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

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 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: 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

Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dylan Canterbury. Arranged by Don Costa. Jazz, Swing. Score and parts. Published by Jazz Lines Publications (JL.JLP-9510).

Orchestra (2 Fl, 2 Ob, 2 clarinet, clarinet-B, 2 bassoon, 3Hn, 2 Trp, 3trombone, Tb, harp, timpani, percussion, Str)

SKU: BA.BA06848

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 (Flutes (2) (Picc), Oboes (2), 2Musettes, Bassoons (2), Horns (2), Strings, Basso continuo)

SKU: BA.BA08893

Comédie-ballet in three Acts. Composed by Jean-Philippe Rameau. Edited by Thomas Soury. This edition: urtext edition. Paperback. Symphonies. Score, anthology. RCT 51. Baerenreiter Verlag #BA08893_00. Published by Baerenreiter Verlag (BA.BA08893).

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 “Borades” – 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 stones”). 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 complètes”, 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: HL.14042598

Composed by Poul Ruders. Music Sales America. Classical. Softcover. Composed 2013. Edition Wilhelm Hansen #WH31776. Published by Edition Wilhelm Hansen (HL.14042598).

ISBN 9788759827482.

Prog ramme Note Poul Ruders WIND-DRUMMING WIND-DRUMMING was written in 1979 on a commission from The Danish Percussion Ensemble. The piece is a clash of two kinds of sound-associations, the mystic, exotic impact of Latin-American drumming, and the more well dressed reputation of Western concert-instruments, in this case a wind-quintet (w. electric flute). The two instrumental camps either melt into one soft humming ritual or are split wide apart, the winds tearing their way through the undergrowth of rainforest-drumming. There is more than one way of getting on to WIND-DRUMMING: obviously it is about the confrontation of two incongruent ways of living, a lament on the damage done tothe tropical rainforests of the world by modern civilisation. One can hear it plainly as a direct rhythm-show, a downright number or a joyous homage to the most exiting kind of folkloristic music at all: the carnal spell of the Brazilian Samba. Poul Ruders.

(Score and Sound Masterworks). By Antonin Dvorak (1841-1904). Study Score. Study Score with CD. Softcover with CD. 88 pages. Published by Hal Leonard . Sheet music CD.

Orchestra

SKU: BA.BA10985

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Score. Hob. I:78. Baerenreiter Verlag #BA10985_00. Published by Baerenreiter Verlag (BA.BA10985).

ISBN 9790006568123. 31 x 24.3 cm inches. Key: C minor. Preface: Andreas Friesenhagen.

Along with Symphonies Nos. 76 and 77 Haydn composed Symphony No. 78 for a journey to England that never took place. Nonetheless, H. C. Robbins Landon referred to these works as the “English Symphonies” as they are stylistically closely linked to “the London Bach”, Johann Christian Bach. In a letter Haydn wrote to his Paris publisher Charles-Georges Boyer in 1783, he described the works as “Leicht und nicht vil Concertirend”, meaning they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.

Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas, and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. To date, Bärenreiter has published the complete performance material for several of Haydn’s “Sturm und Drang” symphonies as well as the complete London and Paris symphonies.

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

(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Arranged by Nathan Daughtrey. For Soloist(s) with String Orchestra (Solo Marimba Percussion 1 (xylophone, bells, chimes) Percussion 2 (brake drum, cowbell, shaker, suspended cymbal, crash cymbals, temple blocks, triangle) Percussion 3 (4 toms, crash cymbals, bass drum, suspended cymbal, tam tam, hi hat) Violin I Violin II). Medium difficult. Orchestra score only. Duration 16:30. Published by C. Alan Publications

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

SKU: BA.BA08899

Tragédie in one prologue and 5 acts. Composed by Jean-Philippe Rameau. Edited by Denis Herlin. This edition: urtext edition. Paperback. Symphonies / Versions from 1739 and 1744. Score, anthology. RCT 35 A, 35 B. Baerenreiter Verlag #BA08899_00. Published by Baerenreiter Verlag (BA.BA08899).

ISBN 9790006523351. 33 x 24 cm inches. Preface: Denis Herlin. Text: Charles-Antoine Leclerc de La Bruere.

