Orchestra - Grade 4 SKU: PE.TSGOR002S (Fanfare for Full Orchestra)...(+)
Orchestra - Grade 4
SKU: PE.TSGOR002S
(Fanfare for Full
Orchestra). Composed
by Tyler S. Grant. Full
Orchestra; Performance
Music Ensemble. Tyler S.
Grant Music Works. Score.
Duration 3:00. Edition
Peters #98-TSGOR002S.
Published by Edition
Peters (PE.TSGOR002S).
UPC:
038081584539.
Origi
nally scored for brass
and percussion, this
dynamic fanfare has been
rescored for full
orchestra, expanding the
harmonic colors and
textures. Panoramic
Landscapes by Tyler S.
Grant is an excellent
concert opener that will
launch your performance
in resplendent fashion
while not overtaxing your
musicians. (3:00).
Orchestra (Full Score) SKU: HL.14048065 Five Landscapes for Orchestra ...(+)
Orchestra (Full Score)
SKU: HL.14048065
Five Landscapes for
Orchestra (Full
Score). Composed by
Nico Muhly. Music Sales
America. Classical.
Softcover. 112 pages. St.
Rose Music #SRO100124.
Published by St. Rose
Music (HL.14048065).
UPC: 840126953541.
12.0x16.5x0.277
inches.
This is the
Full Score for Nico
Muhly's Control: Five
Landscapes For Orchestra.
Commissioned by Utah
Symphony and Thierry
Fischer, Music Director,
the work was first
performed at Abravanel
Hall in Salt Lake City in
December 2015.
Orchestra (Score) SKU: HL.48022787 Score. Composed by Mikko Heini&...(+)
Orchestra (Score)
SKU:
HL.48022787
Score. Composed by
Mikko Heiniö. Boosey
& Hawkes Scores/Books.
Classical, Contemporary.
Softcover. Hal Leonard
#M550095410. Published by
Hal Leonard
(HL.48022787).
Heinios
Symphony No. 2 'Songs of
Night and Love' is
reminiscent more of a
song cycle; it has a
baritone soloist in each
of its movements. The
texts are based on
sensual poems by Lassi
Nummi. Night or love, or
both together are
fundamental themes
running throughout the
symphony. Its dream-like
landscapes are dominated
by quiet and lyrical
tones but the finale has
the heat of dark
Mediterranean nights.
Concert
Band, Grade 4, 13:30
Score. Composed by
Gauthier Dupertuis. FC
Music Publishing. Concert
Band. Softcover. Duration
810 seconds. Hal Leonard
#FCMP002-SC. Published by
Hal Leonard (HL.4008703).
UPC:
196288190837.
Strat
oscape, by Swiss composer
Gauthier Dupertuis, is a
colorful and contrasting
work for wind orchestra,
depicting the view of our
earth as seen from the
stratosphere. This voyage
into the sky is pictural,
but also metaphorical, as
it is also about
distancing from our
world. The work is
divided into five
sections: I Ignition!, II
Broadness & The Big
Blue, III Stars Shining
from Down to Above, IV
Destructive Forces, V One
and Only Home Five
contrasting movements,
starting with Ignition in
which Gauthier Dupertuis
tries to musically convey
the majesty of our planet
seeing if from the
atmosphere, ending with
One and Only Hope, as the
title say, a message of
hope. In between three
movements that depict the
broadness of the
landscapes of our planet
(second movement), the
fragility of our earth at
night with only the stars
shining (third movement).
But also sheer reality in
the fourth movement when
the composer translates
into music the damage
caused toour planet by us
human beings.
Stratoscape: a fantastic
view of Planet Earth!
Panoramic Landscapes Orchestre [Conducteur et Parties séparées] - Intermédiaire/avancé Peters
(Fanfare for Full Orchestra). Composed by Tyler S. Grant. Full Orchestra; Pe...(+)
(Fanfare for Full
Orchestra).
Composed by Tyler S.
Grant.
Full Orchestra;
Performance
Music Ensemble. Tyler S.
Grant
Music Works. Score and
Part(s). Duration 3:00.
Edition Peters
#98-TSGOR002.
