of the new
Complete Edition were
presented in Leipzig on 3
November 1997 at
Mendelssohn Festtage in
Leipzig.SON 411 - 413
have been awarded the
German Music Edition
Prize
2006.
Editorial
Board: Christian Martin
Schmidt (chairman), Peter
Ward Jones, Friedhelm
Krummacher, R. Larry
Todd, Ralf Wehner;
research associates: Ralf
Wehner, Clemens Harasim,
Birgit Muller.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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
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practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
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need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
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.
Orchestra SKU: HL.14010856 Composed by Manuel de Falla. Music Sales Ameri...(+)
Orchestra
SKU:
HL.14010856
Composed
by Manuel de Falla. Music
Sales America. Classical.
Score. Composed 2002.
Chester Music #CH61022.
Published by Chester
Music (HL.14010856).
ISBN 9780711960879.
0.575
inches.
Fuego Fatuo has
an interesting history.
Manuel De Falla
(1876-1946), often
regarded as the greatest
Spanish composer of the
20th century, wanted to
write an opera based
around themes from
Chopin, whomhe greatly
admired. The stage work
was never finished;
however, several attempts
have been made to arrange
the work for orchestra,
most successfully by the
Catalan conductor
Antoni
Ros-Marba.
Des
pite its history,this
orchestral suite is far
from being a mere
mish-mash of Chopin
melodies; it is more of a
meditation on Chopin's
work in general, with the
focus on the harmonic and
textural elements which
De Falla drew
from his work.It forms a
fascinating insight into
the mind of a great
musician.
Orchestra SKU: BR.DV-4253 Complete Works. Composed by Felix Bartho...(+)
Orchestra
SKU:
BR.DV-4253
Complete Works.
Composed by Felix
Bartholdy Mendelssohn.
Orchestra; Softbound.
Deutscher Verlag.
Editorial Board:
Christian Martin Schmidt
(chairman), Peter Ward
Jones, Friedhelm
Krummacher, R. Larry
Todd, Ralf Wehner;
research associates: Ralf
Wehner, Clemens Harasim,
Birgit Muller
Romantic period. Complete
Works. 112 pages.
Deutscher Verlag fur
Musik #DV 4253. Published
by Deutscher Verlag fur
Musik (BR.DV-4253).
ISBN 9790200440041. 9
x 12 inches.
The
Leipziger Ausgabe der
Werke von Felix
Mendelssohn Bartholdy
pursues the goal of
making accessible to the
public in an adequately
scholarly form all of
Mendelssohn's accessible
compositions, letters and
writings, along with all
other documents of his
artistic oeuvre. A
considerable number of
Mendelssohn's works are
still waiting to be
published; many others
have been published in an
unsatisfactory
manner.Though the new
Mendelssohn Complete
Edition follows the ten
volumes of the Leipziger
Mendelssohn Ausgabe (LMA)
published by the
Deutscher Verlag fur
Musik (DVfM) in Leipzig
since 1961, it sees
itself as a fundamentally
new conception which
reflects the present-day
standard of scholarly
editions.The first
volumes of the new
Complete Edition were
presented in Leipzig on 3
November 1997 at
Mendelssohn Festtage in
Leipzig.SON 411 - 413
have been awarded the
German Music Edition
Prize
2006.
Editorial
Board: Christian Martin
Schmidt (chairman), Peter
Ward Jones, Friedhelm
Krummacher, R. Larry
Todd, Ralf Wehner;
research associates: Ralf
Wehner, Clemens Harasim,
Birgit Muller Price
reduction for a
subscription.
By Johann Sebastian Bach (1685-1750). Edited by Heinrich Besseler; Hans Gruss. F...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Heinrich Besseler; Hans
Gruss. For orchestra (3
trumpets/timpani/2
oboes/2
violins/viola/basso
continuo (cello/double
bass/harpsichord)). This
edition: Stapled, Urtext
edition. Score. Text
Language: German/English.
BWV 1068. 50 pages.
Duration 24'. Published
by Baerenreiter Verlag
Composed by Jean Sibelius (1865-1957). Edited by Ulrich Mahlert. This edition: u...(+)
Composed by Jean Sibelius
(1865-1957). Edited by
Ulrich Mahlert. This
edition: urtext.
Partitur-Bibliothek
(Score Library). Study
score. 116 pages.
