Orchestra

SKU: BT.MUSM570203253

Composed by Jo Kondo. Classical. Score Only. 88 pages. University of York Music Press #MUSM570203253. Published by University of York Music Press (BT.MUSM570203253).

English.

For chamber or small orchestra. Published 1979 Commissioned by Festival Nieuwe Muziek, Middelburg, the Netherlands. First performance: Chamber Version: Middelburg (Nieuwe Muziek), 1979, Xenakis Ensemble, Maki Ishii (cond). Small Orchestra Version: London (Ring of Fire Festival), 1989, London Chamber Symphony Odaline de la Martinez (cond).

Incidental music for a radio production of William Shakespeare\'s play. Composed by Ralph Vaughan Williams (1872-1958). Full score. Promethean Editions #PME16S. Published by Promethean Editions

By Lew King. For full orchestra. Sacred Anthem, Holy Week, Lent. Orchestration. Published by Monarch Music . orchestration. Sacred Anthem, Holy Week, Lent.

By Lew King. Arranged by Barry Lyall. For Full Orchestra. Sacred Anthem. Orchestration. Published by Monarch Music

Orchestra

SKU: PO.PEV04S

Composed by Ralph Vaughan Williams. Arranged by Nathaniel Lew. Sws. Full score. Promethean Editions #PEV04S. Published by Promethean Editions (PO.PEV04S).

9 x 12 inches.

Orchestra

SKU: PE.EP68746

For 16 Players. Composed by George Lewis. Edition Peters. Book. 78 pages. Edition Peters #98-EP68746. Published by Edition Peters (PE.EP68746).

ISBN 9790300762128. English.

Inspire d by Jeff Donaldson's dizzyingly complex painting JamPact JelliTite (for Jamila), George Lewis's Flux for 16 players was written during the composer's residency at Oberlin Conservatory, where the work was composed in 2014 and premiered that year by the Contemporary Music Ensemble. Dedicated to the memory of Wendell Logan, the composer who founded Oberlin's jazz program in the late 20^th century, the score is also inscribed with gratitude to the students and faculty of Oberlin, in particular Timothy Weiss, conductor of the Oberlin CME.

The wild, 12-minute score leaps unexpectedly between musical ideas and calls for a wide range of extended performance techniques: quarter tones, multiphonics and percussive effects in the winds, glissandi on the piano strings, exotic bowing techiques, and more. The score includes full performance notes and is available for purchase as part of the Peters Contemporary Library. Performance materials are available on hire.

This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

Orchestra

SKU: JK.20045

Composed by Adolphe-Charles Adam, Felix Bartholdy Mendelssohn, Franz Xaver Gruber, J. Baptiste Calkin (for cantata), Louis H. Redner, V. Schumann, and William Dix. Arranged by Janice Kapp Perry. Difficulty Medium Hard, Orchestral Orchestrations, Seasonal Music Christmas, Christmas. Christian, Inspirational. Jackman Music Corporation #20045. Published by Jackman Music Corporation (JK.20045).

Luke 2.

Orchestration score and parts for - Christmas: A Carol Cantata (#00033), performed in place of the piano accompaniment.
Compose r: Lewis H. Redner / William Dix / Adolphe Adam / V. Schumann/Felix Mendelssohn / Franz Gruber / J. Baptiste Calkin (for cantata)
Arranger: Janice Kapp Perry (for cantata)
Orchestration arranger: Jerry Jackman
Difficulty: Medium-difficult
Refer ence: Luke 2.

Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Violoncello part. Breitkopf and Haertel #OB 5263-23. Published by Breitkopf and Haertel (BR.OB-5263-23). 0.48

Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Violin 2 part. Breitkopf and Haertel #OB 5263-16. Published by Breitkopf and Haertel (BR.OB-5263-16). 0.48

By Lukas Foss (1922-). Orchestra. For Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Bassoon I, Bassoon II, Contra Bassoon, Horn I, Horn II, Horn III, Horn IV, Trumpet in C I, Trumpet in C II, Trumpet in C III, Tenor I, Tenor II, Tenor III, Tuba, Timpani, Vibraphone, Chimes, Cym. Premiered July 6, 1990 at Tanglewood, Seiji Ozawa, conducting. Full score (large). Standard notation. 31 pages. Duration 4 minutes. Published by Carl Fischer

Orchestra

SKU: SU.80603100

For Orchestra. Composed by William Bolcom. Orchestra. Study Score. Edward B. Marks Music #80603100. Published by Edward B. Marks Music (SU.80603100).

