Orchestra - all

SKU: PR.816600040

Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040).

UPC: 680160600045. 5.5x5 inches.

This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.

About CD Sheet Music (Version 1)

CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.

Study Score. By Johann Sebastian Bach. Arranged by Arnold Schering. (Study Score). Schott. Size 5.25x7.5 inches. Published by Eulenburg.

Orchestra (Study Score)

SKU: HL.49009767

Composed by George Frideric Handel. Edited by Michael Nyman. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Op. 6/5. 41 pages. Duration 19'. Eulenburg Edition #ETP 267. Published by Eulenburg Edition (HL.49009767).

ISBN 9790200202441. UPC: 073999579864. 5.25x7.5x0.105 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Orchestra (Score)

SKU: HL.288106

Orchestra Score. Composed by Per Nø, rd, and rgå. Music Sales America. Classical. Softcover. 176 pages. Duration 2100 seconds. Edition Wilhelm Hansen #WH31431. Published by Edition Wilhelm Hansen (HL.288106).

Symphony No. 8 for Orchestra (2011) by Per Norgard. Premiered on September 19, 2013 by the Helsinki Philharmonic Orchestra and John Storgards. Programme note: The first movement opens with sculptural rising and falling scales. Visually the sound may call to mind, say, spirals or ziggurats (temple towers). Brisk music leads to the climax of the movement.The second movement is slow and sensually melodious and has three interludes of greater timbral melodic action. The third movement begins very restlessly but towards the climax the tempo gradually begins to accelerate. An oscillating pianissimomurmur ends the movement - and the symphony. Symphony no. 8 is commissioned by Helsinki Philharmonic Orchestra and is besides the Orchestra dedicated to the conductor John Storgards. Per Norgard (2012).

By Johannes Brahms (1833-1897). Arranged by Richard Meyer. Orchestra. Full Orchestra; Masterworks. First Philharmonic. Masterwork Arrangement; Romantic. Conductor Score and Parts. 204 pages. Published by Alfred Music Publishing

By Henryk Gorecki. For Soprano and Orchestra. Classical. Sheet Music. 84 pages. Published by Chester Music.

('Twas in the Moon of Wintertime). Arranged by Morley Calvert. Orchestra. Full Orchestra; Part(s); Score. Eighth Note Publications. Christmas; Multicultural; Sacred; Winter. Grade 3. 100 pages. Published by Eighth Note Publications

Score and Parts Concert Band; Wind Ensemble - Grade 5 For Wind Orchestra Score and Parts. Composed by Johan De Meij. Amstel Music. Concert. Softcover. Duration 2580 seconds. Amstel Music #AM200- 010. Published by Amstel Music

Orchestra (Full Score)

SKU: HL.238320

Full Score. Composed by Michael Nyman. Music Sales America. Classical. Softcover. Composed 2017. 132 pages. Duration 1680 seconds. Chester Music #CH81631. Published by Chester Music (HL.238320).

12.0x16.5x0.65 inches.

Symphony No. 2 began its life as Pozcatek, a 'Michael Nyman Band' 'soundtrack' that was written for the Michael Nyman Band to accompany a selection of sequences from post-war Polish films that Nyman selected and edited in 2009. That work has already been networked a Pozcatek for piano trio (recorded by the Fidelio Trio for MN Records) and a song cycle 'Ex Votos Songs' with texts transcribed from Mexican Ex Votos, hence the possibly subtitle for this symphony: Ex Photos. The symphony, which was completed in 2013, consists of four interconnected movements and is Arranged for orchestra. Duration of approximately: 28 minutes.

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: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432).

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

Orchestra (Score) - Grade 4

SKU: HL.14023384

Composed by Per Norgard. Music Sales America. 20th Century. Score. Composed 2002. 120 pages. Edition Wilhelm Hansen #WH29117. Published by Edition Wilhelm Hansen (HL.14023384).

ISBN 9788759850466. UPC: 884088435851. 12.0x16.5x0.582 inches. English.

Work for Orchestra dating from 1970.

By Per Norgard. For Orchestra (Score). Music Sales America. 20th Century. 132 pages. Edition Wilhelm Hansen #WH29399. Published by Edition Wilhelm Hansen

(Orchestra). By Malcom Arnold. For Orchestra (Study Score). Music Sales America. 67 pages. Novello and Co Ltd. #NOV162206. Published by Novello and Co Ltd.

