(Orchestra). By John Adams (1947-). For Orchestra (Full Score). Boosey and Hawke...(+)
(Orchestra). By John
Adams (1947-). For
Orchestra (Full Score).
Boosey and Hawkes
Scores/Books. 128 pages.
Boosey and Hawkes
#M051096275. Published by
Boosey and Hawkes
Orchestra (Score) SKU: HL.50512014 Score. Composed by Gyorgy Kurta...(+)
Orchestra (Score)
SKU:
HL.50512014
Score. Composed by
Gyorgy Kurtag.
Contemporary Music. EMB.
Softcover. Composed 2013.
Op. 34/a. 40 pages.
Duration cca 15'. Editio
Musica Budapest #Z14261.
Published by Editio
Musica Budapest
(HL.50512014).
ISBN
9790080142615.
12.0x16.5x0.5 inches.
Gyorgy Kurtag.
Featuring: Come So Far (Got So Far to Go) / Big, Blonde and Beautiful (Reprise) ...(+)
Featuring: Come So Far
(Got So Far to Go) / Big,
Blonde and Beautiful
(Reprise) / The New Girl
in Town / Ladies' Choice.
By Marc Shaiman, Scott
Wittman. Arranged by
Victor Lopez. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Movie. Level:
3 (grade 3). Score. 36
pages. Published by
Alfred Publishing.
By Ennio Morricone, Words By Alan Bergman And Marilyn Bergman. Arranged by Roy P...(+)
By Ennio Morricone, Words
By Alan Bergman And
Marilyn Bergman. Arranged
by Roy Phillippe. For
Full Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Pop. Level: 3
(grade 3). Score. 16
pages. Published by
Alfred Publishing.
I Knew I Loved You Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Ennio Morricone, Words By Alan Bergman And Marilyn Bergman. Arranged by Roy P...(+)
By Ennio Morricone, Words
By Alan Bergman And
Marilyn Bergman. Arranged
by Roy Phillippe. For
Full Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Pop. Level: 3
(grade 3). Conductor
Score and Parts. 118
pages. Published by
Alfred Publishing.
Eulenburg Audio Score Series. By Ludwig van Beethoven. This edition: EAS150. Eul...(+)
Eulenburg Audio Score
Series. By Ludwig van
Beethoven. This edition:
EAS150. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
295 pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Antonin Dvorak. This edition: EAS112. Eulenburg...(+)
Eulenburg Audio Score
Series. By Antonin
Dvorak. This edition:
EAS112. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
168 pages. Published by
Eulenburg.
Composed by Ludwig van Beethoven (1770-1827). Edited by Helmut Hell. Henle Study...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Helmut Hell.
Henle Study Scores. Study
score (paperbound). 40
pages. G. Henle #HN9043.
Published by G. Henle
(HL.51489043).
By Johann Sebastian Bach (1685-1750). Edited by Heinrich Besseler; Hans Gruss. F...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Heinrich Besseler; Hans
Gruss. For orchestra (3
trumpets/timpani/2
oboes/2
violins/viola/basso
continuo (cello/double
bass/harpsichord)). This
edition: Stapled, Urtext
edition. Score. Text
Language: German/English.
BWV 1068. 50 pages.
Duration 24'. Published
by Baerenreiter Verlag
Orchestra SKU: PE.EP72293A Composed by James Dillon. Score. Peters Contem...(+)
Orchestra
SKU:
PE.EP72293A
Composed
by James Dillon. Score.
Peters Contemporary
Library. Living Composer.
Score. 94 pages. Edition
Peters #98-EP72293A.
Published by Edition
Peters (PE.EP72293A).
ISBN
9790577003856.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
About Peters
Contemporary
Library
Ma
rk Andre Milton
Babbitt Daniel
Bjarnason Earle
Brown John
Cage Henry
Cowell James
Dillon Jonathan
Dove Brian
Ferneyhough Roxanna
Panufnik Rebecca
Saunders Erkki-Sven
Tuur Charles
Wuorinen
These
are just a few of the
composers whose most
adventurous scores are
now available to purchase
through the Peters
Contemporary Library. A
new global initiative of
the Edition Peters Group,
the Peters Contemporary
Library is a project
designed to put these
bold 20th- and
21st-century works, once
available only for
rental, into the
collections of libraries,
performers, scholars, and
conductors alike.