Manuscript; Parts on rental from Theodore Presser Co.Orchestra Composed: 1985-86 Published by: E.B. Marks.

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.

For brass and percussion in three groups. Composed by Oliver Knussen (1952-). Full Orchestra (Full Score); Masterworks; Performance Music Ensemble; Single Titles. Faber Edition. 20th Century; Masterwork. Score. Faber Music #12-0571510515. Published by Faber Music

Orchestra (Study Score)

SKU: HL.14005373

Composed by Geoffrey Burgon. Music Sales America. Post-1900. Score Only. Composed 2002. Chester Music #CH63206. Published by Chester Music (HL.14005373).

Television Music.

Orchestra

SKU: PR.46600059L

Composed by Carl Wirth. Large Score. With Standard notation. Theodore Presser Company #466-00059L. Published by Theodore Presser Company (PR.46600059L).

11 x 15 inches.

Orchestra

SKU: HL.14032397

Composed by Thea Musgrave. Music Sales America. Post-1900. Sheet Music, Study Score. With Text language: English. 64 pages. Chester Music #CH00126. Published by Chester Music (HL.14032397).

UPC: 884088804428. 8.5x11.75x0.16 inches.

Obliques ia a short work in a single movement. It was completed in the summer of 1958 during the Tanglewood Summer School of Music in the USA.

For Orchestra. Composed by Lowell Liebermann. World Premiere: Toledo Symphony conducted by Grant Llewellyn at the Peristyle Theater, Toledo, Ohio. Contemporary. Full score (study). With Standard notation. Composed 2002. Opus 81. 120 pages. Duration 32 minutes. Theodore Presser Company #416-41381. Published by Theodore Presser Company (PR.416413810).

Orchestra - Grade 3

SKU: AP.33713S

Composed by Richard Meyer. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Variations. Light Concert; Novelty. Score. 20 pages. Highland/Etling #00-33713S. Published by Highland/Etling (AP.33713S).

UPC: 038081375120. English.

You and your students will love putting together these charming variations based on Lewis Carroll's classic book. A simple and graceful theme, entitled Alice, is followed by four colorful variations depicting the delightfully odd characters that inhabit Wonderland. Each variation is a stylistic workshop for your students who will learn a myriad of techniques as they bring to life the Cheshire-Cat, a Mad Tea Party, a Caterpillar, and the King and Queen of Hearts. This title is available in MakeMusic Cloud.

Composed by Ludwig van Beethoven (1770-1827). Edited by Lewis Lockwood, Martina Rebmann, and Jonathan Del Mar. This edition: facsimile. Half- leather binding. Documenta musicologica II/42 / Barenreiter Facsimile. Facsimile. Opus 125, No. 9. 476 pages. Baerenreiter Verlag #BVK02471. Published by Baerenreiter Verlag

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:.

Ukrainian Christmas Carol. By Peter Wilhousky, Mykola Leontovich. Edited by Shari Lewis. Arranged by Richard Hayman. Orchestra. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Bassoon I, Bassoon II, Horn I, Horn II, Horn III, Horn IV, Trumpet I, Trumpet II, Trumpet III, Tenor I, Tenor II, Tenor III, Tuba, Timpani, Glockenspiel, Chimes, Swiss Hand Bells, Suspended Cymbal, Vibraphone, Harp, Celesta, Piano, Violin I, Violin II, Viola, Cello, Double Bass. Carl Fischer Orchestra Edition. Classical. Full Score - Large. 29 pages. Published by Carl Fischer.

Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob Phillips and Daryl Silberman. Book; CD; Play-Along; String Orchestra Collection. Rock. 48 pages. Published by Alfred Music (AP.40742).

Orchestra

SKU: PR.416411370

Composed by Robert Hall Lewis. Full score (large). With Standard notation. Theodore Presser Company #416-41137. Published by Theodore Presser Company (PR.416411370).

UPC: 680160091164.

Orchestra (Full Score)

SKU: HL.35016541

Full Score. Composed by Lewis Miller. Shawnee Press. Print on demand - publisher prints this title after order is received. Shawnee Press #JC0385. Published by Shawnee Press (HL.35016541).

UPC: 888680035815. 8.5x11.0x0.091 inches.