Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: BA.BA08833 Composed by Ludwig van Beethoven. Edited by Hel...(+)
Orchestra
SKU:
BA.BA08833
Composed
by Ludwig van Beethoven.
Edited by Helga
Lühning. This edition:
urtext edition. Stapled.
Score. Composed 1806. No.
3. Baerenreiter Verlag
#BA08833_00. Published by
Baerenreiter Verlag
(BA.BA08833).
ISBN
9790006566594. 31 x 24.3
cm inches. Preface:
Luhning, Helga.
Of
the four overtures that
Beethoven composed for
his only opera, the
“Leonore
Overture†No. 3 is
the most popular. The
first reviewer found
fault with it for its
“incessant
dissonances and overblown
fluttering of the
violins†(Wiener
Theater-Zeitung, 1806),
but it soon became famous
as “one of the most
imposing, difficult, yet
richest and strangest of
compositionsâ€
(Allgemeine Musikalische
Zeitung, 1810). This
version of the
“Leonore
Overture†quickly
established itself
independently of the
stage in the concert hall
and has found a lasting
place in the symphonic
repertoire.
The
editor has devoted
herself to the complex
genesis of the various
“Leonore
Overture†versions,
in particular the
question whether the
trumpet call in measures
272–277 and
294–299 should be
played by one or two
instruments. The edition
is based on the Complete
Edition of the
“Works of Ludwig
van Beethovenâ€
issued by the G. Henle
publishing
company.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Black Sounds Orchestre [Conducteur] Theodore Presser Co.
(For Small Orchestra). By George Rochberg. Orchestra. For 2 Flutes, Oboe, 2 Bb C...(+)
(For Small Orchestra). By
George Rochberg.
Orchestra. For 2 Flutes,
Oboe, 2 Bb Clarinet, 2
Horns in F, 2 Trumpets in
C, 2 Trombones, Tuba,
Piano, Celesta, Timpani,
Large Bass Drum, Small
Snare Drum, Crash
Cymbals, Slapstick,
Temple Blocks, Small
Triangle,. full score
(large). contemporary.
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
Orchestra - Grade 1.5 SKU: AP.49462 The Prince of Denmark March. C...(+)
Orchestra - Grade 1.5
SKU: AP.49462
The Prince of Denmark
March. Composed by
Jeremiah Clarke. Arranged
by Bob Phillips. Series;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Light Concert;
Masterwork Arrangement.
Score and Part(s).
Duration 2:00. Alfred
Music #00-49462.
Published by Alfred Music
(AP.49462).
ISBN
9781470650261. UPC:
038081571041.
English.
This
arrangement of The Prince
of Denmark March, or
Trumpet Voluntary,
provides the perfect
setting for advocacy and
striving for excellence
since it is so
recognizable. Three
different versions of the
final 8 bars, containing
incorrect notes, are
included. Each version
contains an increasing
percentage of correct
pitches. Each represents
a different letter grade.
Play all four versions
and then explain to
parents and
administration that the
A+, 100% correct version
is what we do every day
in orchestra. All
sections play the melody
in this piece, still
providing a solid musical
setting in a novelty
piece. Audience members
are sure to recognize it
which makes it perfect
for finding errors. Along
with the real music for
the final 8 bars, three
other versions are
included. The first
version has 80% of the
correct notes and 20%
incorrect. The next has
90% correct notes and 10%
incorrect. The next has
95% correct notes and 5%
incorrect. The final,
real version has 100%
correct notes. The 100%
version should be played
first for the audience
explaining this version
would get an A+ in an
academic setting. Then
play the 80% or B-
version, then the 90% or
A- Version, and then the
95% A version. Then
explain to parents and
administration that the
only version that is
acceptable is the 100%
version and that is what
we do every day in
orchestra. This provides
a perfect advocacy moment
to discuss the benefits
of music education with
parents and a tangible
explanation of striving
for excellence to parents
and students. Includes an
educational packet with
each part that features
technical exercises,
history, theory,
composition, and more.
Correlated to Sound
Innovations, Book 1,
Level 5. (2:00).
Orchestra - Grade 1.5 SKU: AP.49462S The Prince of Denmark March. ...(+)
Orchestra - Grade 1.5
SKU: AP.49462S
The Prince of Denmark
March. Composed by
Jeremiah Clarke. Arranged
by Bob Phillips. Series;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Light Concert;
Masterwork Arrangement.
Score. Duration 2:00.
Alfred Music #00-49462S.
Published by Alfred Music
(AP.49462S).
ISBN
9781470650278. UPC:
038081571058.
English.
This
arrangement of The Prince
of Denmark March, or
Trumpet Voluntary,
provides the perfect
setting for advocacy and
striving for excellence
since it is so
recognizable. Three
different versions of the
final 8 bars, containing
incorrect notes, are
included. Each version
contains an increasing
percentage of correct
pitches. Each represents
a different letter grade.
