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
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Orchestra SKU: 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.
Composed by Richard Wagner (1813-1883). Edited by Ulrich Konrad. This edition:...(+)
Composed by Richard
Wagner
(1813-1883). Edited by
Ulrich
Konrad. This edition:
facsimile. Half-leather
binding. Documenta
musicologica II/56 /
Barenreiter Facsimile.
Facsimile. Baerenreiter
Verlag #BVK02418.
Published
by Baerenreiter Verlag
Orchestra SKU: BR.SON-509 Filmmusik zu Nuit et brouillard. Compose...(+)
Orchestra
SKU:
BR.SON-509
Filmmusik zu Nuit et
brouillard. Composed
by Hanns Eisler. Edited
by Knud Breyer and Oliver
Dahin. Hardback. Complete
Works. Early modern;
Music post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 509. Published by
Breitkopf and Haertel
(BR.SON-509).
ISBN
9790004803318. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
The Shifting Song.
Composed by Bob Phillips.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Programmatic.
Score and Part(s). 140
pages. Duration 3:10.
Alfred Music #00-48075.
Published by Alfred Music
(AP.48075).
UPC:
038081557083.
English.
Teach
shifting with this
beautiful melody by Bob
Phillips. Shifting Sands
is also perfectly suited
for the concert stage.
The moderate, lyric tempo
provides students in the
early stages of
practicing shifts the
time they need to make
the shifts successfully.
Musically, this piece is
very accessible so
students can focus on the
shifts. Violins will
practice 3rd position on
the D, A, and E strings.
Violas will practice 3rd
position on the D and A
strings. Cellos will
practice 3rd and 4th
positions on the D and A
strings. Basses will
practice 3rd, 4th, and
5th positions on the D
and G strings. Shifts for
all instruments are
introduced by moving the
first finger in a sliding
(portamento) motion from
1st position up to 3rd
position and back again,
then progresses to
shifting. Correlated to
Sound Innovations for
String Orchestra, Book 2,
Level 3. (3:10) This
title is available in
MakeMusic Cloud.
The Shifting Song.
Composed by Bob Phillips.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Score. 16
pages. Duration 3:10.
Alfred Music #00-48075S.
Published by Alfred Music
(AP.48075S).
UPC:
038081557090.
English.
Teach
shifting with this
beautiful melody by Bob
Phillips. Shifting Sands
is also perfectly suited
for the concert stage.
The moderate, lyric tempo
provides students in the
early stages of
practicing shifts the
time they need to make
the shifts successfully.
Musically, this piece is
very accessible so
students can focus on the
shifts. Violins will
practice 3rd position on
the D, A, and E strings.
Violas will practice 3rd
position on the D and A
strings. Cellos will
practice 3rd and 4th
positions on the D and A
strings. Basses will
practice 3rd, 4th, and
5th positions on the D
and G strings. Shifts for
all instruments are
introduced by moving the
first finger in a sliding
(portamento) motion from
1st position up to 3rd
position and back again,
then progresses to
shifting. Correlated to
Sound Innovations for
String Orchestra, Book 2,
Level 3. (3:10) This
title available in
MakeMusic Cloud.
Orchestra SKU: BR.SON-511 Orchestermusik. Composed by Hanns Eisler...(+)
Orchestra
SKU:
BR.SON-511
Orchestermusik.
Composed by Hanns Eisler.
Edited by Knud Breyer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 248 pages.
Breitkopf and Haertel
#SON 511. Published by
Breitkopf and Haertel
(BR.SON-511).
ISBN
9790004803448. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-506 Kammersymphonie op.69. Composed by Hanns...(+)
Orchestra
SKU:
BR.SON-506
Kammersymphonie
op.69. Composed by
Hanns Eisler. Edited by
Tobias Fasshauer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 148 pages.
Breitkopf and Haertel
#SON 506. Published by
Breitkopf and Haertel
(BR.SON-506).
ISBN
9790004802779. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-508 Filmmusik zu The Grapes of Wrath/Hangmen Als...(+)
Orchestra
SKU:
BR.SON-508
Filmmusik zu The
Grapes of Wrath/Hangmen
Also Die. Composed by
Hanns Eisler. Edited by
Johannes C. Gall.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 508. Published by
Breitkopf and Haertel
(BR.SON-508).
ISBN
9790004803301. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: SU.32040140 For Orchestra. Composed by Amy Riebs Mi...(+)
Orchestra
SKU:
SU.32040140
For
Orchestra. Composed
by Amy Riebs Mills.
Orchestra. Full Score.
Subito Music Corporation
#32040140. Published by
Subito Music Corporation
(SU.32040140).
2222; 4331;
timp, 2 perc, pno; stgs
Duration: 13'30 Composed:
2016 Published by: Amy
Mills Music, LLC Like a
modern Pictures at an
Exhibition…. Ha
Shamayim is an original
piece for orchestra that
was inspired by
photographs taken by the
Hubble space telescope.
