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 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.
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 SKU: SU.32040140 For Orchestra. Composed by Amy Riebs Mi...(+)
Orchestra
SKU:
SU.32040140
For
Orchestra. Composed
by Amy Riebs Mills.
Orchestra. Full Score.
Subito Music Corporation
#32040140. Published by
Subito Music Corporation
(SU.32040140).
2222; 4331;
timp, 2 perc, pno; stgs
Duration: 13'30 Composed:
2016 Published by: Amy
Mills Music, LLC Like a
modern Pictures at an
Exhibition…. Ha
Shamayim is an original
piece for orchestra that
was inspired by
photographs taken by the
Hubble space telescope.
Each section is inspired
by one photo; the title
of each section is the
title that NASA gave to
the photograph. The words
Ha Shamayim are Hebrew
for The Heavens. They are
written in Genesis 1:1,
In the beginning God
created the heavens and
the earth. The words are
also seen in Psalm 19.
Section I: Warped Edge-On
Galaxy ESO 510-G13
The piece begins in outer
space with its glistening
stars. Glissandi are used
to depict the strange but
beautiful warp seen in
the photograph. Section
II: Galaxy Fires at
Neighboring Galaxy
Suddenly the piece erupts
as one galaxy fires blue
gas at its neighbor. They
engage in a cosmic
battle. Section III:
Youthful-looking Galaxy
May Be an Adult The
adolescent galaxy is
personified by a
humorous, gawky melody
reminiscent of teenage
boys who walk on feet
that are still too big.
Occasionally there is an
argument with an
authority figure, but the
joy of exploring the
universe quickly returns.
Section IV: Star Birth in
Galaxy M83 The
dramatic photograph looks
like a womb with veins.
The music begins on one
note, then it begins to
explore the initial
swelling and stretching.
It morphs into an
energetic fast theme,
still growing. Ultimately
it becomes glorious and
expansive, like the new
star. Section V: String
of ‘Cosmic
Pearls’ Surrounds
an Exploding Star The
first theme is a happy
circle dance inspired by
the circle of white dots
in the photograph. The
second theme is noble and
joyful. It is reminiscent
of the melody in the
famous chorus in
Haydn’s The
Creation with the words
from Psalm 19, The
heavens are telling the
glory of God. The music
then has flashbacks to
the earlier sections, and
ends in triumph. The five
sections in Ha Shamayim
are continuous with no
breaks. Difficulty Level:
5 (Advanced/Professional)
See composer website for
audio sample. Performance
materials available on
rental only:.
The Beatles Suite Orchestre [Conducteur] - Intermédiaire Alfred Publishing
(Featuring: Do You Want to Know a Secret? / From Me to You / She Loves You). By ...(+)
(Featuring: Do You Want
to Know a Secret? / From
Me to You / She Loves
You). By John Lennon and
Paul McCartney [The
Beatles]. Arranged by
Jack Bullock. Orchestra.
Full Orchestra; Score.
Pop Intermediate Full
Orchestra. Form: Suite.
Pop/Rock. Grade 3. 24
pages. Published by
Alfred Music Publishing
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Mixed Choir; Orchestra (Study Score) SKU: HL.48025342 Opera in Three A...(+)
Mixed Choir; Orchestra
(Study Score)
SKU:
HL.48025342
Opera
in Three Acts Study
Score. Composed by
Igor Stravinsky. Boosey &
Hawkes Scores/Books.
Classical, Opera.
Softcover. Boosey &
Hawkes #M060140211.
Published by Boosey &
Hawkes (HL.48025342).
UPC:
196288176404.