Play all four versions
and then explain to
parents and
administration that the
A+, 100% correct version
is what we do every day
in orchestra. All
sections play the melody
in this piece, still
providing a solid musical
setting in a novelty
piece. Audience members
are sure to recognize it
which makes it perfect
for finding errors. Along
with the real music for
the final 8 bars, three
other versions are
included. The first
version has 80% of the
correct notes and 20%
incorrect. The next has
90% correct notes and 10%
incorrect. The next has
95% correct notes and 5%
incorrect. The final,
real version has 100%
correct notes. The 100%
version should be played
first for the audience
explaining this version
would get an A+ in an
academic setting. Then
play the 80% or B-
version, then the 90% or
A- Version, and then the
95% A version. Then
explain to parents and
administration that the
only version that is
acceptable is the 100%
version and that is what
we do every day in
orchestra. This provides
a perfect advocacy moment
to discuss the benefits
of music education with
parents and a tangible
explanation of striving
for excellence to parents
and students. Includes an
educational packet with
each part that features
technical exercises,
history, theory,
composition, and more.
Correlated to Sound
Innovations, Book 1,
Level 5. (2:00).
Orchestra - Grade 2 SKU: WD.080689269295 Composed by Michael Lawrence. Ar...(+)
Orchestra - Grade 2
SKU:
WD.080689269295
Composed by Michael
Lawrence. Arranged by
Michael Lawrence. Sunday
Sounds Series. Modern
Christian, Sacred,
Orchestral.
Orchestration. Word Music
#080689269295. Published
by Word Music
(WD.080689269295).
UPC:
080689269295.
About Sunday
Sounds
Series
Sun
day Sounds Series
Instrumentation: Woodwinds: 2
Flute, Oboe, 2 Clarinet,
Bass Clarinet (doubles C
Bass), Alto Sax (doubles
French Horn), Tenor Sax
(doubles Trombone,) Bari
Sax (doubles C
Bass) Brass:
strong> 2 French Horn, 3
Trumpet, 2
Trombone Percu
ssion:
Percussion Str
ings: 2 Violin,
Viola Addition
al Parts: C Bass
(Bassoon, Bass Trombone,
Tuba, Cello, String
Bass), Piano/Bass/Guitar,
Drum Set, Harp, String
Reduction
Orchestra - Grade 2 SKU: WD.080689552786 Composed by Billy Payne. Arrange...(+)
Orchestra - Grade 2
SKU:
WD.080689552786
Composed by Billy Payne.
Arranged by Billy Payne.
Sunday Sounds Series.
Eastertide.
Orchestration. Word Music
#080689552786. Published
by Word Music
(WD.080689552786).
UPC:
080689552786.
About Sunday
Sounds
Series
Sun
day Sounds Series
Instrumentation: Woodwinds: 2
Flute, Oboe, 2 Clarinet,
Bass Clarinet (doubles C
Bass), Alto Sax (doubles
French Horn), Tenor Sax
(doubles Trombone,) Bari
Sax (doubles C
Bass) Brass:
strong> 2 French Horn, 3
Trumpet, 2
Trombone Percu
ssion:
Percussion Str
ings: 2 Violin,
Viola Addition
al Parts: C Bass
(Bassoon, Bass Trombone,
Tuba, Cello, String
Bass), Piano/Bass/Guitar,
Drum Set, Harp, String
Reduction
Orchestra SKU: BA.BA10989 Laudon. Composed by Franz Joseph Haydn. ...(+)
Orchestra
SKU:
BA.BA10989
Laudon. Composed
by Franz Joseph Haydn.
Edited by Sonja Gerlach
and Wolfgang Stockmeier.
This edition: urtext
edition. Stapled. Score.
Baerenreiter Verlag
#BA10989_00. Published by
Baerenreiter Verlag
(BA.BA10989).
ISBN
9790006575534. 31 x 24.3
cm inches. Key: C
major.
Letters of
the composer have come
down to us only on a few
of Haydn’s
symphonies, amongst them
the “Laudonâ€
Symphony Hob. I:69. In
one of these letters,
Haydn agrees to the
publisher’s
suggestion to name the
symphony after the widely
known and favoured
general Gideon Ernst von
Laudon (1717-1790). By
using this name, both
composer and publisher
hoped to increase the
commercial success of the
work which possibly
deserved a military
eponym considering its
instrumentation with
timpani and trumpets.
Also, the symphony
requires two bassoons,
but no flutes,
corresponding with the
available musicians at
the court of Esterházy
between 1775 and 1776.
In continuation
of the collaboration
between Bärenreiter
and G. Henle Verlag, this
edition is based on the
Urtext of the Complete
Edition “Joseph
Haydn Worksâ€
published by G. Henle
Verlag.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
For
performance material see
BA 5601-5603.
Composed by Franz
Schubert. Edited by
Arnold Feil and Christa
Landon. This edition:
complete edition, urtext
edition. Linen. New
Schubert Edition (Neue
Ausgabe samtlicher Werke)
Series V, Volume 1.
Complete edition, Score,
anthology. No. 1-3.
Baerenreiter Verlag
#BA05522_00. Published by
Baerenreiter Verlag
(BA.BA05522).
ISBN
9790006472178. 33 x 26 cm
inches.
For
performance material
refer to BA
5601-5603.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Sinfonie
capricieuse. Composed
by Franz Berwald. Edited
by Nils Castegren. This
edition: complete
edition, urtext edition.
Linen. Franz Berwald.
Complete Works, Volume 2.
Symphony No. 2. Complete
edition, Score. No. No.
2. Duration 30 minutes.
Baerenreiter Verlag
#BA04902_00. Published by
Baerenreiter Verlag
(BA.BA04902).
ISBN
9790006460274. 33 x 26 cm
inches. Key: D
major.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding