Orchestra - Grade 1 SKU: AP.49907 Composed by Cooper Ford. MakeMusic Clou...(+)
Orchestra - Grade 1
SKU: AP.49907
Composed by Cooper Ford.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Light Concert.
Score and Part(s).
Duration 2:00. Belwin
Music #00-49907.
Published by Belwin Music
(AP.49907).
ISBN
9781470657925. UPC:
038081575780.
English.
Playground
s are full of children
having fun together. No
matter their background,
the laughter and shrieks
of joy are the same as
they run and play.
Playground Games by
Cooper Ford is a playful
musical portrait of this
experience. In the first
section, the children
gather for their game as
the melody is supported
by building rhythmic
energy. The second
section depicts another
game in a round. Finally,
it's time to go home, but
only after one quick
moment to finish! This
piece uses only the notes
of a D major scale and
simple rhythms. Parts are
doubled in second
violin/viola and
cello/bass. (2:00).
Orchestra - Grade 1 SKU: AP.49907S Composed by Cooper Ford. Performance M...(+)
Orchestra - Grade 1
SKU: AP.49907S
Composed by Cooper Ford.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Light Concert.
Score. Duration 2:00.
Belwin Music #00-49907S.
Published by Belwin Music
(AP.49907S).
ISBN
9781470657932. UPC:
038081575797.
English.
Playground
s are full of children
having fun together. No
matter their background,
the laughter and shrieks
of joy are the same as
they run and play.
Playground Games by
Cooper Ford is a playful
musical portrait of this
experience. In the first
section, the children
gather for their game as
the melody is supported
by building rhythmic
energy. The second
section depicts another
game in a round. Finally,
it's time to go home, but
only after one quick
moment to finish! This
piece uses only the notes
of a D major scale and
simple rhythms. Parts are
doubled in second
violin/viola and
cello/bass. (2:00).
Merry-Go-Round Orchestre [Conducteur et Parties séparées] - Facile Kendor Music Inc.
String orchestra - Grade 2 SKU: KN.9249 Composed by John Caponegro. Solo ...(+)
String orchestra - Grade
2
SKU: KN.9249
Composed by John
Caponegro. Solo or
Ensemble. Voyager String
Orchestra. Score and Set
of Parts. Kendor Music
Inc #9249. Published by
Kendor Music Inc
(KN.9249).
UPC:
822795092493.
This
will be a big hit with
young groups since this
kind of counterpoint
relies on all players to
carry melodic material.
Then for extra fun, they
also play the round
backwards. This piece
provides good training
and experience in
contrapuntal playing and
makes an excellent choice
for concerts. Duration
ca. 3:30. Available in
SmartMusic.
Orchestra SKU: PR.41641513L V. From 'Mythology Symphony'. Composed...(+)
Orchestra
SKU:
PR.41641513L
V.
From 'Mythology
Symphony'. Composed
by Stacy Garrop.
Contemporary. Large
Score. With Standard
notation. Composed 2013.
Duration 7 minutes, 20
seconds. Theodore Presser
Company #416-41513L.
Published by Theodore
Presser Company
(PR.41641513L).
UPC:
680160621347.
This
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naive
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new
burden. This movement
is, in turns, both
lighthearted and serious.
The music depicts a
young, naïve Pandora
who, while dancing around
her house, spies a
mysterious box. She tries
to resist opening it, but
her curiosity ultimately
gets the best of her.
When she cracks the lid
open and looks inside,
all evils escape into the
world. Dismayed by what
she has done, she looks
inside the box once more.
She discovers hope still
in the box and releases
it to temper the escaped
evils and assuage
mankind's new burden.
Orchestra SKU: PR.416415130 V. From 'Mythology Symphony'. Composed...(+)
Orchestra
SKU:
PR.416415130
V.
From 'Mythology
Symphony'. Composed
by Stacy Garrop.
Contemporary. Full score.
With Standard notation.
Composed 2013. 27 pages.
Duration 7 minutes, 20
seconds. Theodore Presser
Company #416-41513.
Published by Theodore
Presser Company
(PR.416415130).
UPC:
680160621330.
This
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naive
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new
burden. This movement
is, in turns, both
lighthearted and serious.
