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.
New York, New York Orchestre [Conducteur et Parties séparées] Jazz Lines Publications
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dy...(+)
Recorded by Frank
Sinatra. Edited by
Rob DuBoff, Jeffrey
Sultanof, and Dylan
Canterbury. Arranged by
Don Costa. Jazz, Swing.
Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-9510).
Full Orchestra SKU: ST.MB92 Composed by George Butterworth. Edited by Pet...(+)
Full Orchestra
SKU:
ST.MB92
Composed by
George Butterworth.
Edited by Peter Ward
Jones. Library Volumes.
Edited by Peter Ward
Jones. First published in
2012.. Pages: 200.
Format: Hardback.
Dimensions (mm): 330 x
254 x 24. Full score.
Stainer & Bell Ltd.
#MB92. Published by
Stainer & Bell Ltd.
(ST.MB92).
ISBN
9790220223259.
In
his brief career George
Butterworth (1885-1916)
composed only a small
quantity of orchestral
works, but what he wrote
has never subsequently
been absent from the
repertoire. The two
English Idylls, the
Rhapsody 'A
Shropshire Lad' and
the idyll The Banks
of Green Willow are,
with the music of his
friend Ralph Vaughan
Williams and of Gustav
Holst, among the most
exquisite statements of
the English folk-song
idiom. This complete and
authoritative collection
includes an earlier
version of The Banks
of Green Willow, and
a fragment of an
Orchestral
Fantasia. Work in
progress in 1914 when
Butterworth enlisted to
serve in the Great War,
it suggests the composer
setting out in a bolder
direction, perhaps
inspired by the example
of Vaughan Williams's
A London
Symphony.
(Full Score Critical Edition). Composed by Cole Porter. Orchestra. For Voice. Th...(+)
(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
By Peter Ilyich Tchaikovsky. Arranged by Richard Meyer. For Full Orchestra. Full...(+)
By Peter Ilyich
Tchaikovsky. Arranged by
Richard Meyer. For Full
Orchestra. Full
Orchestra. First
Philharmonic. Conductor
Score and Parts. 104
pages. Published by
Alfred Publishing.
Level: 2 (grade 2).
Orchestra SKU: HL.14011052 Composed by Henry Purcell. Music Sales America...(+)
Orchestra
SKU:
HL.14011052
Composed
by Henry Purcell. Music
Sales America. Classical.
Score. 48 pages. Music
Sales #NOV120279.
Published by Music Sales
(HL.14011052).
ISBN
9780853602644.
8.25x11.75x0.215
inches.
Henr
y Purcell
(1659-1695) held numerous
appointments at the Royal
court and Westminster
Abbey, and is considered
by many to be the
greatest ever
English-born composer.
His prolific work covered
all fields: orchestral,
ecclesiastical, operatic,
theatrical, incidental,
and chamber music were
all enriched by his
output.
Fantazias
And In Nomines
is a collection of his 15
Fantasies and 2 In
Nomines, Z. 731-747.
Purcell is
credited with
popularising the hitherto
arcane form of the
Fantasy, perhaps most
famously in his
Fanstasia Upon One
Note, where a middle
C is sustained throughout
- in live performances
this issometimes played
by a volunteer from the
audience!
This full
score edition has been
edited by the renowned
musicologist Robert
Thurston Dart.
(As performed by Trans-Siberian Orchestra). Composed by Paul O'Neill and Robert ...(+)
(As performed by
Trans-Siberian
Orchestra). Composed by
Paul O'Neill and Robert
Kinkel [Trans-Siberian
Orchestra]. Arranged by
Bob Phillips. Orchestra.
Full Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Christmas;
Light Concert; Rock;
Winter. Grade 3. 220
pages. Published by
Alfred Music
Composed by Genaro Codina (1852-1901). Arranged by Alfred Roth. This edition...(+)
Composed by Genaro Codina
(1852-1901). Arranged by
Alfred Roth. This
edition:
Kalmus Orchestra Library.
Full
Orchestra; Performance
Music
Ensemble; Single Titles.
Kalmus Orchestra Library.
Score and Part(s).