New
edition of Stravinsky's
largest work, his only
full-length work for the
theatre, and his first
major work in English. It
also represents the
culmination of his
neoclassical years, after
which he started to
rethink his musical
language. Inspired by an
exhibition in Chicago in
1947 of a series of
Hogarth prints, the
depiction of the ironic
progress of the
spendthrift heir of a
miser from wealth via
debt to madness and death
is, in essence, retained
in the opera. Auden and
Kallman's 'fable' wittily
grafts onto Hogarth's
quest narrative aspects
of, among other sources,
Classical pastoral, the
Faust legend, fairy tale,
circus, the Bible and
opera in many different
manifestations. This is
brilliantly matched by
Stravinsky's music, which
takes as its source the
whole of operatic history
from Monteverdi to Verdi
via Rossini and Donizetti
and large doses of
Mozart, yet it is neither
parody nor pastiche. The
RakeÂ’s Progress can
be appreciated on many
levels, which might
explain why it is still
one of only a handful of
20th-century operas never
to have been out of the
repertoire.
Orchestra SKU: BR.SON-444 Complete Works. Composed by Felix Bartho...(+)
Orchestra
SKU:
BR.SON-444
Complete Works.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Ralf Wehner.
Linen. Complete Works.
Editorial Board:
Christian Martin Schmidt
(chairman), Peter Ward
Jones, Friedhelm
Krummacher, R. Larry
Todd, Ralf Wehner;
research associates: Ralf
Wehner, Clemens Harasim,
Birgit Muller
Romantic period. Complete
Works. 312 pages.
Breitkopf and Haertel
#SON 444. Published by
Breitkopf and Haertel
(BR.SON-444).
ISBN
9790004803523. 10 x 12.5
inches.
The
Leipziger Ausgabe der
Werke von Felix
Mendelssohn Bartholdy
pursues the goal of
making accessible to the
public in an adequately
scholarly form all of
Mendelssohn's accessible
compositions, letters and
writings, along with all
other documents of his
artistic oeuvre. A
considerable number of
Mendelssohn's works are
still waiting to be
published; many others
have been published in an
unsatisfactory
manner.Though the new
Mendelssohn Complete
Edition follows the ten
volumes of the Leipziger
Mendelssohn Ausgabe (LMA)
published by the
Deutscher Verlag fur
Musik (DVfM) in Leipzig
since 1961, it sees
itself as a fundamentally
new conception which
reflects the present-day
standard of scholarly
editions.The first
volumes of the new
Complete Edition were
presented in Leipzig on 3
November 1997 at
Mendelssohn Festtage in
Leipzig.SON 411 - 413
have been awarded the
German Music Edition
Prize
2006.
Editorial
Board: Christian Martin
Schmidt (chairman), Peter
Ward Jones, Friedhelm
Krummacher, R. Larry
Todd, Ralf Wehner;
research associates: Ralf
Wehner, Clemens Harasim,
Birgit Muller.
Orchestra SKU: BR.DV-4253 Complete Works. Composed by Felix Bartho...(+)
Orchestra
SKU:
BR.DV-4253
Complete Works.
Composed by Felix
Bartholdy Mendelssohn.
Orchestra; Softbound.
Deutscher Verlag.
Editorial Board:
Christian Martin Schmidt
(chairman), Peter Ward
Jones, Friedhelm
Krummacher, R. Larry
Todd, Ralf Wehner;
research associates: Ralf
Wehner, Clemens Harasim,
Birgit Muller
Romantic period. Complete
Works. 112 pages.
Deutscher Verlag fur
Musik #DV 4253. Published
by Deutscher Verlag fur
Musik (BR.DV-4253).
ISBN 9790200440041. 9
x 12 inches.
The
Leipziger Ausgabe der
Werke von Felix
Mendelssohn Bartholdy
pursues the goal of
making accessible to the
public in an adequately
scholarly form all of
Mendelssohn's accessible
compositions, letters and
writings, along with all
other documents of his
artistic oeuvre. A
considerable number of
Mendelssohn's works are
still waiting to be
published; many others
have been published in an
unsatisfactory
manner.Though the new
Mendelssohn Complete
Edition follows the ten
volumes of the Leipziger
Mendelssohn Ausgabe (LMA)
published by the
Deutscher Verlag fur
Musik (DVfM) in Leipzig
since 1961, it sees
itself as a fundamentally
new conception which
reflects the present-day
standard of scholarly
editions.The first
volumes of the new
Complete Edition were
presented in Leipzig on 3
November 1997 at
Mendelssohn Festtage in
Leipzig.SON 411 - 413
have been awarded the
German Music Edition
Prize
2006.