Published by Edition
Peters
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra (Score) SKU: HL.283507 Orchestra Score. Composed by Bent...(+)
Orchestra (Score)
SKU:
HL.283507
Orchestra Score.
Composed by Bent
Sorensen. Music Sales
America. Classical.
Softcover. 49 pages.
Duration 780 seconds.
Edition Wilhelm Hansen
#KP01914. Published by
Edition Wilhelm Hansen
(HL.283507).
Exit Music for
Orchestra was composed by
Bent Sorensen in 2006-07.
Exit Music was
commissioned by the
Bergen International
Festival for the Bergen
Philharmonic Orchestra,
and is dedicated to Per
Norgard on the occasion
of his 75th birthday.
Programme note It began
with a dream, as it
always does when I
compose. I dreamt that I
was standing in an open
doorway on a hill in an
otherwise open landscape.
I do not know what was
behind the door, but in
front of it - towards the
landscape - I saw my
music disappearing. I
stood looking for the
music, and started to
hear it, to remember it
in time with its
disappearance. The dream
continued to recur as
strange pictures in my
daydreams, and I
continued to try to write
down the music that had
vanished. It was also the
dream that gave the piece
its title- Exit Music.
Exit Music is based on
three simple songs (the
songs that vanish through
the doorway): a little
lullaby, which continues
to reappearin fragments;
a strange polyphonic pop
song that refers to a
section of my opera Under
the Sky; and a passionate
little love song, which
concludes the piece on
the strings, very quietly
and in unison. These
simple songs are then
constantly overpainted by
enervating repeated motes
in fairly simple rhythms,
which push the songs out
of the room. (Bent
Sorensen).
Orchestra (Orchestra) SKU: HL.50583358 Composed by Charles Boone. Salaber...(+)
Orchestra (Orchestra)
SKU: HL.50583358
Composed by Charles
Boone. Salabert.
Contemporary Music. Score
Only. Composed 2002.
Editions Salabert
#SLB1796. Published by
Editions Salabert
(HL.50583358).
Orchestra
(pic.2.afl.2.ca.2Acl.0.bc
l.2.cbsn-4.3.2.btbn.1-tim
p.3perc(glsp, mar, crot,
tub bells, bell tree,
2sus cym, clash cym,
claves, b.d, wdbl)-str)
SKU: HL.49018422
Reflections on the
life and work of Paula
Modersohn-Becker
(1876-1907). Composed
by Sir Peter Maxwell
Davies. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Das 30minutige
Orchesterwerk in drei
Satzen, das von den
Bremer Philharmonikern in
Auftrag gegeben und von
diesen 2007 uraufgefuhrt
wurde, gehort zu den
Schlusselwerken von
Maxwell Davies der
letzten Jahre. Study
score. Composed 2006. Op.
276. 8 pages. Duration
30'. Schott Music
#ED13366. Published by
Schott Music
(HL.49018422).
ISBN
9790220132391. UPC:
884088614515.
8.25x11.75x0.232
inches.
Maxwell
Davies' 'Das Rauschende
der Farbe' (The Sound of
Colour) is a reflection
on the life and work of
the German artist Paula
Modersohn-Becker who died
aged 31 in 1907. Maxwell
Davies first got to know
the artist's work whilst
on a school exchange in
Hamburg in 1951 and the
composer has since
written that
Modersohn-Becker's work
has influenced the way
that he views the
relationship between art
and the landscape in
which it is produced.
This is a particularly
significant statement for
a composer whose music is
often a response to the
land and seascape of his
adopted home in the
Orkney Isles.
Commissioned by the
Bremer Philharmoniker and
first performed by them
in 2007, the 30 minute
orchestral work in three
movements is one of the
key works by Maxwell
Davies in recent
years.
Orchestra - Grade 3 SKU: AP.48054 Composed by Jeffrey E. Turner. MakeMusi...(+)
Orchestra - Grade 3
SKU: AP.48054
Composed by Jeffrey E.
Turner. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Masterwork Arrangement.
Score and Part(s). 128
pages. Duration 3:50.
Belwin Music #00-48054.
Published by Belwin Music
(AP.48054).
UPC:
038081555065.
English.