LudwigMasters
Publications
#36-A827490. Published by
LudwigMasters
Publications
Orchestra - Grade 3 SKU: AP.41241S As Performed by Trans-Siberian Orch...(+)
Orchestra - Grade 3
SKU: AP.41241S
As Performed by
Trans-Siberian
Orchestra. Arranged
by Bob Phillips and Paul
O'neill. Performance
Music Ensemble; Single
Titles; String Orchestra.
Pop Concert String
Orchestra. Form: March.
Christmas; Rock; Sacred;
Traditional; Winter.
Score. 32 pages. Alfred
Music #00-41241S.
Published by Alfred Music
(AP.41241S).
UPC:
038081508016. English.
Traditional.
Celebr
ate the season with
energy and excitement! As
seen in the
Trans-Siberian Orchestra
stage show, these beloved
Christmas carols will
shine at any concert. An
optional electric violin
part provides the perfect
spot to feature an
electric instrument. If
you haven't seen TSO,
check them out online and
then share this one with
your students. Perhaps
include a field trip to
see the band live with
lights and effects.
Orchestra (Study Score) SKU: HL.51489055 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489055
Orchestra Study
Score. Composed by
Franz Joseph Haydn.
Edited by Hiroshi Nakano.
Study Score. Paperbound.
Henle Study Scores.
Classical. Softcover. 58
pages. G. Henle #HN9055.
Published by G. Henle
(HL.51489055).
ISBN
9790201890555. UPC:
888680950590.
7.0x9.0x0.25 inches.
Preface: Ullrich
Schneidler.
Melodious Ups and
Downs. Composed by
Steven H. Brook.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Novelty. Score
and Part(s). 72 pages.
Duration 2:00. Belwin
Music #00-44796.
Published by Belwin Music
(AP.44796).
UPC:
038081517254.
English.
The
perfect technical piece
for developing tone,
listening skills, string
crossings, smooth bow
changes, and
independence; as well as
celebrating beautiful
days at a park as
melodies and dynamics
move up and down between
sections, as on a seesaw.
The lines of
music that the various
instruments have weave up
and down across each
other as friendships
weave throughout our
lives. Imagine a
leisurely day at the
park, perhaps on a
seesaw, and ponder this
poem by the composer,
Steven H. Brook.
While pleasant
breezes grace the sky,
and clouds of joy drift
gently by, our friendship
bonds, we learn to
play---and now, with you,
we share today.
(2:00).
Orchestra orchestra - Grade 2.5 SKU: KJ.SO344C Composed by Mary Elledge a...(+)
Orchestra orchestra -
Grade 2.5
SKU:
KJ.SO344C
Composed by
Mary Elledge and Robert
Frost. Score and parts.
Neil A. Kjos Music
Company #SO344C.
Published by Neil A. Kjos
Music Company
(KJ.SO344C).
UPC:
8402704187.
One of
the final pieces from the
pen of Robert S. Frost,
and perhaps one of his
best! A 4-movement suite
with each movement
depicting special
characters from the
forest, starting with
Robin Hood and his merry
men! Each movement is
unique and the entire
work includes an optional
piano part created by
Mary Elledge.
(As performed by Trans-Siberian Orchestra). Arranged by Bob Phillips. Orchestra....(+)
(As performed by
Trans-Siberian
Orchestra). Arranged by
Bob Phillips. Orchestra.
Full Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Light Concert;
Rock. Grade 3.5. 224
pages. Published by
Alfred Music
[Cembalokonzert Nr. 1
D-Moll BWV 1052] Study
Score. Composed by
Johann Sebastian Bach.
Henle Study Scores.
Classical. Softcover. G.
Henle #HN7380. Published
by G. Henle
(HL.51487380).
UPC:
840126932881.
6.75x9.5x0.251
inches.
Bach's
harpsichord concerti,
extremely popular among
pianists, are presumably
reworkings of pieces
originally written for
the violin. Bach,
however, succeeded in
transferring the diverse
idiosyncrasies of violin
technique to the keyboard
with such ingenuity that
most of today's pianists
also include these
concerti in their
standard repertoire. The
first concerto in D minor
is perhaps the most
popular - not least
because of its jaunty
outer movements and the
eminently forceful solo
part. Now, as a prelude
to a series of all of
Bach's harpsichord
concerti, G. Henle
Publishers presents a
piano reduction and study
edition (score) of the
D-minor concerto. None
other than András
Schiff, the outstanding
Bach expert, has provided
fingering
suggestions.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
(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 (Score) SKU: HL.49005353 Study Score. Composed by Hans W...(+)
Orchestra (Score)
SKU:
HL.49005353
Study
Score. Composed by
Hans Werner Henze. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1962. 100 pages.