Each section is inspired
by one photo; the title
of each section is the
title that NASA gave to
the photograph. The words
Ha Shamayim are Hebrew
for The Heavens. They are
written in Genesis 1:1,
In the beginning God
created the heavens and
the earth. The words are
also seen in Psalm 19.
Section I: Warped Edge-On
Galaxy ESO 510-G13
The piece begins in outer
space with its glistening
stars. Glissandi are used
to depict the strange but
beautiful warp seen in
the photograph. Section
II: Galaxy Fires at
Neighboring Galaxy
Suddenly the piece erupts
as one galaxy fires blue
gas at its neighbor. They
engage in a cosmic
battle. Section III:
Youthful-looking Galaxy
May Be an Adult The
adolescent galaxy is
personified by a
humorous, gawky melody
reminiscent of teenage
boys who walk on feet
that are still too big.
Occasionally there is an
argument with an
authority figure, but the
joy of exploring the
universe quickly returns.
Section IV: Star Birth in
Galaxy M83 The
dramatic photograph looks
like a womb with veins.
The music begins on one
note, then it begins to
explore the initial
swelling and stretching.
It morphs into an
energetic fast theme,
still growing. Ultimately
it becomes glorious and
expansive, like the new
star. Section V: String
of ‘Cosmic
Pearls’ Surrounds
an Exploding Star The
first theme is a happy
circle dance inspired by
the circle of white dots
in the photograph. The
second theme is noble and
joyful. It is reminiscent
of the melody in the
famous chorus in
Haydn’s The
Creation with the words
from Psalm 19, The
heavens are telling the
glory of God. The music
then has flashbacks to
the earlier sections, and
ends in triumph. The five
sections in Ha Shamayim
are continuous with no
breaks. Difficulty Level:
5 (Advanced/Professional)
See composer website for
audio sample. Performance
materials available on
rental only:.
Orchestra Voice SKU: AP.12-057154309X Composed by George Benjamin and Mar...(+)
Orchestra Voice
SKU:
AP.12-057154309X
Composed by George
Benjamin and Martin
Crimp. This edition:
Limited. Full Orchestra;
Larger Works; Performance
Music Ensemble. Form:
Opera. Living Composer.
Book; Score. 112 pages.
Faber Music
#12-057154309X. Published
by Faber Music
(AP.12-057154309X).
ISBN 9780571543090.
English.
Picture a
Day Like This is the
fourth operatic
collaboration between
George Benjamin and
Martin Crimp, whose
acclaimed partnership
produced Written on Skin,
Lessons in Love and
Violence, and Into the
Little Hill. This limited
edition of the full score
is one of only 150,
presented in a
cloth-bound hard cover.
It is signed by George
Benjamin and Martin Crimp
and includes facsimile
reproductions of pages
from the manuscript,
sketches by Benjamin and
Crimp, and a photograph
of Benjamin, Crimp, and
directors Daniel
Jeanneteau and
Marie-Christine Soma in
rehearsal at the
Aix-en-Provence Festival.
In this
bittersweet fable of
grief and renewal.
Benjamin and Crimp tell
the story of a woman who
has lost her child: if,
before nightfall, she
meets one truly happy
person and cuts a button
from their sleeve, her
child will live again. In
her search she meets a
pair of lovers, a
composer and their
assistant, an artisan,
collector, and, in a
beautiful garden, the
mysterious Zabelle.
Benjamin proves
with this taut, sharp
miniature that he is the
finest opera composer of
todayâ¦a work of
depth of feeling,
humanistic artistry, and
expressive rigorâ¦a
drama that is
miraculously condensed.
-- Süddeutsche
Zeitung (Reinhard J.
Brembeck) 9 July
2023.
Full orchestra SKU: LO.30-3681MD Composed by Jay Rouse. Choral collection...(+)
Full orchestra
SKU:
LO.30-3681MD
Composed
by Jay Rouse. Choral
collection. Sacred
Choral, Concert,
Eastertide, General.
Orchestral score and CD
with printable parts.
Medallion Music
#30/3681MD. Published by
Medallion Music
(LO.30-3681MD).
UPC:
000308153286.
Orche
stral Score and CD with
Printable Parts for
55/1199MD This deeply
moving collection from
Jay Rouse includes six
songs that glory in the
cross of Christ. Highly
appropriate for use
throughout the Easter
season, it is just as
impactful year-round. It
includes the classic
Annie Herring Easter Song
in an easily learned
contemporary style; a
gospel setting of the
much-loved hymn My
Savior’s Love; two
modern worship anthems,
Broken Bread, Broken Life
and Jesus Crucified; the
beloved Dottie Rambo song
I Will Glory in the
Cross; and an elegant
setting of the timeless
hymn Beneath the Cross of
Jesus. Optional
narrations from gifted
writer Rose Aspinall will
bring the truths of
scripture to life in a
refreshing way.