Editorial
Board: Christian Martin
Schmidt (chairman), Peter
Ward Jones, Friedhelm
Krummacher, R. Larry
Todd, Ralf Wehner;
research associates: Ralf
Wehner, Clemens Harasim,
Birgit Muller Price
reduction for a
subscription.
Feel It Still Orchestre [Conducteur] - Facile Alfred Publishing
Orchestra - Grade 2.5 SKU: AP.47443S As Recorded by Portugal. The Man<...(+)
Orchestra - Grade 2.5
SKU: AP.47443S
As Recorded by
Portugal. The Man.
Composed by Asa Taccone,
Brian Holland, Eric Howk,
Freddie Gorman, Georgia
Dobbins, Jason Sechrist,
John Gourley, John Hill,
Kyle O'Quin, Robert
Bateman, William Garrett,
and Zach Carothers.
Arranged by Michael
Story. Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert;
Pop; Pop/Rock. Score. 8
pages. Alfred Music
#00-47443S. Published by
Alfred Music (AP.47443S).
ISBN 9781470653118.
UPC: 038081547336.
English.
This
chart-topping hit from
the group Portugal. The
Man won the GRAMMY Award
for Best Pop Duo/Group
Performance in 2018.
Utilizing parts of the
1961 hit song Please Mr.
Postman by the
Marvelettes, the song has
a unique, catchy groove
that will be a hit with
your students and
audience alike. Although
arranged by Michael Story
to be completely playable
by string orchestra
alone, there are also
easy optional parts
included for piano and
percussion.
Orchestra (Score) SKU: HL.49045561 Richard Strauss Werke Complete Edit...(+)
Orchestra (Score)
SKU:
HL.49045561
Richard Strauss Werke
Complete Edition Score
Band 4. Composed by
Richard Strauss. Edited
by Stefan Schenk and
Walter Werbeck. This
edition: Hardback/Hard
Cover. Sheet music.
Edition Schott.
Classical. Hardcover.
Composed 1888-1891. Op.
23. 236 pages. Duration
18'. Schott Music
#RSW304. Published by
Schott Music
(HL.49045561).
ISBN
9783901974045.
Stra
uss's first tone poem
distinguishes itself from
all other subsequent
orchestral compositions
in its existence in three
different versions. Even
among the operas and
other compositions in his
hand there is no other
work with a comparable
history of origin and
publication. What is
more, the final version
of Macbeth is the only
valid form of the work
and the only variant with
further sources (cf.
Critical Report) in
addition to the autograph
score. In contrast, the
second version has only
been preserved in an
autograph score and
autograph piano reduction
(the orchestral parts
which must have existed
have obviously not
survived). This was never
printed and was replaced
by the published third
version. The two
surviving versions should
therefore not be
considered to be of equal
status. Unlike the case
of Ariadne auf Naxos in
which the earlier version
was for a time the sole
valid alternative and was
yet never completely
displaced by the soon
dominating later version
of the opera, only the
final third version of
Macbeth is considered as
valid. Right from the
outset, it was a matter
of course for the editors
of the present volume to
include the second
version as a first
publication (in addition
to the above-mentioned
surviving pages of the
first version), albeit in
different forms. The
surviving pages of the
first version are
reproduced in facsimile
and the second version,
as a subordinate form of
the work, appears
alongside Strauss's piano
reduction in a modified
source edition, i.e.
without intervention on
the part of the editors.