Beethoven'
s Fifth . . . four iconic
notes recognized
instantly. Now in V by
Jeffrey Turner, the same
motif is used as a theme
in this piece, set in an
epic musical landscape
more fitting to a
cinematic superhero
battling evil. Driving
ostinatos, menacing
cellos, and pulsating
rhythms will be great fun
for the musicians and
audience alike. Players
will also have a chance
to showcase their
spiccato bowing skills,
and the optional
percussion will add extra
drama. This title is
available in MakeMusic
Cloud. (3:50).
Orchestra - Grade 3 SKU: AP.49897 Composed by Anthony Granata. MakeMusic ...(+)
Orchestra - Grade 3
SKU: AP.49897
Composed by Anthony
Granata. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Score and Part(s).
Duration 3:00. Belwin
Music #00-49897.
Published by Belwin Music
(AP.49897).
ISBN
9781470657291. UPC:
038081575445.
English.
A Utopian
Fantasia, by Anthony
Granata, depicts a
beautifully majestic and
serene landscape shrouded
in mystery and wonder.
Set in the key of E
minor, the opening
features a rich legato
ballad with an eerily
somber melody passing
through each section of
the orchestra. The mood
abruptly shifts to a
jarring and heavily
accented six-note motif.
Reminiscent of Classical
literature, a small
contrapuntal passage
develops this motif,
interspersed with the
original opening melody.
Inversions of the theme
finally give way to a
call-and-response
dialogue within the
different sections of the
orchestra before finally
ending quietly and slowly
with a subtle hint to the
opening. (3:00).
(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Ar...(+)
(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 - Grade 2.5 SKU: AP.43775S Composed by Douglas E. Wagner. Full ...(+)
Orchestra - Grade 2.5
SKU: AP.43775S
Composed by Douglas E.
Wagner. Full Orchestra;
Performance Music
Ensemble; Single Titles.
Belwin Intermediate
String/Full Orchestra.
Score. 16 pages. Duration
3:00. Belwin Music
#00-43775S. Published by
Belwin Music (AP.43775S).
UPC: 038081496528.
English.
This
dynamic and colorfully
scored original is a
sure-fire choice for
concert or contest.
Expansive harmonies and
soaring tunes combine to
present an imaginative
musical landscape that
explores the tonal facets
of the orchestra.
Playable by strings alone
or full orchestra.
(3:00).
Orchestra - Grade 2.5 SKU: AP.49468S Composed by Alexander Glazunov. Arra...(+)
Orchestra - Grade 2.5
SKU: AP.49468S
Composed by Alexander
Glazunov. Arranged by
Andrew H. Dabczynski
(ASCAP). MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland String Orchestra
(HSO). Masterwork
Arrangement. Score.
Highland/Etling
#00-49468S. Published by
Highland/Etling
(AP.49468S).
ISBN
9781470650155. UPC:
038081570938.
English.
Both the
bleak Russian midwinter
landscape and the joyful
celebration of a fall
harvest festival are
conveyed in this string
arrangement by Andrew H.
Dabczynski, of Autumn and
Winter from Alexander
Glazunov's ballet The
Seasons. The expressive
contrasts in this
motivating set will make
it a favorite of all.
Optional parts for more
advanced students, as
well as supplementary
percussion and piano
parts make it an
excellent concert choice
for intermediate or even
upper-level orchestras.
(3:30) This title is
available in MakeMusic
Cloud.
For Orchestra.
Composed by Nancy
Galbraith. Orchestra.
Study Score. Composed
2002. Duration 20'.
Subito Music Corporation
#90810110. Published by
Subito Music Corporation
(SU.90810110).
Instrumentation
: 3fl(picc), 2ob, 2cl,
2bn; 4hn, 3tpt, 3tbn(bs),
tba; timp, 3perc, hrp,
pno; strings Duration:
20' Full Score & Parts:
available on rental
Composed in 2002.
Published by: Subito
Music Publishing
Composer's Note: De
profundis ad lucem (out
of the depths towards
light) opens with an
atmosphere of stillness,
out of which two main
sections emerge, one
reflecting hope and the
other struggle. Hope is
expressed with a
recurring theme that
gradually layers upon
itself, imparting a
feeling of birth. This
section suddenly gives
way to struggle,
represented with loud
brass, biting accents,
and thundering timpani
figures. Following an
extended musical
landscape, these two
sections return, only in
reverse, with struggle
resolving into hope. The
work ends in tranquillity
as it began. --N.G.