There’s an eternal
mystery in the cross,
that instrument of death
and grace. Hanging there
by His own choosing, the
Son of God purchases life
for you and me..
(For Large Orchestra). Composed by Thomas Ades (1971-). Orchestra. Full Orchestr...(+)
(For Large Orchestra).
Composed by Thomas Ades
(1971-). Orchestra. Full
Orchestra; Larger Works;
Masterworks; Score. Faber
Edition. 20th Century;
Masterwork. Published by
Faber Music
Orchestra - Grade 4 SKU: HL.14000916 Composed by Hans Abrahamsen. Music S...(+)
Orchestra - Grade 4
SKU: HL.14000916
Composed by Hans
Abrahamsen. Music Sales
America. Classical.
Score. Composed 2002. 55
pages. Edition Wilhelm
Hansen #WH29689.
Published by Edition
Wilhelm Hansen
(HL.14000916).
ISBN
9788759859179.
12.0x16.5x0.538 inches.
English.
Stratifica
tions was composed by
Hans Abrahamsen in
1973-75 and was premiered
in the summer 1977 by the
Iceland Symphony
Orchestra at the Young
Nordic Music Festival in
Reykjavik. Programme
note: The stratifications
referred to in the title
unfold two different
levels. There is the
stratification of the
time dimension produced
by the opposition of
contrasting parts, at the
same time the polyphony,
the presence of several
simultaneously sounding
layers, is of great
importance to the music.
By garish colours and
clear-cut outlines a
polyrhythmic
simultaneousness of
simple melodies is
produced with more gestic
music and other material
which give a peculiar set
piece-like effect inthe
sound picture. The new
simplicity details are
here woven together in a
new kind of complex
whole. Stratifications
begins with a series of
concretistic masklike
pictures of the music. It
is like seeing lantern
slides. But this fictive
form crackles and the
music gets attentive and
real. The music is in a
night-mare condition,
where it is not getting
anywhere in spite of a
great dynamic display.
But finally is liberating
itself and rising in
triumph.
(I. Thrice Welcome, II. In the Shadow of the Mountain). Composed by Howard Shore...(+)
(I. Thrice Welcome, II.
In the Shadow of the
Mountain). Composed by
Howard Shore. Arranged by
Victor L�³pez.
Orchestra. Full
Orchestra; Score. Pop
Concert Full Orchestra.
Form: Suite. Movie. Grade
3.5. 24 pages. Published
by Alfred Music
Orchestra SKU: HL.141935 Composed by Yevhen Stankovych. LKM Music. Ballet...(+)
Orchestra
SKU:
HL.141935
Composed by
Yevhen Stankovych. LKM
Music. Ballet, Classical,
Concert. Softcover. 122
pages. Lauren Keiser
Music Publishing
#X077583. Published by
Lauren Keiser Music
Publishing (HL.141935).
ISBN 9781495010873.
UPC: 888680046750.
9.0x14.0x0.535
inches.
Prior to
1991 Ukrainian master
composer Yevhen
Stankovych's works were
regularly censored or
banned by Soviet
authorities. The ballet
“The Agony: Rasputin”
(originally titled
“Prometheus”) was one
such work. This suite
from the ballet
highlights Stankovych's
uniquely pronounced
affinity with the
vernacular, blending folk
motifs with orchestral
colors in multilayered
polyphony. “Rasputin”
was first performed with
its original music and
libretto in 1989 in
Skopje, Macedonia.
Soprano, baritone, spoken
voice, mixed choir
(SSSSAAAATTTTBBBB, and 9
boys' voices, S/A) and
orchestra (Score) -
difficult
SKU:
HL.49006187
(The
Raft of the Medusa).
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1968/1990. 168 pages.
Duration 70'. Schott
Music #ED6326. Published
by Schott Music
(HL.49006187).
ISBN
9790001067270. UPC:
884088099282.
8.25x11.75x0.41 inches.
German - English.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
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.
Orchestra SKU: SU.27120080 For Orchestra. Composed by Peter Scott ...(+)
Orchestra
SKU:
SU.27120080
For
Orchestra. Composed
by Peter Scott Lewis.
Study Score. Subito Music
Corporation #27120080.
Published by Subito Music
Corporation
(SU.27120080).
Reflections on
my life living by the
Pacific Ocean and the
inspiration that its
beauty and drama
brings.Orchestra
Duration: 22' Composed:
2006 Published by: Lapis
Island Press Performance
materials available on
rental:.