The ultimate third
version is published as a
full edition (please
refer to the Critical
Report for further
details). In order to
facilitate a comparative
study of the second and
third versions, the
relevant page numbers of
the score are placed
opposite one another (the
autograph piano reduction
of the second version is
included at the end of
the music section of the
volume). The editors hope
that this synoptic
representation will
prompt interest in
further studies on
Strauss's art of
orchestration: a field of
research which has still
remained insufficiently
examined. A study of
Macbeth namely
illuminates as clearly as
could be wished how much
significance Strauss
allotted to sound
alongside form. The
subjects were not merely
intended to generate an
individual figure, but
also specific tonal
colours, and the
instrumentation was
simultaneously designed
to provide an optimal
communication of
thematic-motivic texture
to the audience. The 'new
path' threw up
consequences which caused
Strauss a considerable
amount of difficulty. He
was however a fast
learner and had already
swum free with Don Juan
and all the more with Tod
und Verklarung.
Orchestra SKU: HL.14033079 Composed by Per Norgard. Music Sales America. ...(+)
Orchestra
SKU:
HL.14033079
Composed
by Per Norgard. Music
Sales America. Classical.
Score. 164 pages. Music
Sales #KP01073. Published
by Music Sales
(HL.14033079).
ISBN
9788759858332.
Danish.
There were
wild oatsAnd the soil was
blackBut sparkledWhen the
sun was outThe air sharp
in the nostrilsHard to
defineSomewhere between
knife and coal andAcid
and that special light
and sweetWhiteness
thornbushes exhaleIt was
nothing specialBecause
everything was
special...Thus the
opening line of the poem
TERRAINS VAGUES by Klaus
Rifbjerg, the Danish
Poet. I chose to adopt
this title for my
orchestral work, because
of its closeness in
associations: an
indeterminable, often
polarized, state of
rhythmic and tonal
ambiguity.The expression
seems created by the
Franch author, Victor
Hugo:And here lies the
fascination: in the kinds
of terrains vagues, which
are simultaniously
bizarre and ugly, as if
created by two alien
species of nature. To
watch the suburb is like
observing and amphibium:
trees vanish, roofs
appear, grass vanish,
cobble stones appear,
ploughing fields vanish,
shops appear, beaten
tracks vanish - passions
appear; the murmur of
Nature Divine ends, the
noise of Mankind takes
over. (Victor Hugo)Still,
the atmosphere as well as
the material of TERRAINS
VAGUES have its origin,
in my SYMPHONY NO. 6
(1999), the last minute
of which, cut up rough,
appears as the start of
my new work. The music of
TERRAINS VAGUES
subdivides itself,
without breaks, into
three sections, or
shades:I: TERRAINS - II:
VAGUES (Waves) III:
TERRAINS VAGUES.Per
Norgard, March 2001.
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.
Scenes from the Old West Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Bob Cerulli. Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. C...(+)
By Bob Cerulli.
Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Contemporary;
Light Concert. Grade 3.
Conductor Score and
Parts. 240 pages
Composed by George Benjamin. Full Orchestra (Full Score); Performance Music En...(+)
Composed by George
Benjamin.
Full Orchestra (Full
Score);
Performance Music
Ensemble.
20th Century; Adult
Contemporary. Score.
Faber
Music #12-0571542530.
Published by Faber Music
Orchestra - Grade 1.5 SKU: AP.44785S Composed by Igor Stravinsky. Arrange...(+)
Orchestra - Grade 1.5
SKU: AP.44785S
Composed by Igor
Stravinsky. Arranged by
Michael Story.
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Beginning String
Orchestra. Form:
Transcription. 20th
Century; Masterwork
Arrangement. Score. 8
pages. Duration 1:50.
Belwin Music #00-44785S.
Published by Belwin Music
(AP.44785S).
UPC:
038081516998.
English.
One of the
most important works of
the 20th century was
Stravinsky's ballet, The
Firebird. The iconic
Finale is now accessible
to young players with
this effective
arrangement by Michael
Story. All meter changes
have been squared off,
while still maintaining
the spirit and integrity
of the original work.
(1:50).
Composed by Igor Stravinsky (1882-1971). Arranged by Michael Story. Orchestra. M...(+)
Composed by Igor
Stravinsky (1882-1971).
Arranged by Michael
Story. Orchestra.
Masterworks; Part(s);
Score; String Orchestra.
Belwin Beginning String
Orchestra. Form:
Transcription. 20th
Century; Masterwork
Arrangement. Grade 1.5.