Orchestra - Grade 2.5 SKU: AP.49468 Composed by Alexander Glazunov. Arran...(+)
Orchestra - Grade 2.5
SKU: AP.49468
Composed by Alexander
Glazunov. Arranged by
Andrew H. Dabczynski
(ASCAP). MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland String Orchestra
(HSO). Masterwork
Arrangement;
Programmatic. Score and
Part(s). Highland/Etling
#00-49468. Published by
Highland/Etling
(AP.49468).
ISBN
9781470650148. UPC:
038081570921.
English.
Both the
bleak Russian midwinter
landscape and the joyful
celebration of a fall
harvest festival are
conveyed in this string
arrangement by Andrew H.
Dabczynski, of Autumn and
Winter from Alexander
Glazunov's ballet The
Seasons. The expressive
contrasts in this
motivating set will make
it a favorite of all.
Optional parts for more
advanced students, as
well as supplementary
percussion and piano
parts make it an
excellent concert choice
for intermediate or even
upper-level orchestras.
(3:30) This title is
available in MakeMusic
Cloud.
Hawkes Pocket Score 1554. Composed by James Macmillan. Boosey and Hawkes ...(+)
Hawkes Pocket Score
1554. Composed by
James Macmillan. Boosey
and Hawkes Scores/Books.
Classical. Softcover. 76
pages. Boosey and Hawkes
#M060132148. Published by
Boosey and Hawkes
(HL.48024126).
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
About
Barenreiter
Urtext
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expect from a Barenreiter
Urtext
edition?<
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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
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format - Excellent
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Superior paper and
binding
Orchestra - Grade 3 SKU: AP.49897S Composed by Anthony Granata. Performan...(+)
Orchestra - Grade 3
SKU: AP.49897S
Composed by Anthony
Granata. Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Concert String
Orchestra. Score.
Duration 3:00. Belwin
Music #00-49897S.
Published by Belwin Music
(AP.49897S).
ISBN
9781470657307. UPC:
038081575452.
English.
A Utopian
Fantasia, by Anthony
Granata, depicts a
beautifully majestic and
serene landscape shrouded
in mystery and wonder.
Set in the key of E
minor, the opening
features a rich legato
ballad with an eerily
somber melody passing
through each section of
the orchestra. The mood
abruptly shifts to a
jarring and heavily
accented six-note motif.
Reminiscent of Classical
literature, a small
contrapuntal passage
develops this motif,
interspersed with the
original opening melody.
Inversions of the theme
finally give way to a
call-and-response
dialogue within the
different sections of the
orchestra before finally
ending quietly and slowly
with a subtle hint to the
opening. (3:00).
Orchestra - Grade 3 SKU: AP.48054S Composed by Jeffrey E. Turner. MakeMus...(+)
Orchestra - Grade 3
SKU: AP.48054S
Composed by Jeffrey E.
Turner. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Masterwork Arrangement.
Score. 16 pages. Duration
3:50. Belwin Music
#00-48054S. Published by
Belwin Music (AP.48054S).
UPC: 038081555072.
English.
Beethoven'
s Fifth . . . four iconic
notes recognized
instantly. Now in V by
Jeffrey Turner, the same
motif is used as a theme
in this piece, set in an
epic musical landscape
more fitting to a
cinematic superhero
battling evil. Driving
ostinatos, menacing
cellos, and pulsating
rhythms will be great fun
for the musicians and
audience alike. Players
will also have a chance
to showcase their
spiccato bowing skills,
and the optional
percussion will add extra
drama. This title is
available in MakeMusic
Cloud. (3:50).
Arranged by R. J. Hume. Orchestra. Full Orchestra; Score. Highland Full Orchestr...(+)
Arranged by R. J. Hume.
Orchestra. Full
Orchestra; Score.
Highland Full Orchestra.
Form: Suite. Folk. Grade
2.5. 32 pages. Published
by Highland/Etling