(Featuring: Look to the Stars / DNA / Goodbye My Son / Launch / Krypton's Last /...(+)
(Featuring: Look to the
Stars / DNA / Goodbye My
Son / Launch / Krypton's
Last / If You Love These
People / Flight / What
Are You Going to Do When
You Are Not Saving the
World?). Composed by Hans
Zimmer (1957-). Arranged
by Ralph Ford. Concert
Band. Concert Band;
Score; SmartMusic. Pop
Concert Band. Form:
Medley; Suite. Movie.
Grade 3.5. 56 pages.
Published by Alfred Music
Orchester-Ballade.
Composed by Leos Janacek.
Edited by Jarmil
Burghauser and Radomil
Eliska. This edition:
complete edition, urtext
edition. Linen. Complete
Critical Edition of the
Works of Leos Janacek
D/6. Complete edition,
Score. Composed
1912-1914. Duration 12
minutes. Baerenreiter
Verlag #BA06848_00.
Published by Baerenreiter
Verlag (BA.BA06848).
ISBN 9790006483303.
34.4 x 27 cm inches.
Text: Svatopluk
Cech.
Over the
years Janácek’s
uvre has increasingly
received the recognition
it so richly merits and
performances of his works
are becoming more and
more frequent. This
development is, however,
offset by a manuscript
tradition so disorderly
that some of
Janácek’s works
continue, as before, to
be played in versions
which are heavily
adapted, corrupt or
otherwise contrary to the
composer’s
intentions. Thus, a
critical edition of
Janácek’s music
is indispensable for
scholars and performers
alike.
This editon
presents an authentic
printed text based on all
available sources for
each work. In addition to
the musical text, each
volume also contains a
critical report (Czech /
German), a rendition of
deleted or rejected
versions, and a
comprehensive appendix of
facsimiles.
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: LO.30-2750L Composed by Cynthia Clawson. Arranged by Larry...(+)
Orchestra
SKU:
LO.30-2750L
Composed
by Cynthia Clawson.
Arranged by Larry
Shackley. Choral. Sacred
Anthem, Eastertide,
General, Lent. Orchestral
score and CD with
printable parts. Lorenz
Publishing Company
#30/2750L. Published by
Lorenz Publishing Company
(LO.30-2750L).
UPC:
000308130331.
Cynth
ia Clawson's The Journey
has been skillfully set
for choir in this
marvelous arrangement by
Larry Shackley. A
powerful prayer for
strength and faith in the
journey of life, it has a
gentle gospel feel that
is supported by either
piano or orchestral
accompaniment. The
engaging melody and
inspired lyrics are a
compelling message for
all in the midst of
life's challenges.
Instrumentation: 2 Fl,
Ob, 2 Cl, Bsn, 2 Hn, 3
Tpt, 2 Tbn, Tba, Harp,
Pno (for rehearsal only),
2 Vln, Vla, Cello,
Bass.
Orchestre [Conducteur et Parties séparées] Alfred Publishing
By Howard Shore. Arranged by John Whitney. Music by Howard Shore / arr. John Whi...(+)
By Howard Shore. Arranged
by John Whitney. Music by
Howard Shore / arr. John
Whitney. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Movie.
Level: Medium Easy to
Medium (grade III-IV).
Conductor Score and
Parts. Duration 9:40.
Published by Alfred
Publishing.
Orchestra (Study Score) SKU: HL.14019657 Composed by Witold Lutoslawski. ...(+)
Orchestra (Study Score)
SKU: HL.14019657
Composed by Witold
Lutoslawski. Music Sales
America. Classical. Book
[Softcover]. Composed
1999. 68 pages. Chester
Music #CH55923. Published
by Chester Music
(HL.14019657).
UPC:
884088490324.
8.5x11.0x0.166
inches.
The
original version of this
work, scored for chamber
orchestra, was written in
1950 in response to a
commission from Warsaw
Radio. In the following
year the composer revised
and slightly extended the
work and rescored it for
symphony orchestra. The
first performance was
given by the Warsaw Radio
Symphony Orchestra,
conducted by Grzegorz
Fitelberg, in Warsaw in
April 1951. The work uses
folk melodies from the
village of Machow in the
region of Rzeszow, east
of Cracow. Duration c.11
mins. Full score and
orchestral parts
available on hire from
the publisher.
Composed by Igor Stravinsky (1882-1971). Full score for full orchestra. With ful...(+)
Composed by Igor
Stravinsky (1882-1971).
Full score for full
orchestra. With full
score notation and
introductory text. 174
pages. Published by Dover
Publications.
Suite from Hamilton Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Featuring: You'll Be Back / Helpless / My Shot / Dear Theodosia / It's Quiet Upt...(+)
Featuring: You'll Be Back
/ Helpless / My Shot /
Dear Theodosia / It's
Quiet Uptown / One Last
Time. Composed by
Lin-Manuel Miranda
(1980-). Arranged by
Jerry Brubaker. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Broadway. 214
pages. Published by
Alfred Music