Orchestra (Orchestra)

SKU: HL.49041179

Composed by Simone. Sheet music. Odeon. Piano Direction and Parts. Duration 2' 30''. Schott Music #OD 50009-40. Published by Schott Music (HL.49041179).

ISBN 9790204001248.

Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen; Christin Heitmann. This edition: urtext edition. Stapled. Score. Hob. I:26. Duration 17 minutes. Published by Baerenreiter Verlag (BA.BA10975).

Orchestra - advanced

SKU: HL.49027996

Score. Composed by Paul Hindemith. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1932. 40 pages. Duration 16'. Schott Music #CON 78. Published by Schott Music (HL.49027996).

ISBN 9790001022491.

The suite from the cycle 'Ploner Musiktag' (1932) was structured according to the exact instrumentation directions of the composer and completed with a percussion part ad lib. Particular attraction is caused by the different instrumentation of the four movements which, how-ever, takes into consideration the conditions of school practice.

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.

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 (Orchestra)

SKU: HL.14019146

Composed by Magnus Lindberg. Music Sales America. Classical. Score. 170 pages. Music Sales #KP00137. Published by Music Sales (HL.14019146).

ISBN 9788759855775. 12.0x16.5x0.525 inches. English.

The harmonic model for this piece is based on a subdivision of pitches in primary and secondary notes, in principle any chord can be viewed from it's structural qualities including interval content and symmetry, but it might also be conceived from a more acoustical point of view. The parallel basis for this work is a sequence of 12-tone chords repeated as a chaconne, every chord has it's Alter-Ego, an overtone series the fundamentals of which together form a bass line. By articulating the cycle differently, with always varied diagonal paths between two layers Lindberg has aimed to give the music some direction despite it's vague repetitive structure. Work for Orchestra premiered at the Queen Elizabeth Hall, London, by the London Sinfonietta under the direction of Esa-Pekka Salonen, April 1990.

Composed by Yasuhide Ito. For full orchestra. Grade 4.5. Score and parts. Duration 6 minutes, 16 seconds. Published by TRN Music Publisher

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.

Orchestra (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str)

SKU: BR.PB-5709

Tone Poem for Large Orchestra after N. Lenau - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Symphonic poem; Early modern. Full score. 120 pages. Duration 19'. Breitkopf and Haertel #PB 5709. Published by Breitkopf and Haertel (BR.PB-5709).

ISBN 9790004216460. 10 x 12.5 inches.

Strauss third tone poem Don Juan was composed in spring 1888. This work is already an impressive demonstration of the composer's newly acquired confidence in mastering the orchestral apparatus. Already completed in the fall, it took over a year until its premiere in Weimar on November 11, 1889. Breitkopf & Hartel's new Urtext edition assesses not only the autograph and the first edition, but also for the first time the parts used under the composer's direction, resulting in some surprisingly new readings. An extensive preface, facsimile pages, and a detailed critical report round off this authoritative Urtext edition.

First Urtext edition since the first edition. Evaluation of all available sources, including some orchestral parts used by Strauss. A detailed critical report. Complete orchestral material available for purchase.

(study score). By Johannes Brahms (1833-1897). Edited by Hans Gal. For orchestra. Breitkopf Full Scores. Parts, Urtext. 104 pages

Composed by Leroy Anderson (1908-1975). Orchestra. Full Orchestra; Part(s); Score. Professional Orchestra Series. Form: Suite. Folk. 6 . 622 pages. Published by Alfred Music

Composed by Leroy Anderson (1908-1975). Orchestra. Full Orchestra; Score. Professional Orchestra Series. Form: Suite. Folk. 6 . 104 pages. Published by Alfred Music

(A Practical Application of Rudolf von Laban's Movement Language). By James Jordan with Meade Andrews and Giselle Wyers. Book and DVD. 362 pages. Published by GIA Publications

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

(Full Score Critical Edition). Composed by Cole Porter. Orchestra. For Voice. This edition: Full Orchestral Score (Case Bound). Full Orchestra (Full Score); Score. Broadway. 754 pages. Published by Alfred Music

(Violoncello/Double Bass Part Edited By Donald Burrows). By George Frideric Handel (1685-1759). Edited by Donald Burrows. For Orchestra. Music Sales America. Softcover. 148 pages. Novello and Co Ltd. #NOV09092605. Published by Novello and Co Ltd. (HL.14041819

This edition: M060114489. Boosey and Hawkes Scores and Books. Book only. Published by Hal Leonard.

Orchestral Fantasia. By Igor Stravinsky. (Study Score). Schott. 39 pages. Published by Eulenburg Germany (Schott).

Orchestra (Study Score)

SKU: HL.50606858

In A Major, Op. 141. Composed by Dmitri Shostakovich. Study Score. Classical. Softcover. Sikorski #SIK2515. Published by Sikorski (HL.50606858).

UPC: 196288194552.

Weake ned by a series of chronic illnesses and aware of his impending death, Shostakovich looks back on his life in Symphony No.15 inA major, op.141. The work opens with cheerful reminiscences from his youth, featuring quotations from his early works and allusions to Rossini. But already by the second movement, a funeral march rich with self-quotation, the mood changes. In the cantabile movement which follows, one hears the murmuring ghosts of the past. With echoes of Richard Wagner, the eerie finale ultimately instructs the listener to remain fearful through its crumbling tonality. This volume is part of the revised and corrected new edition of all 15 symphonies by Dmitri Shostakovich published by Boosey & Hawkes and Sikorski as large format study scores for optimal legibility. All scores and the related orchestral parts have been newly computer typeset, and the orchestral parts are also compatible for performance use with scores in “The New Collected Works of DmitriShostakovich” .

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

By Robert Schumann. (Study Score). Schott. Size 5.25x7.5 inches. 72 pages. Published by Eulenburg.

Study Score. By Wolfgang Amadeus Mozart. Schott. 72 pages. Published by Eulenburg.

Symphonic Poem No. 4 - Study Score. By Franz Liszt. Schott. Size 5.5x7.5 inches. 54 pages. Published by Eulenburg London (Schott).