The music depicts a
young, naïve Pandora
who, while dancing around
her house, spies a
mysterious box. She tries
to resist opening it, but
her curiosity ultimately
gets the best of her.
When she cracks the lid
open and looks inside,
all evils escape into the
world. Dismayed by what
she has done, she looks
inside the box once more.
She discovers hope still
in the box and releases
it to temper the escaped
evils and assuage
mankind's new burden.
By William Walton (1902-1983). Arranged by David Lloyd-Jones. For Full orchestra...(+)
By William Walton
(1902-1983). Arranged by
David Lloyd-Jones. For
Full orchestra. Scores.
William Walton Edition.
Walton Edition. Full
score. 256 pages
Featuring: Reuben and
Rachel / Sweetly Sings
the Donkey. Arranged
by Bob Phillips.
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Folk; Light
Concert; Patriotic;
Traditional. Score. 8
pages. Alfred Music
#00-35952S. Published by
Alfred Music (AP.35952S).
UPC: 038081420189.
English. Traditional
American
Rounds.
Two tunes
traditionally played as
rounds create a perfect
first orchestra piece for
young players. Reuben and
Rachel and Sweetly Sings
the Donkey are arranged
in D Major with no hi 3s
or forward extensions.
All sections have
interesting parts using
only quarter and half
notes. Opportunities to
teach basic tone and
beginning slurs abound.
Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
3.
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk; Light Concert;
World. Score. 8 pages.
Alfred Music #00-35909S.
Published by Alfred Music
(AP.35909S).
UPC:
038081420080. English.
English Folk
Song.
This humorous
folk song arrangement
should be performed at a
brisk tempo. The
counterpoint makes it
great fun to toss the
theme around the
sections! Correlated to
Orchestra Expressions,
Book 2.
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk; Light Concert.
Score. 8 pages. Duration
1:45. Alfred Music
#00-43746S. Published by
Alfred Music (AP.43746S).
UPC: 038081504834.
English. English Folk
Song.
The perfect
first orchestra
experience, this tune is
straightforward and
beautifully simple. All
parts remain in 1st
position and include only
the most basic rhythms.
(1:45).
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
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 ...(+)
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 (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score)
SKU: HL.49046988
Lyric Trilogy After
Maurice Maeterlinck Study
Score, French.
Composed by Aribert
Reimann. Edition Schott.
Classical. Softcover. 280
pages. Duration 5400
seconds. Schott Music
#ED23491. Published by
Schott Music
(HL.49046988).
ISBN
9781705174333. UPC:
842819115281.
8.25x11.75x0.695
inches.
SYNOPSIS
Aribert Reimann's
'Trilogie lyrique' is
based on three plays by
Maurice Maeterlinck: In
L'Intruse, a family is
sitting at the table with
their blind grandfather.
They are waiting for the
doctor to arrive and tend
to his daughter who is
lying ill in bed after
having given birth: her
new-born son has not yet
made a single sound. The
old man senses that
something is wrong due to
the uneasy atmosphere in
the room. Who is sitting
in our midst? he asks. He
is the only one who
cansee the presence of
death. Interieur: Once
again a family is
gathered round the table
in the evening, but this
time we observe the
action from outside,
looking through the
window with the
grandfather and a
stranger: no sound can be
heard. Outside the house,
the stranger reports that
the eldest daughter has
drowned and that he has
pulled her out of the
river. Although the
corpse is already being
carried through the
village to the family,
the grandfather cannot
bring himself to destroy
this idyll. La Mort de
Tintagiles: The young
Tintagiles is told a
story about a mysterious
castle and the aged queen
who has all potential
heirsto the throne
murdered. His siblings
sense that Tintagiles has
been summoned to the
castle to be murdered,
but nobody openly
expresses this fact. It
is the sinister
messengers of death from
the interludes, now
visible as the queens
servants, who ful?l her
demand and snatch the
sleeping boy from his
sisters'arms. Commentary
'In comparison with his
Medea for example with
its stormy outbreaks of
emotion and violence,
Reimann's score is worked
in an impressive
refinement of sound. It
begins with rumbling,
hesitating and expressive
music in the first
section, demanding highly
ingenious sound effects
from the lower strings
including tapping and
faltering glissandos in
its noisy expression of
mortal fear. Inthe second
part, the woodwind
formation plays at times
almost in chamber music
fashion and is then
suddenly painfully
shrill. The third part
luxuriates and rages in
its rich, full
orchestration. The manner
in which Reimann displays
his mastery in textural
shading, the invention of
sounds welling up and
fading away, the rhythmic
and melodic capacity of
suffering and the music's
inner violence are all
utterly
compelling.'(Wolfgang
Schreiber, Opernwelt,
November 2017).