Duration 18'. Schott
Music #ED5029. Published
by Schott Music
(HL.49005353).
ISBN
9790001057646. UPC:
884088085544.
8.25x11.75x0.334
inches.
Like my
oratorio Novae de
infinito laudes, this
work, too, has been
influenced by the human
world and the scenery of
Rome, indeed, perhaps
even by the greater
hardness of the roman
language compared to that
of Naples. The first four
notes of the subsidiary
theme of the second
movement which appears
for the first time in bar
36 are borrowed from the
song My own, my own from
the second act of my
opera Elegy for Young
Lovers; they appear again
and again in various
forms, even in the second
and third movements.-
Hans Werner Henze.
Parada Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024654 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.48024654
Orchestra Study
Score. Composed by
Magnus Lindberg. Boosey &
Hawkes Scores/Books.
Classical, Orchestra,
Spanish. Softcover. 84
pages. Duration 780
seconds. Boosey & Hawkes
#M060135835. Published by
Boosey & Hawkes
(HL.48024654).
ISBN
9781784545017. UPC:
888680949181.
8.25x11.75x0.288
inches.
New edition
of this hitherto
unpublished 13-minute
work, which was first
performed in 2002 by the
Philharmonia Orchestra,
conducted by Jukka-Pekka
Saraste. The title
clearly suggests a
parade; but, as Lindberg
points out, in Spanish,
'parada' also denotes a
bus-stop or taxi-rank: a
wry acknowledgement,
perhaps, of the long wait
for a slow movement from
this composer at that
time. For him, Parada is
the middle panel of a
loosely conceived
triptych, the flanking
sections of which are
Feria (1997) and Cantigas
(1999). Lindberg draws a
parallel with Debussys
Images, in which each of
the three parts was
conceived and premiered
separately, and retains
its own identity.
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 orchestra - Grade 2.5 SKU: KJ.SO344F Composed by Mary Elledge a...(+)
Orchestra orchestra -
Grade 2.5
SKU:
KJ.SO344F
Composed by
Mary Elledge and Robert
Frost. Score only. Neil
A. Kjos Music Company
#SO344F. Published by
Neil A. Kjos Music
Company (KJ.SO344F).
UPC:
8402704188.
One of
the final pieces from the
pen of Robert S. Frost,
and perhaps one of his
best! A 4-movement suite
with each movement
depicting special
characters from the
forest, starting with
Robin Hood and his merry
men! Each movement is
unique and the entire
work includes an optional
piano part created by
Mary Elledge.
Overture to the
Dramatic Poem Manfred by
Lord Byron - Urtext.
Composed by Robert
Schumann. Edited by
Christian Rudolf Riedel.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Overture; Romantic. Study
Score. 60 pages. Duration
11'. Breitkopf and
Haertel #PB 5546-07.
Published by Breitkopf
and Haertel
(BR.PB-5546-07).
ISBN
9790004213568. 6.5 x 9
inches.
Spiritual
AffinitiesSchumann had
already worked on Byron's
Manfred as a law student,
and the topic fascinated
him from that time on.
Perhaps he discovered a
spiritual affinity to
himself in the romantic
hero's inner conflict? In
any event, he decided on
a stage rendition of the
drama with incidental
music, an entirely new
genre that he had been
dreaming of for some time
already. He conducted the
overture - it dates from
1848 - for the first time
as a separate piece in
March 1852. In addition,
he followed the
preparations for the
first edition of the
complete performance
material very closely,
which was published by
Breitkopf in Leipzig that
same year. The Breitkopf
Urtext edition of the
Manfred Overture is based
on this first print of
the score and parts
revised by Schumann. At
the same time, this
edition also marks a new
chapter in the expansion
of the collection of
Schumann overtures that
have already been
published by Breitkopf
(to Hermann und Dorothea
op. 136, Szenen aus
Goethes Faust WoO 3 and
Genoveva op.
