For Speaker And 5 Instrumentalists. Par SCHOENBERG ARNOLD. Pierrot lunaire marks the high point of Schoenberg's expressionistic period, the essence of which he described as renouncing tonal centers and systematic relationships, replacing them with the twelve-tone method he was later to develop, with its dodecaphonic principles. Dethroning tonality and 'emancipating the dissonance' led to a radical change in his understanding of form and the intensity of musical expression beginning in 1907/1908: 'And I am unconditionally approaching a new kind of expression - I can sense it. The sounds now are virtually becoming a bestially direct expression of sensual and intellectual feelings - almost as if everything had been directly propagated.' (Diary entry, March 1912.)/ Répertoire / Récitant et 5 Instrumentistes

As seen in the mind-boggling Trans-Siberian stage show! This powerful piece soars and asks to be played large. Sure-fire excitement for any holiday program! The rock rhythm section contributes to an intense and very hip musical experience. An optional part for electric guitar can be used to add interest to the performance. This arrangement includes parts appropriate for a community or professional orchestra. The bowings are those that would be expected by professional players. Instrumentation: Full orchestra, timpani (G-B-D-E), drum set, opt. electric guitar, opt. piano, opt. electric bass. (3:25) / Orchestre

Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA. Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts. The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted. In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ Répertoire / Orchestre

for Orchestra Full Score. Par PENG-PENG GONG. “In celebration of the 40th anniversary of China-U.S. diplomatic relations and in hope to support the promotion of Chinese culture abroad, Peng-Peng Gong's (b. 1992) Tenth Symphony, subtitled 'Peking Fantasy' (Op. 55) was co-commissioned by the Philadelphia Orchestra and the Shanghai Philharmonic Orchestra in 2017. The world premiere of the 2018 original version was presented by the SPO in April of the same year in Shanghai, while the world premiere of the 2019 revised version was presented by the Philadelphia Orchestra in January at its home venue with the combined forces of both orchestras side-by-side. Inspired by the artistic power of Peking Opera ?the crowning heritage of Chinese traditional performing arts, the symphony strives to translate the emotional and philosophical experience of the art form for international audiences and to explore the Western orchestra's expressive abilities in capturing the Eastern spirit. The 2018 original version ran as long as 76 minutes, before the composer extensively revised the score down to 40 and presented it in a single movement without pause. The work is scored for a huge orchestra of over 100 players. Main materials that inspired the music are from the traditional Peking Opera repertory: The Drunken Beauty, Farewell My Concubine, In Pursuit of the General, and The Chancellor and the Advisor (lit. Cao Cao and Yang Xiu). 'Peking Fantasy' is in a sweet, direct musical language ...It's a work of highly original sounds presented in a series of vivid episodes.” -Peter Dobrin, The Philadelphia Inquirer Please note: this item will be printed at the time of ordering and will ship as soon as possible, usually within 2-3 weeks. / Date parution : 2022-01-18/ Répertoire / Orchestre