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 Kabanova”. 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 “symphony” 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 forces”. 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 Dunaj” – 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 timpani”, 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 love”.

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

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.

Orchestra - Grade 2

SKU: AP.45872S

Composed by Doug Spata. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score. 8 pages. Duration 1:50. Highland/Etling #00-45872S. Published by Highland/Etling (AP.45872S).

UPC: 038081523743. English.

Archaic Voices by Doug Spata was written at the request of a friend of the composer who wanted an easy piece she could use to introduce low 1st-finger B-flats. Her students really responded to the aggressive style, approachable rhythms, and quick tempo. Part independence is kept to a minimum to help young players stay together, and the wide dynamic range adds to the drama of the piece. This is a bold selection that students and teachers can both appreciate. (1:50) This title is available in MakeMusic Cloud.

By Henry Brant. Orchestra. For Piccolo, Oboe, Clarinet, Horn, Trumpet, Tenor, Chimes, Timpani, Xylophone, Glockenspiel, Violin I, Violin II, Viola, Cello, Double Bass, High Voice, Low Voice. Full Score - Large. 53 pages. Published by Carl Fischer.

Concert band with choir/voice - Grade 4

SKU: RM.AMIO03445-CH

Composed by Jean Claude Amiot. Music with chorus, voices. Orchestra. Choral score. Editions Robert Martin #AMIO03445-CH. Published by Editions Robert Martin (RM.AMIO03445-CH).

Concert band with choir/voice - Grade 4

SKU: RM.AMIO03445-BA

Composed by Jean Claude Amiot. Music with chorus, voices. Orchestra. Full set. Editions Robert Martin #AMIO03445-BA. Published by Editions Robert Martin (RM.AMIO03445-BA).

ISBN 9790231034455.

Concert band with choir/voice - Grade 4

SKU: RM.AMIO03445-CO

Composed by Jean Claude Amiot. Music with chorus, voices. Orchestra. Conductor's score. Editions Robert Martin #AMIO03445-CO. Published by Editions Robert Martin (RM.AMIO03445-CO).

Orchestra

SKU: SU.94010400

For Orchestra. Composed by James Lee III. Orchestra. Study Score. Subito Music Corporation #94010400. Published by Subito Music Corporation (SU.94010400).

2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset.

(Full Score Critical Edition). Composed by Cole Porter. Orchestra. For Voice. This edition: Full Orchestral Score (Case Bound). Full Orchestra (Full Score); Score. Broadway. 754 pages. Published by Alfred Music

Orchestra

SKU: LO.30-2766L

Composed by Melody Green. Arranged by Mary McDonald. Choral. Sacred Anthem, Eastertide, General, Lent, Trinity Sunday. Orchestral score and CD with printable parts. Lorenz Publishing Company #30/2766L. Published by Lorenz Publishing Company (LO.30-2766L).

UPC: 000308130454.

Melod y Green's classic worship song receives a majestic choral treatment in this striking arrangement by Mary McDonald. Opening quietly with men's voices alone and building to a dramatic, worshipful conclusion, this setting is enhanced by the optional lush orchestration that beautifully underscores the lovely vocal textures. Instrumentation: 2 Fl, Ob, 2 Cl, Bsn (sub B Cl), 3 Tpt, 2 Hn (sub 2 A Sax), 2 Tbn (sub T Sax/Btn TC), Tba, Timp, Perc, Harp, Pno, 2 Vln, Vla, Cello, Bass, Digital String Reduction.

Orchestra

SKU: LO.30-2765L

Composed by Melody Green. Arranged by Mary McDonald. Choral. Sacred Anthem, Eastertide, General, Lent, Trinity Sunday. Orchestral score and parts. Lorenz Publishing Company #30/2765L. Published by Lorenz Publishing Company (LO.30-2765L).

UPC: 000308130447.

Melod y Green's classic worship song receives a majestic choral treatment in this striking arrangement by Mary McDonald. Opening quietly with men's voices alone and building to a dramatic, worshipful conclusion, this setting is enhanced by the optional lush orchestration that beautifully underscores the lovely vocal textures. Instrumentation: 2 Fl, Ob, 2 Cl, Bsn (sub B Cl), 3 Tpt, 2 Hn (sub 2 A Sax), 2 Tbn (sub T Sax/Btn TC), Tba, Timp, Perc, Harp, Pno, 2 Vln, Vla, Cello, Bass, Digital String Reduction.

By Mack Wilberg (1955-). For SATB choir and piano 4-hands/full orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon, 4 horn, 3 trumpet, 3 trombone, tuba, timpani, 5 percussion (glockenspiel, finger cymbals, chimes, suspended cymbal, tambourine, Snare Drum), harp, organ, strings). Mixed Voices. Christmas Choral Leaflet. Vocal score. Duration 5'

(For Orchestra and Concert Group). By Stephen Albert. For Piccolo, Flute, Oboe, English Horn, Piccolo Clarinet, Clarinet, Alto Saxophone, Bassoon, Contra Bassoon, Horn, Cornet, Trumpet, Tenor, Tuba, Timpani, Percussion, Piano, Harp, Contrabass, Violin, Vi. full score (large). classical.

Jesus Sleeps, What Hope Remaineth?, BWV 81. By Johann Sebastian Bach. Arranged by Arnold Schering. (Study Score). Schott. 34 pages. Published by Eulenburg.