76 pages. Published by
Belwin Music
Double Bass; Orchestra (STUDY SCORE) SKU: HL.51487451 Study Score....(+)
Double Bass; Orchestra
(STUDY SCORE)
SKU:
HL.51487451
Study
Score. Composed by
Serge Koussevitzky.
Edited by Tobias Glö
and ckler. Henle Study
Scores. Classical.
Softcover. 92 pages. G.
Henle #HN7451. Published
by G. Henle
(HL.51487451).
UPC:
196288158110.
6.75x9.5x0.294
inches.
Thanks to
its skilful combination
of Romantic melody and
sparkling virtuosity,
KoussevitzkyÂ’s Double
Bass Concerto op. 3 has
been one of the most
popular works of its
genre since its Moscow
premiere in 1905. No
wonder, for the virtuoso
double bass player
Koussevitzky had composed
it for his very own
instrument. As early as
1906/07 a first piano
reduction was published
in Moscow, followed by a
second in 1910 in
Leipzig. However, both
contain so many mistakes
in the solo part that
there is still
uncertainty about the
correct musical text in
many passages to this
day. The double bass
player Tobias Glöckler
has therefore prepared
his Urtext edition using
several sources: as well
as the manuscript
performance material and
the piano reductions
published during the
composer's lifetime, he
has also studied
recordings with
Koussevitzky as soloist -
thereby finally producing
a
thoroughly-researchedUrte
xt edition of the
orchestral score and
piano reduction of this
classic of the double
bass literature. As with
all double bass concertos
published by Henle
Publishers, this edition
also contains the piano
reduction by Christoph
Sobanski in two keys (E
minor and F sharp minor)
for performance with solo
or orchestral tuning.
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)
Orchestra SKU: BT.PWM8821 Composed by Mieczyslaw Karlowicz. Classical. Sc...(+)
Orchestra
SKU:
BT.PWM8821
Composed
by Mieczyslaw Karlowicz.
Classical. Score Only.
248 pages. Polskie
Wydawnictwo Muzyczne
#PWM8821. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM8821).
Work on this
piece began in the spring
of 1899 durng Kar owiczs
studies in Berlin and he
finished it after
graduating and returning
home in June 1902. Its
premiere took place on
March 21, 1903 in Berlin,
and the Polish premiere
on April 7, 1903 in Lviv.
The symphony has a
classic, four-movement
structure, but in terms
of architecture it is
much closer to symphonic
poems. It consists of the
movements: 1. Andante.
Allegro 2. Andante non
troppo 3. Vivace 4.
Allegro maestoso. ''In
terms of orchestration
and instrumentation
technique it represents
Kar owiczs early,
academic period. The
composer still used
double wind enriched with
piccolo flute, unlike in
his later orchestral
works the symphonic
poems. The orchestration
of the work indicates
that the composer was
guided by Tchaikovskys
symphonic model. Kar
owicz here still
willingly operates with
various sound blocks of
entire instrumental
groups, treating them in
a choral manner, with
tight chordal pillars''
(Leszek Polony). Before
the Polish premiere the
composer gave a
comprehensive literary
programme of the work in
the Lviv newspaper S owo
Polskie, in which he
referred to each
consecutive movement of
the Symphony. In his last
words he wrote, ''We hear
a hymn of revival, at
first quiet and sweet,
then wider and wider, and
fuller. Already the time
has come; to hear the
fanfare. Only one more
step! And although the
spirits fall again in
doubt, we hear a powerful
and solemn hymn of
rebirth.''.
For Orchestra.
Composed by Nancy
Galbraith. Orchestra.
Study Score. Composed
2002. Duration 20'.
Subito Music Corporation
#90810110. Published by
Subito Music Corporation
(SU.90810110).
Instrumentation
: 3fl(picc), 2ob, 2cl,
2bn; 4hn, 3tpt, 3tbn(bs),
tba; timp, 3perc, hrp,
pno; strings Duration:
20' Full Score & Parts:
available on rental
Composed in 2002.