Orchestra SKU: FG.55011-588-0 Composed by Einojuhani Rautavaara. Score. F...(+)
Orchestra
SKU:
FG.55011-588-0
Composed by Einojuhani
Rautavaara. Score.
Fennica Gehrman
#55011-588-0. Published
by Fennica Gehrman
(FG.55011-588-0).
ISBN
9790550115880.
I
wrote my First Symphony
while studying in the
United States in 1955,
but the work has since
undergone two substantial
changes. The original
four-movement structure
changed into a
two-movement structure in
1988, with an expansive,
Romantic and pathos-laden
principal movement
followed by a grotesque
and ironic scherzo. This
version seems to owe
something to Dmitri
Shostakovich, one of the
idols of 1950s Modernism
in Finland. Later I found
that the structure was
out of balance, and in
2003 I added a lyrical
slow movement (Poetico)
between the two existing
ones. In order to
preserve the 1950s spirit
of the original work, I
based the slow movement
on solo song written
around the same time
(third movement from the
song cycle Die
Liebenden).
Cape Horn Orchestre [Conducteur] - Intermédiaire/avancé Hal Leonard
F Horn; Orchestra (Score) - Grade 4-5 SKU: HL.4008328 For Solo Horn an...(+)
F Horn; Orchestra (Score)
- Grade 4-5
SKU:
HL.4008328
For
Solo Horn and Orchestra,
Grade 4 / Solo 5
Score. Composed by
Otto M. Schwarz.
Symphonic Dimensions.
Concert. Softcover. 40
pages. Duration 500
seconds. Hal Leonard
#SDP156-22-401. Published
by Hal Leonard
(HL.4008328).
ISBN
9781705198056. UPC:
196288148401.
Cape
Horn is situated at the
southern point of South
America, on the Chilean
island “Isla
Hornosâ€. For
centuries, sailing around
thehorn was said to be
one of he most dangerous
passages for ships that
wanted to sail from the
Atlantic Ocean westwards
to the PacificOcean.
Tradition has it that Sir
Francis Drake discovered
Cape Horn in 1578 and the
Dutch voyager Willem
Cornelisz Schouten was
the first to round it in
1616. It was the latter
who named the promontory
after his Dutch hometown
Hoorn. It is estimated
that over 800 ships and
10,000 men in total sank
into the icy waters
during attempts to
circumnavigate the cape.
The work Cape Horn
– a solo for Horn
and concert band –
attempts to reflect the
beauty, but also the
peril of this region. It
is a matter of great
importance to thecomposer
Otto M. Schwarz to write
new repertoire in the
wind band solo works
genre. The tonal language
of his main genre
– film music
– is as
unmistakable as the
experimental parts and
catchy tunes.
(Death
& Transfiguration)
Clothbound Score,
Complete Edition in
G. Edition Schott.
Classical. Hardcover.
Duration 1440 seconds.
Schott Music #RSW306.
Published by Schott Music
(HL.49047172).
UPC:
196288143406.
When
the 24-year-old Richard
Strauss, assistant
conductor in Munich,
began the composition of
his third tone poem in
the summer of 1888, he
saw himself close to the
aspiration prescribed by
his mentor Alexander
Ritter: to become the
successor of Richard
Wagner as a musical
dramatist. Strauss had
already been working on
the text of his first
opera Guntram for a year
and additionally devoted
himself to programmatic
orchestral works oriented
to the musical language
of Liszt and Wagner in
order to prepare himself
compositionally for his
new task. With the aid of
Strauss and other
musicians including
Ludwig Thuille and
Friedrich Rösch who
had been gathering for
“Ritter's round
table†in Munich
between 1886 and 1889,
RitterÂ’s intention
was to achieve success on
a broad front with the
New German School
following the death of
its two protagonists
Wagner and Liszt. We do
not know whether Ritter
and his supporters
jointly planned Strauss's
compositional path
towards opera, determined
the subjectsof his
prospective tone poems
and considered various
strategies of their
musical realization, but
the influence of this
group shouldnot be
underestimated. It cannot
be ruled out that the
number of three tone
poems was fixed, as was
their sequence of
composition, which would
progressively achieve its
zenith in an increasing
orientation to Liszt and
Wagner. The circle could
possibly have also
discussed initial links
to literary subjects
(Macbeth and Don Juan)
and ultimately the
abstention from this
practice in the third and
final tone poem. The
subject of the work, or
rather in StraussÂ’s
formulation its
“poetic
modelâ€, has
occasionally been
interpreted from an
autobiographical aspect.
Strauss however did not
experience serious
illness until May 1891
and once more in June
1892, long after Tod und
Verklärung had been
composed. Even without an
external reason, the
material would have been
only too attractive for
an admirer of Wagner and
Liszt like Strauss, not
to mention for his mentor
Alexander Ritter. The
concept of 'death and
transfiguration' had
already played a central
role in LisztÂ’s
symphonic poems Tasso and
Prometheus.
Score. Composed by
Bryce Dessner. Music
Sales America. Classical,
Contemporary. Softcover.
34 pages. Chester Music
#CH83688. Published by
Chester Music
(HL.14043596).
12.0x16.75x0.445
inches.
This is the
full score of Aheym For
Orchestra , composed by
Bryce Dessner , best
known as the guitarist of
The National, but also an
acclaimed composer in his
own right. If so desired,
this work can be
performed with Strings
alone: the Wind and
Percussion instruments
are optional. Composed in
2009 for the Kronos
Quartet for their
performance in Brooklyn's
Prospect Park for the
Celebrate Brooklyn!
festival, Aheym (meaning
'homeward' in Yiddish)
was directly inspired by
his parents' migration to
Brooklyn. The score in
this edition was first
performed by the London
Sinfonietta at the
Southbank Centre in
London on the 9th of
October 2012. The work
lasts around 8 minutes
and isfilled with dynamic
tempo changes, a mix of
staccato and smooth
playing and all-round
excitement. It's a
fantastic piece to play
and the genius
composition will keep
audiences on their
toes.
Orchestra (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str) ...(+)
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.
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 80
pages. Duration 900
seconds. Boosey & Hawkes
#M060136009. Published by
Boosey & Hawkes
(HL.48024880).
ISBN
9781784545154. UPC:
840126918670.
7.25x10.25x0.319
inches.
This
publication presents
under one cover various
short works for sundry
orchestral scorings.
Larghetto for Orchestra
is MacMillan's
orchestration (2017) of
his celebrated Miserere
for a cappella mixed
choir (2009), a setting
in Latin of Psalm 51,
'Have mercy upon me, O
God, according to thy
great mercy', the
penitential text famously
set in the 17th century
by Gregorio Allegri. The
Larghetto orchestration
was commissioned by the
Pittsburgh Symphony
Orchestra in celebration
of Manfred Honeck's 10th
Anniversary as Music
Director. Memoire
imperiale is one of a
number of variations on
General John Reids march
tune Old Gaul
commissioned from
Scottish composers to
mark the centenary in
1994 of the Faculty of
Music at Edinburgh
University. The Faculty
was established following
a bequest by General Reid
(1721-1807), a former law
student at the University
and a renowned flute
player and composer of
marches for the
BritishArmy, and he asked
that an annual concert be
organised at which one or
more of his compositions
be played. Composed in
2012 for the Britten
Sinfonia, One is a monody
in which a single line is
passed around the
instruments, painting it
with different colours as
it emerges and develops.
Lasting only a few
minutes, its singularity
is maintained until
blossoming in the lastfew
bars. For Sonny (2011,
orch 2013) and Ein
Lamplein verlosch (2018,
orch 2019) are short,
private memorial tributes
originally for string
quartet and here rescored
for string orchestra.
Hirta was composed in
2016 as part of Deccas
The Lost Songs of St
Kilda project. Nearly a
century ago, the last 36
residents were evacuated
from the most remote part
of the British Isles, St
Kilda, an isolated
archipelago off the
beautiful and rugged
western coast of
Scotland. After 86 years,
the music of St Kilda was
rediscovered, recorded in
a Scottish care home by
Trevor Morrison, an
elderly man who had been
taught piano by an
inhabitant of St Kilda.
The songs were
'reimagined' for the
Decca album by
various.
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for
Intonation, Rhythm,
Bowing, and Creativity
for Intermediate String
Orchestra (Conductor's
Score). Composed by
Bob Phillips; Kirk Moss;
Matt Turner; Stephen
Benham. This edition:
Teacher's Score.
Method/Instruction;
SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations for String
Orchestra. Score. 101
pages. Alfred Music
#00-44213. Published by
Alfred Music (AP.44213).
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for
Intonation, Rhythm,
Bowing, and Creativity
for Intermediate String
Orchestra
(Cello/Bass).
Composed by Bob Phillips;
Kirk Moss; Matt Turner;
Stephen Benham. This
edition: Cello/Bass.
Method/Instruction;
SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations for String
Orchestra. Book. 56
pages. Alfred Music
#00-44212. Published by
Alfred Music (AP.44212).
Exercises for Intonation, Rhythm, Bowing, and Creativity for Intermediate Str...(+)
Exercises for
Intonation, Rhythm,
Bowing, and Creativity
for Intermediate String
Orchestra (Viola).
Composed by Bob Phillips;
Kirk Moss; Matt Turner;
Stephen Benham. This
edition: Viola.
Method/Instruction;
SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations for String
Orchestra. Book. 56
pages. Alfred Music
#00-44211. Published by
Alfred Music (AP.44211).
Composed by Igor Stravinsky (1882-1971). Full score for full orchestra. With ful...(+)
Composed by Igor
Stravinsky (1882-1971).
Full score for full
orchestra. With full
score notation and
introductory text. 174
pages. Published by Dover
Publications.
Arranged by Vince Gassi.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Folk;
Traditional. Score and
Part(s). 124 pages.
Duration 2:45.
Highland/Etling
#00-41269. Published by
Highland/Etling
(AP.41269).
UPC:
038081480879. English.
Traditional Canadian Folk
Song.
For a special
touch at your next
concert, feature one of
Canada's most popular
folk songs. Often sung to
keep time while canoeing
or around campfires, the
lyrics are originally
from a 19th century poem
by First Nations poet
Pauline Johnson, making
this perfect for
cross-cultural study.
Although this work can
easily be performed with
strings alone, percussion
instruments, including
timpani and bells, expand
the palette of colors,
helping to create a rich
tapestry for your
listeners. (2:45) This
title is available in
MakeMusic Cloud.
Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra
Dackow. Conductor's score
and set of performance
parts for string
orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- 3rd violin/viola
(treble clef), 5 - viola,
5 - cello, 5 - string
bass, 1 - piano
accompaniment). Series:
Orchestra Expressions
Series. Published by
Alfred Publishing.
Final Version 1906 - Textcritical Edition. Composed by Gustav Mahler (1860-19...(+)
Final Version 1906 -
Textcritical Edition.
Composed by Gustav Mahler
(1860-1911). Edited by
Christian Rudolf Riedel.
Set
of parts. Breitkopf and
Haertel #OB 5633-60.
Published by Breitkopf
and
Haertel
7 Rings Orchestre - Intermédiaire Alfred Publishing
Orchestra - Grade 3 SKU: AP.48060 As Performed by Ariana Grande. C...(+)
Orchestra - Grade 3
SKU: AP.48060
As Performed by Ariana
Grande. Composed by
Ariana Grande, Kimberly
Krysiuk, Njomza Vitia,
Oscar Hammerstein,
Richard Rodgers, Tayla
Parx, and Victoria Monet.
Arranged by Michael
Kamuf. Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Pop/Rock. Score and
Part(s). 132 pages.
Duration 3:00. Alfred
Music #00-48060.
Published by Alfred Music
(AP.48060).
ISBN
9781470664640. UPC:
038081557519.
English.
With eight
weeks at number one on
Billboard's Hot 100, this
Ariana Grande hit from
her groundbreaking fifth
album, Thank U, Next,
combines elements of rap
and pop music as well as
the Sound of Music
classic, My Favorite
Things. Written for
strings, drums, and
optional piano, this
arrangement of 7 Rings by
Michael Kamuf explores
many textures of the
orchestra and will be a
favorite of both your
students and audiences!
(3:00).