SATB Choir, Orchestra (Study Score)

SKU: HL.14026108

Composed by Zbigniew Preisner. Music Sales America. Post-1900. Sheet Music, Score. With Text language: Greek / Latin / Polish. Chester Music #CH61497. Published by Chester Music (HL.14026108).

UPC: 884088811266. 0.408 inches.

Composer's Note Once, we had a joint conception to create a concert telling a life story. The premiere was planned to take place on the Acropolis in Athens. It was intended to be a large event, a hybrid of a mystery play and an opera. Krzysztof Kieslowski would be the director, Krzysztof Piesiewicz was responsible for the script, and I was planning to compose the music. We thought it might be the first of a series of musical performances, to be developed in various interesting places around the world in the next few years. But it was life that authored a different ending: Krzysztof Kieslowski died in March of 1996. The first part of Requiem for My Friend is meant as a farewell to Krzysztof Kieslowski. I dedicate this music to him. Zbigniew Preisner.

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

SKU: BR.PB-5105-07

Study score. Composed by Jurg Baur. Softbound. Partitur-Bibliothek (Score Library).

World premiere: Bremen, February 1, 1982

Symphony; Music post-1945. Study Score. Composed 1981. 68 pages. Duration 17'. Breitkopf and Haertel #PB 5105-07. Published by Breitkopf and Haertel (BR.PB-5105-07).

ISBN 9790004208557. 9 x 12 inches.

Gesualdo, Don Carlo, Furst von Venosa (1560-1613) gehort zu den eigenwilligsten italienischen Madrigal-Komponisten der Spatrenaissance. Seine ungewohnlich kuhne, selbst fur heutige Ohren modern klingende Harmonik, seine chromatischen Stimmfortschreitungen, seine ubersteigerte expressive Tonsprache regten mich schon vor Jahren zu einer grosseren Orgelkomposition an und inspirierten mich 1981 zu den >>Sinfonischen Metamorphosen<<. Dieses Werk ist eine vielgestaltige weitausgesponnene Fantasie. Sieben choralartige typische Klangbeispiele aus Gesualdos spaten funfstimmigen Madrigalen (4., 5. u. 6. Band) werden teils streng, teils frei zitiert und von Holz- oder Blechblasern intoniert. Diese Zitate gliedern, als formale und inhaltliche Schwer- und Ruhepunkte, den Verlauf des gesamten Werks. Jedes Zitat steht zu Beginn eines neuen Satzabschnitts; die darauffolgenden >>Metamorphosen<< entwickeln sich als rhapsodische kontrastreiche Charakterstucke. Im >>Preludio<< werden aus den vertonbaren Buchstaben vom Namen >>Gesualdo<< (G - E - Es - A - D) schwebende Klangflachen, rezitativische Gedanken und ein pragnantes rhythmisches Paukenthema gebildet. Diese ,,Grundelemente (Grundstrukturen) tauchen im Verlauf des Stucks immer wieder leitmotivisch auf. Im zweiten Abschnitt stehen sich lineare Streicher-Episoden und dichte Blaser-Klangballungen kontrastierend gegenuber. Der dritte Teil lauft als Passacaglia (Thema ist der Bass eines Gesualdo-Zitats) in mehreren Variationen ab. Im vierten Abschnitt dominiert lebhafte Streicherbewegung, kontrapunktiert von tiefen Blaser-Signalen. Der funfte Teil steigert sich- nach kantablem Beginn- zum ekstatischen Trauermarsch. Abschnitt sechs stellt sich als >>Rondello<< dar, mit um sich selbst kreisenden Klangfiguren (in verschiedenen Tongruppen (zwei, drei, funf). Im siebten und letzten Teil wird die verhalten-resignierende Stimmung des Anfangs beschworen, ehe eine knappe Stretta in den hymnischen Schluss mundet. In den Textender ausgewahlten Zitatstellen geht es meist um Todessehnsucht, Liebesqual und Verzweiflung. z. B. 1. und 2. Zitat: Moro lasso, al mio duolo (Ich sterbe, matt, an meiner Qual) (6. Buch) 3. Zitat: Gia piansi nel dolore; o dolorosa Sorte (Schon weinte ich in Schmerzen, oh schmerzliches Geschick) (6. Buch) 4. Zitat: Ahi gia mi discolero (Ach schon entfarbte ich mich) (Wehe, der Tod kommt) (4. Buch) 5. Zitat: Dolcissima mia vita (Mein allerliebstes Leben) (Dich zu lieben oder zu sterben) (5. Buch) 6. Zitat: lo moro (Ich sterbe) (5. Buch) Dem Werk liegen zwar eine Reihe von dodekaphonischen Strukturen zugrunde (die teilweise von Gesualdos Klangzitaten abgeleitet wurden), doch sind die einzelnen Abschnitte auf,,tonale Pfeiler (G - E - A - D) gegrundet; das Stuck beginnt in G und endet aufD, ist also ubergeordnet tonal konzipiert, - der Versuch einer Synthese moderner Ausdrucksmittel von Vergangenheit und Gegenwart. Die >>Metamorphosen<< sind ein Stuck Bekenntnismusik - Bekenntnis zum Leben und Schaffen Gesualdos, eines Mannes, der vom Schicksal gezeichnet war, denn der Chronik Neapels bekannt war durch die Ermordung seiner ersten Frau und ihres Liebhabers. Dieser eminente Musiker war zugleich ein Mensch von ubertriebener Sensibilitat und wilder ekstatischer Heftigkeit: ,,Er wurde von einer Horde von Damonen heimgesucht, die ihm keine Ruhe gaben, heisst es in einem zeitgenossischen Bericht. Seine Kunst und sein Leben stand unter dem Gesetz der inneren Zerrissenheit, zwischen Auflehnung und Resignation (Verzweiflung und Hoffnung), zwischen Zartheit und Leidenschaft. Davon will meine Musik etwas aussagen. (Jurg Baur)CD:Sinfonieorchester des Westdeutschen Rundfunks, cond. Rudolf BarschaiCD Thorofon CTH 2270Bibliography:Abels, Robert: Studien zur Gesualdo-Rezeption durch Komponisten des 20. Jahrhunderts (= Studien zur Musik 20), Leiden u. a.: Wilhelm Fink 2017, pp. 277-345, 485-489.Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.