81).
Audiences
should be ready for
something new and unheard
of, wrote Robert Schumann
to Franz Liszt in late
1851, referring to the
world premiere of his
Dramatic Poem
Manfred.
Orchestra (Score) SKU: HL.14008392 Caroline Mathilde Act I (Concert Su...(+)
Orchestra (Score)
SKU:
HL.14008392
Caroline Mathilde Act
I (Concert Suite).
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Book
[Softcover]. Composed
1999. 74 pages. Chester
Music #CH60949. Published
by Chester Music
(HL.14008392).
ISBN
9780711936942.
The
story centres on the
English princess Caroline
Mathilde (1751-1775),
sister of George III, who
at the age of 15 was sent
to Denmark to marry the
17-year-old eccentric and
schizophrenic Danish
King, Christian VII. The
ballet portrays her
unhappy marriage, the
King's growing madness
and her fatal love-affair
with Struensee, the
King's influential
physician, which leads to
their arrest, his
execution and her exile,
at the age of 20,
separated from her two
young children. In
keeping with the period,
and perhaps also with the
traditions of Romantic
ballet, the music is
relatively simple in
harmony and form, and
most of the action is
conveyed in set-piece
dances. The suite, which
consists essentially of
the second half of Act I,
begins with one of these,
a bristling interplay of
wind and string ensembles
in D major, portraying in
the ballet a curious
nuptial game with the
king and princess on
movable pedestals. The
slow music that follows
has to do with the king's
healing by Dr. Struensee
and the new queen's
unquiet reverie (oboe and
cor anglais solos). Then
the suite, like the act,
is capped by a pair of
pas-de-deux, the first
savage and bizarre for
the royal couple, the
second rich and
passionate for the queen
and the miracle-working
doctor. Score
(miniature). Duration c.
25mins.
Wizards in Winter Orchestre [Conducteur] - Intermédiaire Alfred Publishing
(As performed by Trans-Siberian Orchestra). Composed by Paul O'Neill and Robert ...(+)
(As performed by
Trans-Siberian
Orchestra). Composed by
Paul O'Neill and Robert
Kinkel [Trans-Siberian
Orchestra]. Arranged by
Bob Phillips. Orchestra.
Full Orchestra; Score;
SmartMusic. Pop Concert
Full Orchestra. Light
Concert; Rock. Grade 3.5.
20 pages. Published by
Alfred Music
Orchestra - Grade 2 SKU: AP.47481 Composed by Johann Strauss Jr. Arranged...(+)
Orchestra - Grade 2
SKU: AP.47481
Composed by Johann
Strauss Jr. Arranged by
Richard Meyer. Full
Orchestra; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Highland/Etling First
Philharmonic. Form:
Transcription; Dance.
Masterwork Arrangement.
Score and Part(s). 200
pages. Duration 4:08.
Highland/Etling
#00-47481. Published by
Highland/Etling
(AP.47481).
UPC:
038081544489.
English.
A
beautiful arrangement by
Richard Meyer of Waltz
Number 1, Waltz Number 2,
and the Coda from the
original, set perfectly
for the first
full-orchestra
experience. Perhaps the
most widely popular
composer of light
classical music ever,
Johann Strauss, Jr. wrote
over 150 waltzes,
bringing the form to
perfection as an extended
musical composition. The
Blue Danube (the common
English title of An der
schonen blauen
Donau---German for By the
Beautiful Blue Danube),
was composed in 1866 and
was premiered in February
of 1867. It has been one
of the most popular
classical pieces ever
since. This title is
available in MakeMusic
Cloud.
Take Flight Orchestre [Conducteur] - Débutant Belwin
Orchestra - Grade 1.5 SKU: AP.45824S Composed by Patrick Roszell. Perform...(+)
Orchestra - Grade 1.5
SKU: AP.45824S
Composed by Patrick
Roszell. Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Beginning String
Orchestra. Score. 12
pages. Duration 1:50.
Belwin Music #00-45824S.
Published by Belwin Music
(AP.45824S).
UPC:
038081529219.
English.
Brilliantl
y balancing lyrical and
rhythmic playing at a
fast tempo, this piece is
fun and will bring a
smile to all. The
bouncing accompaniments
and lyrical melodies will
remind students of
playing with a lively,
inquisitive pet, perhaps
as it bounces from flower
to flower in the park.