Orchestra

SKU: SU.24100210

For Orchestra. Composed by Stanley Friedman. Orchestra. Study Score. Subito Music Corporation #24100210. Published by Subito Music Corporation (SU.24100210).

Holocaust memorial tone poem; 20 min. 2,1 2,1 2,1 2,1; 4331; timp, perc, hp, pno; stgs Composed: 2012 Published by: Asher Rose Music Performance materials available on rental:.

Orchestra (2 Soprano Voice Solo, 2 Bass Voice Solo, 2 Ob, 2 clarinet, 2 bassoon, 2 Hn, 2 Trp, 2 V, Va, Basso, Continuo)

SKU: BA.BA08811

Divertimento teatrale in one act. Operetta for four voices. Composed by Antonio Salieri. Edited by Adrian La Salvia and Thomas Betzwieser. This edition: Edition of selected works, Urtext edition. Linen. Spectrum of European Music Theatre in Separate Editions 1. Edition of selected works, Score, Critical commentary, USB flash drive. Duration 1 hour, 15 minutes. Baerenreiter Verlag #BA08811_00. Published by Baerenreiter Verlag (BA.BA08811).

ISBN 9790006539840. 33.1 x 26.5 cm inches. Text Language: Italian. Preface: Betzwieser, Thomas. Text: Giambattista Casti.

A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. A German Singspiel ensemble performed Mozart’s “Schauspieldirektor ” whilst Antonio Salieri’s “Prima la musica e poi le parole” was performed by the Italian court singers and musicians. This charming opera satire belongs to the genre of “metamelodrammaâ� � in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the librettist, composer and prima donna, appear as characters on the stage and are presented in a humorous self-reflection. In this ‘theatre about theatre’ Salieri parodies the music from Giuseppe Sarti’s “Giulio Sabino” in his insert arias, thus playing on the music which was totally familiar with the audience of the time. By reflecting on the musical-dramatic style of that period and discussing whether ‘the word’ or ‘the music’ should take priority, this masterpiece is considered to be an early forerunner to Richard Strauss’s “Capriccio”.< br>
The new edition of the score is published as part of “opera – Spectrum of European Music Theatre in Separate Editions”. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into this newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti’s “Giulio Sabino” have also been incorporated.

â� �¢ Urtext vocal score based on the historical-critical hybrid score published as part of “opera – Spectrum of European Music Theatre in Separate Editions” edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).
• Original Italian libretto with singable German translation
• Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodramma and intertextuality etc.
• Includes an extensive appendix to the quotations taken from Giuseppe Sarti’s “Giulio Sabino”
• Idiomatic piano reduction

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

By Gustav Holst. Arranged by Robert W. Smith. By Gustav Holst / arr. Robert W. Smith. For Full Orchestra. Full Orchestra. Belwin Concert Full Orchestra. Level: Medium Easy to Medium (grade III-IV). Conductor Score and Parts. 182 pages. Duration 4:30. Published by Alfred Publishing.

By Gustav Holst. Arranged by Robert W. Smith. By Gustav Holst / arr. Robert W. Smith. For Full Orchestra. Full Orchestra. Belwin Concert Full Orchestra. Level: 3.5 (grade 3.5). Conductor Score. 20 pages. Published by Alfred Publishing.

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

Concert Band; Orchestra - Grade 1.5

SKU: AP.49118

Composed by Jeremy Bell. 5 or More; MakeMusic Cloud; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Quartet; Single Titles; Solo Small Ensembles. Alfred Debut Series. Score and Part(s). 91 pages. Duration 3:07. Alfred Music #00-49118. Published by Alfred Music (AP.49118).

UPC: 038081563473. English.

This version of Defenders of the Realm by Jeremy Bell is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.

Inspired by fantasy-themed movies where heroes find the strength to fight and overcome great odds, Defenders of the Realm by Jeremy Bell recreates the big, epic soundtrack of a Hollywood movie for young bands. Ranges and rhythms create an impressive-sounding piece appropriate for developing musicians. (3:10)

Percussion Accompaniment Track Downloads :
with click
without click.

This title is available in MakeMusic Cloud.

Concert Band; Orchestra - Grade 1.5

SKU: AP.49118S

Composed by Jeremy Bell. 5 or More; MakeMusic Cloud; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Quartet; Single Titles; Solo Small Ensembles. Alfred Debut Series. Score. 12 pages. Duration 3:07. Alfred Music #00-49118S. Published by Alfred Music (AP.49118S).

UPC: 038081563480. English.

This version of Defenders of the Realm by Jeremy Bell is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.

Inspired by fantasy-themed movies where heroes find the strength to fight and overcome great odds, Defenders of the Realm by Jeremy Bell recreates the big, epic soundtrack of a Hollywood movie for young bands. Ranges and rhythms create an impressive-sounding piece appropriate for developing musicians. (3:10)

Percussion Accompaniment Track Downloads :
with click
without click.

This title is available in MakeMusic Cloud.

Orchestra (Full Score) - Grade 4

SKU: HL.14032192

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.

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).

Orchestra (solos: T,A(Bar) - 4(2picc).3(cor ang).5(Eb-clar.Bb-clar).3 (dble bsn) - 4.3.3.1 - 2hp.cel.mand.timp.perc(4) - str)

SKU: BR.OB-5641-60

Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Set of parts. 1116 pages. Duration 65'. Breitkopf and Haertel #OB 5641-60. Published by Breitkopf and Haertel (BR.OB-5641-60).

ISBN 9790004348833. 10.5 x 14 inches.

The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.