Published by: Subito
Music Publishing
Composer's Note: De
profundis ad lucem (out
of the depths towards
light) opens with an
atmosphere of stillness,
out of which two main
sections emerge, one
reflecting hope and the
other struggle. Hope is
expressed with a
recurring theme that
gradually layers upon
itself, imparting a
feeling of birth. This
section suddenly gives
way to struggle,
represented with loud
brass, biting accents,
and thundering timpani
figures. Following an
extended musical
landscape, these two
sections return, only in
reverse, with struggle
resolving into hope. The
work ends in tranquillity
as it began. --N.G.
Orchestra SKU: HL.48187753 Composed by Wolfgang Amadeus Mozart. Leduc. Cl...(+)
Orchestra
SKU:
HL.48187753
Composed
by Wolfgang Amadeus
Mozart. Leduc. Classical.
Study Score. Heugel & Cie
#HE31554. Published by
Heugel & Cie
(HL.48187753).
UPC:
888680868024.
5.5x7.5x0.173
inches.
Following
nearly 4 years without
having composed a new
symphony, although still
writing opera overtures
and works from orchestral
serenades, Mozart
composed the ?Paris?
Symphony. Mozart received
the commission from
Joseph Legros, when him
and his mother were in
Paris in 1778.Mozart
composed the work for the
largest orchestra he?d
written for until then in
a symphony, marking the
first time which he had
used Clarinets in one of
his symphonies. Mozart
had taken pains to write
the work in a style that
would appeal to the
French and, despite a
dismal rehearsal, the
first performance was
well received.Available
here is a study score of
Mozart?s Symphony No.31
in D ?Paris? K.297, which
is ideal for study and
perusal usage..
Orchestra SKU: BT.ALHE31554 Composed by Wolfgang Amadeus Mozart. Classica...(+)
Orchestra
SKU:
BT.ALHE31554
Composed
by Wolfgang Amadeus
Mozart. Classical. Study
Score. 42 pages. Heugel &
Cie #ALHE31554. Published
by Heugel & Cie
(BT.ALHE31554).
French.
Followin
g nearly 4 years without
having composed a new
symphony, although still
writing opera overtures
and works from orchestral
serenades, Mozart
composed the
_x001A_Paris_x001A_
Symphony. Mozart received
the commission from
Joseph Legros,when him
and his mother were in
Paris in 1778.Mozart
composed the work for the
largest orchestra
he_x001A_d written for
until then in a symphony,
marking the first time
which he had used
Clarinets in one of his
symphonies. Mozart
hadtaken pains to write
the work in a style that
would appeal to the
French and, despite a
dismal rehearsal, the
first performance was
well received.Available
here is a study score of
Mozart_x001A_s Symphony
No.31 in D
_x001A_Paris_x001A_
K.297, whichis ideal for
study and perusal
usage.
Orchestra SKU: HL.14011919 Composed by Karsten Fundal. Music Sales Americ...(+)
Orchestra
SKU:
HL.14011919
Composed
by Karsten Fundal. Music
Sales America. Score.
Music Sales #KP01477.
Published by Music Sales
(HL.14011919).
ISBN
9788759878644.
English-Danish.
Orc
hestration:
3(pic)(afl).2+ca.1+2bcl.2
+cbn/4.3.3.1/timp.2perc/h
p/pf/strParts are for
hire:
hire@ewh.dkProgramnote
Hush er et studie i morke
og lys, kold og varm lyd.
Jeg har ogsa i dette
stykke forsogt at
introducere staerke
folelsesmaessige udtryk,
ved brug af instrumentale
farver og tonale
virkemidler. Titlen Hush
er forbundet med et slags
indre digt jeg har haft i
tankerne medens jeg
komponerede. Da jeg jo
ikke er digter i ord, er
det ufuldstaendigt og
utilstraekkeligt i sin
form, men derfor
alligevel meget godt
beskrivende for stykkets
vaesen. Det lyder
nogenlunde sadan her i
mit hoved:Hush little
heart- hush.!!was time
running too fast or did
the hours sometimesseem
long?,Were your beats too
many or were they too few
in the end?Hush little
heart- hushdid you see
too little or did you
sometimes see too
much?,was life too small
or was it sometimes
larger than life?was your
thirst quenched or did
you end up drained?hush,
hush, little heart-
hush!!,Don't be afraid,
maybe you knew all the
time:that one day you
would have to be still-or
maybe you didn't?Is that
why you were beating so
fast?hush, hush little
heart-hush,- be
comforted, 'cause even as
you feel so small Your
very existence is strange
and beautiful - so, hush,
hush, be comforted, be
still my beating
heart.