Take Flight was written
in remembrance of the
composer's beloved pet as
a celebration of the role
pets play in our lives.
(1:50).
Orchestra - Grade 3 SKU: AP.45847S From The Magic Flute. Co...(+)
Orchestra - Grade 3
SKU: AP.45847S
From The Magic
Flute. Composed
by Wolfgang Amadeus
Mozart. Arranged by Jerry
Brubaker. Masterworks;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Form: March. Classical;
Masterwork Arrangement;
Wedding. Score. 8 pages.
Duration 2:45. Belwin
Music #00-45847S.
Published by Belwin Music
(AP.45847S).
UPC:
038081523460.
English.
The Magic
Flute is perhaps one of
Mozart's most well known
operas. The beginning of
the second act is a
lovely processional march
known as March of the
Priests. The scene
depicts a solemn
procession of priests as
they enter the great
cathedral. The piece has
a very ethereal quality
and is lush and beautiful
when played by a string
orchestra. Close your
eyes and imagine yourself
at the Met, fully
engulfed in the beauty of
Mozart's lovely opera.
Jerry Brubaker's rich new
setting of this
beautiful, yet simple
piece will give players
and audiences much
enjoyment every time it
is played. This
arrangement works well as
a concert piece and could
even be used as a
processional for a
wedding. Feel the magic!
(2:45).
Orchestra - Grade 3 SKU: AP.48062 As Performed by Trans-Siberian Orche...(+)
Orchestra - Grade 3
SKU: AP.48062
As Performed by
Trans-Siberian
Orchestra. Composed
by John Olivia and Paul
O'neill. Arranged by Bob
Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Christmas; Rock; Winter.
Score and Part(s). 140
pages. Duration 4:05.
Alfred Music #00-48062.
Published by Alfred Music
(AP.48062).
UPC:
038081556826.
English.
Imagine
the quiet, the
anticipation, the tree,
and all the lights as
Christmas Eve becomes
Christmas, and you will
have the feel of this
beautiful rock ballad,
Midnight Christmas Eve.
As seen in the
Trans-Siberian Orchestra
stage show The Christmas
Attic, this lyric piece,
arranged by Bob Phillips,
will add depth to any
holiday or winter
concert. Though an easy
piece for high school
orchestras, the optional
electric violin and
guitar parts provide the
perfect chance to feature
an electric instrument
and a more advanced
player. If you haven't
seen TSO, check it out
online and then share
this one with your
students. Perhaps include
a field trip to see the
band live with lights and
effects.
Listen
to the original
recordings of TSO to
decide which distortion
effects to use with the
electric violin or
electric guitar. This is
a great listening
exercise for the kids.
(4:05) This title is
available in MakeMusic
Cloud.
Orchestra - Grade 3 SKU: AP.48062S As Performed by Trans-Siberian Orch...(+)
Orchestra - Grade 3
SKU: AP.48062S
As Performed by
Trans-Siberian
Orchestra. Composed
by John Olivia and Paul
O'neill. Arranged by Bob
Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Christmas; Rock; Winter.
Score. 24 pages. Duration
4:05. Alfred Music
#00-48062S. Published by
Alfred Music (AP.48062S).
UPC: 038081556833.
English.
Imagine
the quiet, the
anticipation, the tree,
and all the lights as
Christmas Eve becomes
Christmas, and you will
have the feel of this
beautiful rock ballad,
Midnight Christmas Eve.
As seen in the
Trans-Siberian Orchestra
stage show The Christmas
Attic, this lyric piece,
arranged by Bob Phillips,
will add depth to any
holiday or winter
concert. Though an easy
piece for high school
orchestras, the optional
electric violin and
guitar parts provide the
perfect chance to feature
an electric instrument
and a more advanced
player. If you haven't
seen TSO, check it out
online and then share
this one with your
students. Perhaps include
a field trip to see the
band live with lights and
effects.
Listen
to the original
recordings of TSO to
decide which distortion
effects to use with the
electric violin or
electric guitar. This is
a great listening
exercise for the kids.
(4:05) This title
available in MakeMusic
Cloud.