Kicked off in 2016,
the Peters Contemporary
Library already contains
many cutting-edge works
and is constantly
expanding. We are proud
to offer these bold new
scores for sale, for the
first time ever, to
modern musicians and
students of music all
around the world.
Featuring: Hedwig's
Theme / Main Titles /
Macusa Headquarters /
Newt's Friend / End
Titles. Composed by
James Newton Howard.
Arranged by Patrick
Roszell (contains
Hedwig's Theme by John
Williams). Full
Orchestra; Score. Pop
Concert Full Orchestra.
Movie. 36 pages.
Published by Alfred Music
(AP.45859S).
Featuring: Hedwig's Theme
/
Main Titles / Macusa
Headquarters / Newt's
Friend
/ End Titles. Composed by
James Newton Howard.
Arranged by Patrick
Roszell
(contains "Hedwig's
Theme"
by John Williams). Full
Orchestra; Part(s);
Score.
Pop Concert Full
Orchestra.
Movie. 240 pages.
Published
by Alfred Music
1st
and 2nd Version -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
3
Work Stages, 2 Versions,
1
Edition
,,…
the musical text is fine.
This is a valuable
improvement. (Clifford
Bartlett, Early Music
Review)
Symphony;
Classical. Study Score.
80 pages. Duration 35'.
Breitkopf and Haertel #PB
5566-07. Published by
Breitkopf and Haertel
(BR.PB-5566-07).
ISBN
9790004213766. 6.5 x 9
inches.
With the
new edition of the
G-minor Symphony, a vital
work group in Mozart's
oeuvre is now complete:
the three late symphonies
K. 543, 550 and 551, now
available in Urtext
editions. As in his new
edition of the Hafner
Symphony, Henrik Wiese
uncovers in the present
Breitkopf Urtext score
three different stages in
the genesis of the
G-minor Symphony. Mozart
initially wrote the work
without clarinets (1st
stage), and then he added
the clarinets (2nd
stage). Not until a final
stage did he change the
wind instrumentation in
the Andante (3rd stage).
Mozart thus returned to
the 1st version again
after completing the 2nd
version (with clarinets).
This advances the
importance of the 1st
version without clarinets
as Fassung letzter Hand.
A compelling insight
which sheds new light on
the famous G-minor
Symphony. Both versions
are of equal value and
can now be compared with
one another, studied and,
above all, performed for
the first time ever
thanks to the new score
and parts.Another
extremly practical aspect
that should be noted: the
orchestral parts offer
solutions for all the
problematic page turns
for the first time ever
(please see the sample
pages of OB 5542 - Violin
II.),,... the musical
text is fine. This is a
valuable improvement.
(Clifford Bartlett, Early
Music Review)
Orchestra (Orchestra) SKU: BA.BA04593-01 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04593-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Gerhard Allroggen. This
edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series IV, Volume
11, No. 1.
Musikwissenschaft,
Klassik (Critical
Commentary, Classical).
Complete edition, Score,
anthology. Baerenreiter
Verlag #BA04593_01.
Published by Baerenreiter
Verlag (BA.BA04593-01).
ISBN 9790006451371. 33
x 26 cm
inches.
Urtext der
Neuen Mozart-Ausgabe.
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 (Orchestra) SKU: BA.BA04561-01 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04561-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Friedrich Schnapp and
László Somfai. This
edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series IV, Volume
11, No. 8. Klassik,
Musikhandschriften
(Classical). Complete
edition, Score,
anthology. Baerenreiter
Verlag #BA04561_01.
Published by Baerenreiter
Verlag (BA.BA04561-01).
ISBN 9790006450671. 33
x 26 cm
inches.
Urtext der
Neuen Mozart-Ausgabe.
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: 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.
(Prelude to the Afternoon of a Faun). By Claude Debussy (1862-1918). Edited by D...(+)
(Prelude to the Afternoon
of a Faun). By Claude
Debussy (1862-1918).
Edited by Douglas
Woodfull-Harris. For
orchestra (3 flutes/2
oboes/english horn/2
clarinets/2 bassoons/4
horns/cymbal/2 harps/2
violins/viola/cello/doubl
e bass). This edition:
Stapled, Urtext edition.
Score. Text Language:
English/French/German. 44
pages. Duration 10'.
Published by Baerenreiter
Verlag