Score and Parts. By Michael Weinstein. (Set). Boosey and Hawkes Chamber Music. Published by Boosey and Hawkes.

Orchestra

SKU: BA.BA06861

Sinfonie (1923-1928). Composed by Leos Janacek. Arranged by Leoš Faltus and Miloš Štedron. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek H/3. Complete edition, Score, Set of parts. Duration 40 minutes. Baerenreiter Verlag #BA06861_00. Published by Baerenreiter Verlag (BA.BA06861).

ISBN 9790260104211. 34.3 x 27 cm inches.

Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.

“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.

A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.

To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.

It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.

One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.

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Orchestra (Study Score)

SKU: HL.14021000

Composed by Sir Peter Maxwell Davies. Music Sales America. Classical. Book [Softcover]. Composed 1999. 44 pages. Chester Music #CH61307. Published by Chester Music (HL.14021000).

ISBN 9780711959927. 5.5x7.5x0.2 inches.

Commissione d to write a piece for the 50th anniversary of the United Nations, Davies provided a musical General Assembly of his own: a bright overture based on an Australian aboriginal song which gives rise to 'national anthems' of various kinds and instrumental colourings. Finally the 'anthems' are combined, 'if not triumphantly', Davies says, 'at least in a manner whereby they get along together'. The first performance took place in June 1995 in Nottingham. It was given by the Royal Philharmonic Orchestra conducted by Peter Maxwell Davies. Score (miniature). Duration c. 14mins.

Orchestra (Score)

SKU: HL.14019667

Score. Composed by Witold Lutoslawski. Music Sales America. 20Th Century, Classical. Softcover. Composed 1999. 72 pages. Chester Music #CH60230. Published by Chester Music (HL.14019667).

ISBN 9780711939271. UPC: 884088489540. 12.0x16.5x0.525 inches.

This version of Partita was orchestrated by the composer in 1988 for Anne-Sophie Mutter. The first performance was given in January 1990 by Anne-Sophie Mutter and the Berlin Philharmonic conducted by the composer. Duration c.16 minutes. Full score and orchestral material on hire from the publishers.

(Score and Parts). Composed by Francis Scott Key and John Stafford Smith. Arranged by Calvin Custer. For Full Orchestra. Symphony Pops. Grade 5. Published by Hal Leonard

Deluxe Score. Composed by Francis Scott Key and John Stafford Smith. Arranged by Calvin Custer. Symphony Pops. Patriotic. Conductor Score (Full Score) and Parts. 8 pages. Published by Hal Leonard (HL.4491070).

Arranged by and ed. Joanne Martin. For Score. String Ensemble - Mixed. 44 pages. Published by Alfred Publishing.