“Dard anus” is Rameau’s third “Tragdie lyrique” composed for Paris after “Hippolyte et Aricie” and “Castor et Pollux”. With its multi-facetted music it represents quite a high point of this genre. Its performance history is remarkable in that within only five years two clearly different versions were being performed.

The new critical edition by Denis Herlin for the first time offers the possibility to reconstruct the version of May 1744 in addition to the version of 1739. Also, the Appendices include the complete performance material of the version of April 1744, many parts of which could not be heard since. Last but not least the changes of the successful re-staging of 1760 are presented.

This performing edition contains all the purely instrumental numbers of the opera in their various versions. Apart from the preludes and ritornellos, these are above all the diverse dance numbers.

About Barenreiter Urtext

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

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

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

Orchestra - Grade 4

SKU: AP.45871S

Composed by Richard Meyer. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Multicultural. Score. 40 pages. Highland/Etling #00-45871S. Published by Highland/Etling (AP.45871S).

UPC: 038081529608. English.

This multi-cultural piece explores world music using a unique and exciting format. Two side-by-side orchestras share one conductor, with one group performing traditional American songs and the other playing folk songs from the Middle East. A total of eight songs are presented as each section from the two orchestras is featured. As the piece unfolds, what emerges is not only a tapestry of beautiful music, but an intense commentary on the power of music to unite diverse cultures. Whether you split your orchestra in two or combine with another orchestra, Hemispheres by Richard Meyer is sure to educate your students and your audience.

A suggested seating chart is included. Also playable by one orchestra in a traditional set-up.

Arranged by Sandra Dackow. Conductor's score and set of performance parts for string orchestra (8 - 1st violin, 8 - 2nd violin, 5 - 3rd violin/viola (treble clef), 5 - viola, 5 - cello, 5 - string bass, 1 - piano accompaniment). Series: Orchestra Expressions Series. Published by Alfred Publishing.

Orchestra - Grade 2

SKU: AP.44796

Melodious Ups and Downs. Composed by Steven H. Brook. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Novelty. Score and Part(s). 72 pages. Duration 2:00. Belwin Music #00-44796. Published by Belwin Music (AP.44796).

UPC: 038081517254. English.

The perfect technical piece for developing tone, listening skills, string crossings, smooth bow changes, and independence; as well as celebrating beautiful days at a park as melodies and dynamics move up and down between sections, as on a seesaw.

The lines of music that the various instruments have weave up and down across each other as friendships weave throughout our lives. Imagine a leisurely day at the park, perhaps on a seesaw, and ponder this poem by the composer, Steven H. Brook.

While pleasant breezes grace the sky, and clouds of joy drift gently by, our friendship bonds, we learn to play---and now, with you, we share today. (2:00).

Orchestra - Grade 2

SKU: AP.44796S

Melodious Ups and Downs. Composed by Steven H. Brook. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Novelty. Score. 8 pages. Duration 2:00. Belwin Music #00-44796S. Published by Belwin Music (AP.44796S).

UPC: 038081517261. English.

The perfect technical piece for developing tone, listening skills, string crossings, smooth bow changes, and independence; as well as celebrating beautiful days at a park as melodies and dynamics move up and down between sections, as on a seesaw.

The lines of music that the various instruments have weave up and down across each other as friendships weave throughout our lives. Imagine a leisurely day at the park, perhaps on a seesaw, and ponder this poem by the composer, Steven H. Brook.

While pleasant breezes grace the sky, and clouds of joy drift gently by, our friendship bonds, we learn to play---and now, with you, we share today. (2:00).

Orchestra - Grade 3

SKU: AP.49898

From African Suite. Composed by Samuel Coleridge-Taylor. Arranged by Kirk Moss. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Form: Dance. Masterwork Arrangement. Score and Part(s). Duration 3:00. Belwin Music #00-49898. Published by Belwin Music (AP.49898).

ISBN 9781470657314. UPC: 038081575469. English.