Orchestra

SKU: HL.49009941

Study Score. Composed by Franz Joseph Haydn. Edited by Harry Newstone. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. 69 pages. Eulenburg Edition #ETP 468. Published by Eulenburg Edition (HL.49009941).

ISBN 9790200204025. UPC: 073999781991. 5.25x7.5x0.229 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Orchestra; Score (Study Score)

SKU: HL.49010049

Composed by Franz Joseph Haydn. Edited by Gwilym Beechey. Arranged by Gwilym Beechey. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. 60 pages. Duration 20'. Eulenburg Edition #ETP588. Published by Eulenburg Edition (HL.49010049).

ISBN 9790200205084. UPC: 884088085896. 5.25x7.5x0.137 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Composed by William Grant Still (1895-1978). Full score (large). Carl Fischer #CY02062F. Published by Carl Fischer (CF.CY2062F).

Orchestra

SKU: HL.49010035

Study Score. Composed by Franz Joseph Haydn. Edited by Harry Newstone. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1784. 62 pages. Duration 23'. Eulenburg Edition #ETP 572. Published by Eulenburg Edition (HL.49010035).

ISBN 9790200204926. UPC: 073999563269. 5.25x7.5x0.169 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Composed by Malcolm Arnold (1921-2006). Music Sales America. Studyscore. 34 pages. Music Sales #NOV958155. Published by Music Sales

Orchestra

SKU: HL.14023305

Composed by Per Norgard. Music Sales America. 20th Century. Score. Composed 2002. 56 pages. Edition Wilhelm Hansen #WH28987. Published by Edition Wilhelm Hansen (HL.14023305).

ISBN 9788759855973. English.

A stuning composition by Per Norgard, Iris for Orchestra dates from 1966-67. This is the full conductor's score.

Orchestra (Full Score) - Grade 4

SKU: HL.14032192

Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192).

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

Orchestra

SKU: HL.48187637

Composed by Wolfgang Amadeus Mozart. Leduc. Classical. Softcover. 112 pages. Heugel & Cie #HE31430. Published by Heugel & Cie (HL.48187637).

UPC: 888680844332. 5.5x7.5x0.373 inches.

Wolfgang Amadeus Mozart: Concerto No.20, KV466 in D minor (PH30) (Piano & Orchestra).

Orchestra

SKU: HL.49010015

Study Score. Composed by Franz Joseph Haydn. Edited by H. C. Robbins Landon. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. 44 pages. Eulenburg Edition #ETP551. Published by Eulenburg Edition (HL.49010015).

ISBN 9790200204728. UPC: 073999593365. 5.25x7.5x0.132 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Orchestra

SKU: SU.28120060

For Orchestra. Composed by Alla Pavlova. Orchestra. Study Score. Subito Music Corporation #28120060. Published by Subito Music Corporation (SU.28120060).

3222; 4431; timp, perc, hp; stgs Duration: 16' Composed: 2011 Published by: Alla Pavlova Music Performance materials available on rental only:.

(Sinfonia No. 16 in D major and Sinfonia No. 20 in e minor). By Johan Helmich Roman (1694-1758). Arranged by Claude Genetay. For orchestra (flute-2 oboes-harpsichord-strings (Nr. 16) / 2 flutes (ad lib)-harpsichord-strings (Nr. 20)). Pocket score. BeRI 23

Orchestra (picc.2.2.2.2.dbl bsn - 2.2.3.0 - timp - str)

SKU: BR.PB-14615

Urtext based on the Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Jens Dufner. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

The study score (,,Studien-Edition) is available at G. Henle Verlag.

Symphony; Classical. Full score. 120 pages. Duration 36'. Breitkopf and Haertel #PB 14615. Published by Breitkopf and Haertel (BR.PB-14615).

ISBN 9790004214909. 10 x 12.5 inches.

The Famous One in the Leading EditionBeethoven spent a relatively long time on his 5th Symphony. Thus, first sketches can already be found from as early as 1804, four years before the work was premiered in Vienna in December 1808. Not only impressive is its striking opening theme, letting everyone know immediately that this is Beethoven being played, but also its nickname symphony of fate. Nothing in the sources prefigures the much-cited fate, musically knocking here at the door. The autograph of the score and the set of parts prepared from it, including Beethoven's revisions, serve as the main sources of this Urtext edition, together with the missing copy of the score, now extant only incomplete in photographs, and the original edition of the parts authorized by Beethoven. The new performance material is based on the recently published volume of the New Beethoven Complete Edition.