Published by Breitkopf
and Haertel
(BR.PB-5564-07).
ISBN
9790006567560. 33 x 24.3
cm inches. Text: Duplat
de Monticourt,
Pierre-Jacques.
Thi
s edition unites all the
purely instrumental parts
of Rameau’s
comdie-ballet “Les
Paladins†for
performance as a suite in
the concert
hall.
In view of
the wealth of the
work’s musical
treasures and the
stylistic innovations
– similar to the
“Boradesâ€
– the rather
frosty reception of the
premiere series in the
spring of 1760 seems
completely
incomprehensible to us
today. It led to this
stage work not being
performed again until
well into the 20th
century. The story that
the comdie-ballet tells
is based on a fable by La
Fontaine, “Le Petit
chien qui secoue de
l’argent et des
pierreries†(i.e.
“The little dog who
shakes silver and
stonesâ€). In
medieval Veneto, the
guardian Anselme
undermines the love
affairs of his ward
Argies. Scenes of tragic
expression are contrasted
with folk-comic ones; and
last but not least, the
sexually ambiguous fairy
Manto may have caused
difficulties for the bold
work at the Paris
Opra.
This
critical edition is based
on the corresponding
volume issued in the
series “Opera omnia
Rameau†(BA
8870-01). Since
“Les
Paladins†remained
unpublished during
Rameau’s lifetime
and was also not included
in the “Œuvres
complètesâ€, this
is the first edition of
the work. It satisfies
both scholarly demand and
the practical needs of
musicians.
The
orchestral parts are
available on
hire.
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 SKU: BA.BA05822-01 Composed by Christoph Willibald Von Gluck. E...(+)
Orchestra
SKU:
BA.BA05822-01
Composed by Christoph
Willibald Von Gluck.
Edited by Irene
Brandenburg. Arranged by
Carlo Bernardi and
Gasparo Angiolini. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA05822-01.
Published by Baerenreiter
Verlag (BA.BA05822-01).
ISBN 9790006567454. 33
x 26 cm inches. Preface:
Brown, Bruce
Alan.
To conclude
Series II (Dance Dramas)
from the Gluck Complete
Edition (GGA), this
volume of Christoph
Willibald Gluck's
earliest contributions to
the genre comprises six
ballet scores from 1759
(La Promenade, Les
Jardiniers, Les Turcs,
Les Savoiards, Les Amours
de Flore et Zphire, and
Le Suisse) as well as the
ballet music for Les
Vendanges, which dates
from 1761. These works
belong to the
compositions â also
called Krumau ballets
because of their musical
transmission â which
Gluck created in Vienna
between 1759 and 1765 for
the court theatres in
Laxenburg and
Schönbrunn as well as
the
Kärntnertortheater,
and which are to be
attributed to him as a
ballet composer around
the middle of the 18th
century in Viennese
theatre life based on the
considerations presented
in the general
preface.
Together
with volumes II/3 to
II/5, ballet music by
Gluck is available whose
sources come from the
former Schwarzenberg
court archive in Ceský
Krumlov, Czech Republic,
and which until the
Velvet Revolution of
1989, lay behind the Iron
Curtain remaining largely
inaccessible and
unexplored by Western
scholars. These volumes
reflect two fundamental
developments in Gluck
research: on the one
hand, they provide a
significantly expanded,
historically more
accurate idea of what it
meant to compose for the
ballet in the 18th
century; on the other
hand, they bring to light
an immense treasure trove
of sources formerly of
Viennese
provenance.
In
addition to the detailed
introduction by this
volumeâs editor on
the ballet choreographies
of Gasparo Angiolini and
Carlo Bernardi, on the
formation of the ballet
troupes of the Viennese
theatres in Gluck's early
years there, on ballet
types and genres, as well
as a detailed account of
the individual titles,
the volume includes a
general preface to
volumes II/3 through II/5
by Bruce Alan Brown,
which discusses Gluck's
ballet music in Vienna in
general as well as the
development of research
into this genre.
Extensive illustrations
(partly from the
so-called Durazzo
Collection) with
reference to the
choreographies enrich the
discussions. The ballet
works, which have
survived in only one
source each, appear in
print for the first time
in this volume of the
Gluck Complete
Edition.