By John Stafford Smith, Words By Francis Scott Key. Arranged by Peter Breiner. Music by John Stafford Smith, words by Francis Scott Key / arr. Peter Breiner. For Full Orchestra. Full Orchestra. Belwin Concert Full Orchestra. Patriotic. Level: 3 (grade 3). Conductor Score

Arranged by and ed. Joanne Martin. For Score. String Ensemble - Mixed. 40 pages. Published by Alfred Publishing.

For Solo Flute and Concert Band. By Anne Mcginty. (Score and Parts). MusicWorks Grade 4. Concert Band. Score and full set of parts. Published by Hal Leonard.

SKU: CL.016-0180-00

Arranged by Allen. Orchestra. Score and set of parts. Composed 1911. C.L. Barnhouse #016-0180-00. Published by C.L. Barnhouse (CL.016-0180-00).

This product contains three titles on one sheet of music: America Red, White and Blue The Star Spangled Banner NOTE: This is a vintage orchestra publication, designed for the small theater orchestras of the very late 1800s and early 1900s – whose instrumentation varies considerably from a modern full orchestra work. Parts for standard string instruments are included, along with wind and percussion parts as scored by the musical judgment of the composer or arranger. Be cautioned that published parts might include less familiar transpositions, such as Clarinet or Cornet in A, Horn in Eb, etc. Please contact us with any specific instrumentation questions.

Orchestra - Grade 1.5

SKU: AP.49036

Composed by Tanner Otto. Performance Music Ensemble; String Orchestra. Belwin Beginning String Orchestra. Score and Part(s). 47 pages. Belwin Music #00-49036. Published by Belwin Music (AP.49036).

ISBN 9781470645502. UPC: 038081564043. English.

Fight the Resistance! by Tanner Otto is an exciting and dynamic march-style piece and was written to highlight the skill of playing closer to the bridge. In order to play the sustained melodic lines forte, students must fight the resistance of the bridge by changing their bowing lane. It also reinforces the low-2 finger pattern (A minor) with a few accidentals. The cellos have very accessible shifting, and all sections get to play the melody. Great for working on staccato and accents.

Orchestra - Grade 1.5

SKU: AP.49036S

Composed by Tanner Otto. Performance Music Ensemble; String Orchestra. Belwin Beginning String Orchestra. Score. 8 pages. Belwin Music #00-49036S. Published by Belwin Music (AP.49036S).

ISBN 9781470645519. UPC: 038081564050. English.

Fight the Resistance! by Tanner Otto is an exciting and dynamic march-style piece and was written to highlight the skill of playing closer to the bridge. In order to play the sustained melodic lines forte, students must fight the resistance of the bridge by changing their bowing lane. It also reinforces the low-2 finger pattern (A minor) with a few accidentals. The cellos have very accessible shifting, and all sections get to play the melody. Great for working on staccato and accents.

Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764). Edited by Julien Dubruque. This edition: urtext edition. Paperback. Symphonies / Versions of 1746 and 1745. Score, anthology. RCT 59. Baerenreiter Verlag #BA07563. Published by Baerenreiter Verlag

Orchestra (picc.2.2.2.2. - 4.2.3.1. - timp.perc - hp - str(vc divided))

SKU: BR.EOS-20472-00

No. 2 from the Symphonic Poem My Fatherland. Composed by Bedrich Smetana. Edited by Milan Pospisil. Softbound. Eulenburg Orchestral Series.

Today, it is hard to believe that Bedrich Smetana kept receiving rejections when he tried to get his enormously popular Moldau printed.

Symphonic poem; Romantic. Full score. 84 pages. Duration 13'. Breitkopf and Haertel #EOS 20472-00. Published by Breitkopf and Haertel (BR.EOS-20472-00).

ISBN 9790004780008. 10 x 12.5 inches.

What is also amazing is that the first text-critical edition prepared by the Czech Smetana expert Milan Pospisil in 1999, which had entailed an exhaustive evaluation of the sources and been given a full text-critical editorial treatment as a Eulenburg study score, had no resonance of any kind among performers since no performance material had been published. After 15 years, Pospisils edition is finally being completed in a manner suitable for practice: with a conducting score and orchestral parts which will ensure that all future performances are based on a musical text that is as reliable as can be.

The work depicts the course of the river Vltava, beginning with its first two sources, the cold and warm Vltava, and the confluence of the two streams that join to form a single river; then the course of the Vltava through forests and meadows, and through open countryside where a peasant wedding is being celebrated; water-sprites dance by the light of the moon; on the nearby cliffs castles, mansions and ruins rise proudly into the air; the Vltava eddies in the St John's Rapids, then flows in a broad stream as it continues its course towards Prague, where the Vysehrad appears, before the river finally disappears into the distance as it flows majestically into the Elbe.