Originally composed for piano as the final movement of African Suite, Danse begins with two introductory chords followed by energetic swinging rhythms and repeated angular melodies. Students will love the moods in this festive overture, evocative of later Broadway musicals. The artistic turning point of Samuel Coleridge-Taylor's career happened in his twenties when he met the African-American poet Paul Laurence Dunbar. Dunbar influenced the young composer to concentrate on his African heritage. Born in suburban London to Alice Martin, an Englishwoman and the daughter of a blacksmith, his father, Dr. Daniel Peter Hughes Taylor, was a Creole of Sierra Leone who qualified as a Member of the Royal College of Surgeons (MRCS) and returned to Africa before his son's birth. Called Coleridge by his family, he was raised in Croydon, Surrey, by his mother and her father, Benjamin Holmans, who taught him the violin. (3:00).

Orchestra - Grade 1.5

SKU: AP.47447

Composed by Michael Story. Full Orchestra; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Beginning Full Orchestra. Score and Part(s). 120 pages. Belwin Music #00-47447. Published by Belwin Music (AP.47447).

ISBN 9781470660864. UPC: 038081545752. English.

One of the most flexible pieces ever written, this powerful original work by Michael Story will provide the opportunity for an entire instrumental program to perform together! Perfect also for a first full orchestra experience with plenty of doubling, it can be performed by string orchestra alone or with almost any combination of winds or percussion. The piano part is also completely optional, as it simply reinforces the string parts. The percussion parts are written for up to five players; however, if you have extra percussionists, you can double as many as you wish on the tom-tom part. This title is available in MakeMusic Cloud.

Arranged by Robert W. Smith. Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Christmas; Winter. Grade 2.5. Conductor Score and Parts. 128 pages. Duration 3:37. Published by Belwin Publishing

Orchestra

SKU: HL.14014802

Composed by Hans Werner Henze. Music Sales America. 20th Century. Book [Softcover]. Composed 2002. 80 pages. Chester Music #CH63228. Published by Chester Music (HL.14014802).

ISBN 9780711992764. 9.75x13.75x0.285 inches.

Composer's Notes: This piece, written during the winter months of 2000-2001, consists of one movement, Allegro con fuoco, in which an old score is revisited, raided and ravished by its composer. The earlier music had been written in the mid-fifties for a stage work Maratona di Danza and for its maker, the director Luchino Visconti. Elements from the older piece reappear on and off like shadows under the surface of new ones, like more or less vague memories, images of young people suffering pain and despair in their struggle for survival in a barbaric, pitiless modern world. My new composition is a kind of concerto for very large symphony orchestra, an etude on constant and often rapid musical changes of mood and colours, built on a variety of rhythmic figures, incessantly and brutally pushing the music ahead. Sometimes, it is as though voices are weeping, sometimes crying out loud with pain, with anxiety, under the cold hearted pressure of an overwhelming violence. Hans Werner Henze Commissioned on the occasion of the 50th anniversary of das neue werk, Hamburg. Premiered on 29th June 2001. Duration 15 minutes.

By Barry Milner. Orchestra. For Full Orchestra. Full Orchestra. Belwin Concert Full Orchestra. 4 (grade 4). Score. 20 pages

Orchestra - Grade 2.5

SKU: AP.45883S

By Peter Ilyich Tchaikovsky. By Peter Ilyich Tchaikovsky. Arranged by Scott Watson. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Christmas; Masterwork Arrangement; Novelty; Romantic; Secular; Winter. Score. 20 pages. Duration 2:20. Highland/Etling #00-45883S. Published by Highland/Etling (AP.45883S).

UPC: 038081423903. English.

Have the cookies left out on Christmas Eve mysteriously vanished? Does it seem like the nutcracker and toy soldier figurines have moved by themselves overnight? Are you experiencing strange visions of holiday confections dancing in your head? There's only one operative with the right skill set for holiday capers like these: Secret Agent Sugar Plum of the Holiday Sweets Division of WinterPol!

This clever arrangement by Scott Watson fuses themes from Tchaikovsky's Dance of the Sugar Plum Fairy (from The Nutcracker) with classic spy music idioms, all set to a driving rock beat. Sure to be a player and audience favorite in your holiday concert! (2:20).

For Orchestra - Study Score. By Maurice Ravel. Schott. Size 5.25x7.5 inches. 34 pages. Published by Eulenburg.