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
Composed by Robert Lowry. Arranged by Tom Payne and Ed Hogan. For orchestra. All...(+)
Composed by Robert Lowry.
Arranged by Tom Payne and
Ed Hogan. For orchestra.
Allegis. Sacred, hymn.
Medium. Score and CD with
printable parts and
accompaniment tracks. 15
pages. Lillenas
Publishing Company
#765762213005. Published
by Lillenas Publishing
Company
Orchestra (Study Score) SKU: HL.50606858 In A Major, Op. 141. Comp...(+)
Orchestra (Study Score)
SKU: HL.50606858
In A Major, Op.
141. Composed by
Dmitri Shostakovich.
Study Score. Classical.
Softcover. Sikorski
#SIK2515. Published by
Sikorski (HL.50606858).
UPC:
196288194552.
Weake
ned by a series of
chronic illnesses and
aware of his impending
death, Shostakovich looks
back on his life in
Symphony No.15 inA major,
op.141. The work opens
with cheerful
reminiscences from his
youth, featuring
quotations from his early
works and allusions to
Rossini. But already by
the second movement, a
funeral march rich with
self-quotation, the mood
changes. In the cantabile
movement which follows,
one hears the murmuring
ghosts of the past. With
echoes of Richard Wagner,
the eerie finale
ultimately instructs the
listener to remain
fearful through its
crumbling tonality. This
volume is part of the
revised and corrected new
edition of all 15
symphonies by Dmitri
Shostakovich published by
Boosey & Hawkes and
Sikorski as large format
study scores for optimal
legibility. All scores
and the related
orchestral parts have
been newly computer
typeset, and the
orchestral parts are also
compatible for
performance use with
scores in “The New
Collected Works of
DmitriShostakovichâ€
.
Special
Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a special
import title, it will be
shipped from our overseas
warehouse. The shipment
time will be slower than
items shipped directly
from our US warehouse and
may be subject to
delays.
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
(Suite from Volume Alpha). Composed by Daniel Rosefeld. Arranged by Ralph Fo...(+)
(Suite from Volume
Alpha).
Composed by Daniel
Rosefeld.
Arranged by Ralph Ford.
Concert Band. Concert
Band;
Score. Pop Young Band.
Form:
Suite. Video Game. Grade
2.5. 24 pages. Published
by
Alfred Music
Composed by Ludwig van Beethoven (1770-1827). Edited by Helmut Hell. Henle Study...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Helmut Hell.
Henle Study Scores. Study
score (paperbound). 40
pages. G. Henle #HN9043.
Published by G. Henle
(HL.51489043).
A Whitney Houston Tribute Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: Queen of the Night / I Have Nothing / I'm Your Baby Tonight / Greate...(+)
(Featuring: Queen of the
Night / I Have Nothing /
I'm Your Baby Tonight /
Greatest Love of All).
Arranged by Victor
López. Orchestra. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Form: Medley.
Pop. Grade 3.5. 252
pages. Published by
Alfred Music Publishing
(Featuring: Queen of the Night / I Have Nothing / I'm Your Baby Tonight / Greate...(+)
(Featuring: Queen of the
Night / I Have Nothing /
I'm Your Baby Tonight /
Greatest Love of All).
Arranged by Victor
López. Orchestra. Full
Orchestra; Score. Pop
Concert Full Orchestra.
Form: Medley. Pop. Grade
3.5. 32 pages. Published
by Alfred Music
Publishing
Orchestra (2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.PB-5522-07 Version ...(+)
Orchestra (2.2.2.2 -
2.2.0.0 - timp - str)
SKU: BR.PB-5522-07
Version 1833 - Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Thomas Schmidt-Beste.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library). To all
extents and purposes,
Germany is the land of
artists, wrote
Mendelssohn in 1831 while
on his travels in Italy;
but Italy, he added, is
the land of art.
Everywhere he went in
Italy, the 22-year-old
composer found impulses
for his symphony.
Symphony; Romantic. Study
Score. 96 pages. Duration
28'. Breitkopf and
Haertel #PB 5522-07.
Published by Breitkopf
and Haertel
(BR.PB-5522-07).
ISBN
9790004212530. 6.5 x 9
inches.
To all
extents and purposes,
Germany is the land of
artists, wrote Felix
Mendelssohn Bartholdy in
1831 while on his travels
in Italy; but Italy, he
added, is the land of
art. Indeed, everywhere
he went in Italy, the
22-year-old composer
found impulses for his
symphony: I have to save
the work until I have
seen Naples. But although
the country fired his
inspiration: It will be
the merriest piece that I
have ever written, he did
not actually write the
Italian Symphony there.
This did not occur until
early 1833, when
Mendelssohn obtained a
commission from London,
where he then conducted
the first performance in
May 1833. Begun the
following year, his
revision of the piece
remained fragmentary, and
the composer no longer
performed the work
himself. The familiar
London version thus
represents the only
closed form of the work
which the composer
presented to the public.
This is the version of
the Italian Symphony that
is now appearing in the
Breitkopf Urtext
collection based on the
Complete Edition.
Full orchestra SKU: LO.30-4038L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-4038L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Christmas.
Instrumental parts.
Lorenz Publishing Company
#30/4038L. Published by
Lorenz Publishing Company
(LO.30-4038L).
UPC:
000308159974.
Balla
ds have been used
throughout history to
tell a story through
music. Pepper Choplin has
long used his signature
musical voice to tell the
meaningful stories of our
faith, so itâ??s
especially fitting that
heâ??s brought the
timeless story of
Christmas alive once more
with The Ballad of
Bethlehem. Available for
SATB or SAB choirs with
rehearsal aids and
accompaniment options
ranging from piano only
to a thrilling full
orchestra written by
Michael Lawrence to
recorded tracks, this
stunning cantata
dramatically moves from a
recollection of ancient
prophecies through the
quiet manger scene to its
joyous conclusion
featuring a rousing call
to â??Shout with the
Shepherds!â? This
season, let the folk-like
energy of Pepper
Choplinâ??s unique voice
bring The Ballad of
Bethlehem to you and your
listeners. â??O sing a
ballad of Bethlehem. I
want to hear it once
more. I love that story
so often told to
generations
before.â?.
Full orchestra SKU: LO.30-4037L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-4037L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Christmas.
Conductor's score. Lorenz
Publishing Company
#30/4037L. Published by
Lorenz Publishing Company
(LO.30-4037L).
UPC:
000308159967.
Balla
ds have been used
throughout history to
tell a story through
music. Pepper Choplin has
long used his signature
musical voice to tell the
meaningful stories of our
faith, so it’s
especially fitting that
he’s brought the
timeless story of
Christmas alive once more
with The Ballad of
Bethlehem. Available for
SATB or SAB choirs with
rehearsal aids and
accompaniment options
ranging from piano only
to a thrilling full
orchestra written by
Michael Lawrence to
recorded tracks, this
stunning cantata
dramatically moves from a
recollection of ancient
prophecies through the
quiet manger scene to its
joyous conclusion
featuring a rousing call
to “Shout with the
Shepherds!†This
season, let the folk-like
energy of Pepper
Choplin’s unique
voice bring The Ballad of
Bethlehem to you and your
listeners. “O sing
a ballad of Bethlehem. I
want to hear it once
more. I love that story
so often told to
generations
before.â€.
Orchestra SKU: BR.SON-443 Complete Works. Composed by Felix Bartho...(+)
Orchestra
SKU:
BR.SON-443
Complete Works.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Thomas Schmidt.
Linen. Complete Works.
Romantic period. Complete
Works. 252 pages.
Breitkopf and Haertel
#SON 443. Published by
Breitkopf and Haertel
(BR.SON-443).
ISBN
9790004803516. 10 x 12.5
inches.
Mendelssohn
's ConfessionThe
Reformation Symphony,
misleadingly numbered
posthumously as 5 by its
publishers, was
Mendelssohn's first
confrontation with the
large symphonic form in
Beethoven's wake. Linking
it conceptually with the
300th anniversary of the
Augsburg Confession in
1830 seems to have first
occurred late in the
progress of its
composition, yet the
premiere did not take
place until 1832 and
ultimately even enabled
the composer to distance
himself completely from
his work and its concept.
Thanks to access to a new
source [or, ... new
access to sources... or
...new access to a
source...?], this edition
can now finally refute
the legend that a
separate original or
early version of the
symphony once
existed.
Orchestra SKU: PO.PEP05S Works for String Orchestra. Composed by L...(+)
Orchestra
SKU:
PO.PEP05S
Works
for String Orchestra.
Composed by Larry Pruden.
Perfect. Collection -
Full Score. Promethean
Editions #PEP05S.
Published by Promethean
Editions (PO.PEP05S).
ISBN
9781877218057.
Pref
ace to the Collected
EditionOver the span of
his composing career,
Larry Carrol Pruden
(1925-82) completed some
60 works, including music
for piano, chamber
ensemble, orchestra,
stage and film. The scope
of the ten-volume
Collected Edition
incorporates every work
that the composer is
known to have considered
complete, and a very few
incomplete works which
the editors felt
warranted inclusion. The
works in the latter
category are either
virtually complete or
have been deemed worthy
of inclusion due to the
significance that the
composer is known to have
attached to
them.Throughout Pruden's
output, whether the music
is modest in scale and
purely functional (civic
fanfares and radio
advertising jingles, for
example) or more extended
and overtly serious in
tone (such as the larger
works for orchestra and
strings), his vivid
response to urban society
and rural life in New
Zealand is revealed. With
Douglas Lilburn, John
Ritchie and others, Larry
Pruden belongs to the
earliest generation of
New Zealand composers to
discover a genuine
vernacular, and in his
music is reflected the
trail-blazing spirit of
the pioneers, their
passion for creativity
and their rebelliousness
of spirit.The scores in
the Collected Edition are
based on Pruden's
underlying autograph or
holograph manuscripts,
which have been consulted
extensively throughout
the editorial process.
Comparison has been made
to all extant forms of
each title, published and
unpublished. In some
cases, several variants
exist, and the goal has
been to determine as far
as possible the
composer's final
intention and to convey
this comprehensively in
the published score.
Emendations have been
made to account for the
composer's revisions and
for certain errors and
inconsistencies, and each
volume includes a short
commentary and editorial
notes on the source
materials.In consultation
with the Estate of Larry
Pruden, Promethean
Editions appointed an
Editorial Panel and an
Advisory Panel to oversee
publication of the
Collected Edition. The
role of the Editorial
Panel has been to
undertake the research
into the composer's
archival and manuscript
materials and to make the
necessary editorial
decisions and ensure the
accuracy of the musical
and textual content of
the Edition. The Advisory
Panel has been
responsible for
monitoring the overall
approach to the project
and for ensuring the
maintenance of a wider
perspective.
Orchestra (Score) SKU: HL.50600661 Für jugendensemble Exempla Nova ...(+)
Orchestra (Score)
SKU:
HL.50600661
Für
jugendensemble Exempla
Nova for the Young.
Composed by Gerald Resch.
Ensemble. Classical.
Softcover. 52 pages.
Sikorski #SIK8829.
Published by Sikorski
(HL.50600661).
8.25x11.75x0.136
inches.
With the
“Fingertip
Dancesâ€, Gerald
Resch joins a long
tradition of composers
who have written pieces
for their own children
and, in so doing, have
immersed themselves in
childlike worlds of
images and experiences.
Mila, Gerald Resch's
daughter and the
dedicatee of the
“Fingertip
Dancesâ€, received
them as a special present
for her ninth birthday:
she is able to call her
own these thirteen little
pieces that have gained
considerable attention
through their variety of
musical ideas and
pianistic challenges.
Following the original
version for piano (SIK
1708), a selection of
eight pieces for youth
ensemble is now available
as part of the edition
series “exempla
nova – for the
young.†Gerald
Resch arranged these
eight pieces of the (13)
“Fingertip
Dances†in response
to a commission of the
“Brücken-Festiva
l†in
Mürzzuschlag 2015. All
text in German.
Composed by Michael Lawrence. For orchestra. Allegis. Medium. Orchestration, enh...(+)
Composed by Michael
Lawrence. For orchestra.
Allegis. Medium.
Orchestration, enhanced
CD. Lillenas Publishing
Company #765762212909.
Published by Lillenas
Publishing Company
Irish Suite Orchestre [Conducteur et Parties séparées] Alfred Publishing
Composed by Leroy Anderson (1908-1975). Orchestra. Full Orchestra; Score. Profes...(+)
Composed by Leroy
Anderson (1908-1975).
Orchestra. Full
Orchestra; Score.
Professional Orchestra
Series. Form: Suite.
Folk. 6 . 104 pages.
Published by Alfred Music