Vltava (The Moldau), Smetana's best-known and most frequently performed orchestral work, was written between 19 November and 8 December 1874, at a time when Smetana was already completely deaf. The world premiere took place in Prague on 4 April 1875, but the score was not published until 1880.

Composed by Anne McGinty (1945-). For orchestra. Orchestra method/study. Queenwood Developing String Orchestra. Score and parts. Published by Queenwood Publications

Full orchestra

SKU: LO.30-3781L

Composed by Mary McDonald. Choral. Sacred Anthem, Patriotic. Orchestral score and CD with printable parts. Lorenz Publishing Company #30/3781L. Published by Lorenz Publishing Company (LO.30-3781L).

UPC: 000308156171.

Orche stral Score and CD with Printable Parts for 10/5426L and 10/5461L This bold and dramatic setting of The Star-Spangled Banner is one for your choral library. The piano accompaniment stands strongly on its own, but the arrangement can be elevated with a stunning orchestration. It includes an optional ending for traditional national anthem performances and an additional verse for an expanded, powerful ending.

Orchestra

SKU: FG.55011-651-1

Composed by Antti Auvinen. Study score. Fennica Gehrman #55011-651-1. Published by Fennica Gehrman (FG.55011-651-1).

ISBN 9790550116511.

The collective memory does not extend beyond three generations. This facilitated the new rise of the extreme right in Europe in the 2010s. Young men without a meaningful purpose in their lives are particularly susceptible to neo-Nazi ideologies. Adult sons still living with their parents channel their resentment into self-declared superiority, becoming entitled braggarts with a supposed motive to disparage anyone who is of a different colour or from a different country. Such a home made National Socialist is the nomil character underlying in orchestral work Junker Twist.

By Anne McGinty (1945-). Edited by Shirley Mullins. For String Orchestra. Orchestra Method/Study. Queenwood Developing String Orchestra. Score

For Orchestra. By Lukas Foss. For Piccolo, Flute, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Horn, Trumpet, Tenor, Tuba, Timpani, Percussion, Harp, Organ, Piano, Celesta, Violin, Viola, Cello, Contrabass. World Premiere Chicago Symphony Orchestra February 19, 1992. Classical. Full Score - Study. 104 pages. Published by Carl Fischer.

Orchestra - Grade 1.5

SKU: AP.49906S

Composed by Tanner Otto. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Score. Duration 2:05. Belwin Music #00-49906S. Published by Belwin Music (AP.49906S).

ISBN 9781470657956. UPC: 038081575810. English.

A sequel to his earlier work Sunchasers, Starchasers by Tanner Otto is a dark, driving piece that makes B minor accessible to younger players by carefully avoiding any extensions in the violin, viola, and cello parts. Its memorable themes, reminiscent of a nighttime adventure, are spread across all instruments. The middle section becomes ethereal with the pizzicato in the viola, evoking an image of twinkling stars. Starchasers is a great teaching piece for 3/4 time and uses low-2 and high-2 work to reinforce the 1-2 finger pattern for intermediate students. (2:05).

Orchestra - Grade 1.5

SKU: AP.49906

Composed by Tanner Otto. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Programmatic. Score and Part(s). Duration 2:05. Belwin Music #00-49906. Published by Belwin Music (AP.49906).

ISBN 9781470657949. UPC: 038081575803. English.

A sequel to his earlier work Sunchasers, Starchasers by Tanner Otto is a dark, driving piece that makes B minor accessible to younger players by carefully avoiding any extensions in the violin, viola, and cello parts. Its memorable themes, reminiscent of a nighttime adventure, are spread across all instruments. The middle section becomes ethereal with the pizzicato in the viola, evoking an image of twinkling stars. Starchasers is a great teaching piece for 3/4 time and uses low-2 and high-2 work to reinforce the 1-2 finger pattern for intermediate students. (2:05).

Orchestra (solos: T,A(Bar) - 4(2picc).3(cor ang).5(Eb-clar.Bb-clar).3 (dble bsn) - 4.3.3.1 - 2hp.cel.mand.timp.perc(4) - str)

SKU: BR.OB-5641-60

Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Set of parts. 1116 pages. Duration 65'. Breitkopf and Haertel #OB 5641-60. Published by Breitkopf and Haertel (BR.OB-5641-60).

ISBN 9790004348833. 10.5 x 14 inches.

The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.