String Orchestra (Full Score) SKU: HL.51483320 For String Orchestra St...(+)
String Orchestra (Full
Score)
SKU:
HL.51483320
For
String Orchestra Study
Score. Composed by
Edvard Grieg. Edited by
Ernst-Gü and nter
Heinemann. Henle Music
Folios. Classical.
Softcover. 28 pages. G.
Henle #HN3320. Published
by G. Henle
(HL.51483320).
UPC:
196288308140.
9.25x12.25x0.13
inches.
The
occasion for the
composition, described as
a âsuite in the old
styleâ, was the
200th birthday of the
Norwegian-Danish poet
Ludvik Holberg
(1684-1754), which was
celebrated in Bergen with
several festive events.
Initially, a piano
version of the work was
written in August 1884,
but the composer already
had the arrangement for
string orchestra in mind,
which he made just one
month later. As a
starting point, Grieg
chose baroque dance
movements from Holberg's
era, but skilfully
combined them with
elements of his own tonal
language, such as
chromatic progressions
and dynamic swells. The
orchestral version of the
âHolberg
Suiteâ, which was
very successful right
from the beginning, is
still one of Grieg's most
popular compositions
today and now enriches
the Henle programme for
string orchestra.
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 workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra SKU: HL.14003801 Composed by Anders Nordentoft. Music Sales Ame...(+)
Orchestra
SKU:
HL.14003801
Composed
by Anders Nordentoft.
Music Sales America.
Score. Music Sales
#KP00916. Published by
Music Sales
(HL.14003801).
ISBN
9788759882498.
Danish.
'Beggars'
Palace' is the name of a
fictive railway station,
a metaphor that can evoke
many associations, for
example as a place from
which one journeys on,
where one is forced to
stay for a short or long
period, or a place where
one simply gets stuck and
must watch others journey
on. The fictive station
has something worn-out
and shabby about it, but
the worn and shabby can
have its own poetry and
beauty. At the end the
music stands still for a
minute or two, while a
voice talks about
Beggars' Palace.
'Beggars' Palace' was
composed in January 2000
for the Aarhus Symphony
Orchestra. Anders
Nordentoft.
Hawaiian Merry
Christmas. Composed
by R. Alex Anderson.
Arranged by Jan
Farrar-Royce. Performance
Music Ensemble; Single
Titles; String Orchestra.
Pop Intermediate String
Orchestra. Christmas;
Holiday Pops;
Multicultural; Pop;
Secular; Winter. Score. 8
pages. Alfred Music
#00-46695S. Published by
Alfred Music (AP.46695S).
UPC: 038081535371.
English.
Mele
Kalikimaka, the closest
approximation of saying
Merry Christmas that
there is in the Hawaiian
language, was written in
1949 and recorded by Bing
Crosby and The Andrew
Sisters in 1950. This
first rendition of the
tune is still popular
today and many of your
students and audience
members will recognize it
with delight! It is
almost impossible not to
sing the syncopated title
phrase and beginning it
on an up-bow helps create
accents and fun! The
accidentals are all
familiar ones that give
the piece color and
interesting parts. Every
section has their own
entrances and gets a
chance to play the main
melodies and important
supporting parts. Mele
Kalikimaka, arranged by
Jan Farrar-Royce, is a
fun and musically
educational way to
celebrate the holiday
season!
Orchestra SKU: FG.55011-651-1 Composed by Antti Auvinen. Study score. Fen...(+)
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.