By Ottorino Respighi (1879-1936). Study Score. Study Score. Softcover. 88 pages. Eulenburg (Schott Music) #ETP8097. Published by Eulenburg (Schott Music) . Softcover.

Orchestra - Grade 1.5

SKU: AP.35974S

Composed by Susan H. Day. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Fall; Halloween; Novelty. Score. 12 pages. Duration 3:45. Highland/Etling #00-35974S. Published by Highland/Etling (AP.35974S).

UPC: 038081411828. English.

A perfect addition for your spooky fall concert! The castanets represent bones rattling and add a scary touch! You can let the string player with the broken arm play the castanet part! Each section of the orchestra gets to play melody lines with easy rhythms. Techniques featured are pizzicato, accents, tremolo, and some 1st finger slides. The use of energetic quarter notes throughout will bring this piece to life. A surprise Boo at the end will get the attention of the audience. Great fun for all! (3:45).

Orchestra

SKU: BR.SON-636

Composed by Jean Sibelius. Edited by Timo Virtanen. Orchestra; Linen. Complete Works. Late-romantic; Early modern. Complete Works. 244 pages. Breitkopf and Haertel #SON 636. Published by Breitkopf and Haertel (BR.SON-636).

ISBN 9790004803912. 10 x 12.5 inches.

The present volume contains five orchestral works, which Sibelius composed in 1904-1910: Die Dryade (Op. 45 No. 1), Musik zu einer Szene [Op. 45 No. 2/1904], Tanz-Intermezzo (Op. 45 No. 2), Pohjolas Tochter (Op. 49), and Pan und Echo (Op. 53a). An early version of Tanz-Intermezzo is included as an appendix. In addition, a fragment illustrating the unrealized plan of a symphonic poem called Luonnotar, which Sibelius reworked into Pohjolas Tochter, appears as a facsimile. Musik zu einer Szene is now published for the first time. Except for Pohjolas Tochter, all the works were composed for a choreographic purpose, (sub-)titled or referred to as dance intermezzos, or related to opus 45.

Orchestra (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str)

SKU: BR.PB-5559-07

Urtext. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Christoph Flamm. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

Tchaikovsky's Hamburg Symphony in the Urtext

Symphony; Romantic. Study Score. 208 pages. Duration 44'. Breitkopf and Haertel #PB 5559-07. Published by Breitkopf and Haertel (BR.PB-5559-07).

ISBN 9790004213698. 6.5 x 9 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tch aikovsky's Hamburg Symphony in the Urtext.

(Full Score). By Michael Daugherty (1954-). Full Score. Peermusic Classical. 76 pages. Peermusic #61933-856. Published by Peermusic

Orchestra (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str)

SKU: BR.PB-5558

Urtext. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Christoph Flamm. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

Tchaikovsky's Hamburg Symphony in the Urtext

Symphony; Romantic. Full score. 212 pages. Duration 44'. Breitkopf and Haertel #PB 5558. Published by Breitkopf and Haertel (BR.PB-5558).

ISBN 9790004213681. 10 x 12.5 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tch aikovsky's Hamburg Symphony in the Urtext.

Five Songs of Franz Schubert Orchestrated by Anton Webern. By Franz Schubert; Heinrich Heine. Arranged by Anton Webern. Text: Friedrich Ruckert; Helmina Von Chezy; Wilhelm Muller. Orchestra. Soft Cover. 71 pages. Published by Carl Fischer.

Orchestra (3(3picc.A-fl.B-fl).4.3.0 - 4.3.3.2 - perc(5) - 2pno - str: 8.8.8.8.8.8)

SKU: BR.PB-5435

Composed by Helmut Lachenmann. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Music post-1945; New music (post-2000). Full score. Composed 2003/04. 108 pages. Duration 25'. Breitkopf and Haertel #PB 5435. Published by Breitkopf and Haertel (BR.PB-5435).

ISBN 9790004212820. 11.5 x 16.5 inches.

Meine eigene neue Orchesterkomposition hat den Titel ,,SCHREIBEN. Die praktische Aktion des Schreibens, als mechanisches Einwirken per Hand, Stift, Pinsel, auf eine Flache (Papier, Pergament, Stein etc.), ausgelost und gesteuert von einem kommunikativen Bedurfnis und, bei aller Spontaneitat, beherrscht durch die Regeln von Schrift und Sprache, ist fur mich einer der geheimnisvollsten Vorgange im zwischenmenschlichen Alltag, bei dem menschlicher Geist und tote Materie einander begegnen: Gedanken bzw. Gedachtes werden auf einer Flache - Papier, Pergament, Stein - festgehalten, ihr sozusagen anvertraut. Und auf diesem Umweg uber Sprache, Schrift und Gravur begegnen sie dem Geist des lesenden oder entziffernden Mitmenschen. Als Komponist aber frage ich: gibt es auch einen anderen Kausalitatszusammenhang, gibt es z. B. ein ,,autonomes Schreiben, eine sinn-freie Zeichengebung, durch entfesselte, losgelassene Fortbewegung der schreibenden Hand, wo der Schreibende seinem eigenen Schreiben nur noch staunend zusieht? Werden nicht in Japan Bilder, auch ,,abstrakte, geschrieben??? (In einem Underground-Film der 70er-Jahre uber den jungen Mozart sieht sich der Zuschauer versetzt in ein Zimmer eines italienischen Gasthauses, in dem der junge durchreisende Mozart am Tisch eilig die Rezitative einer seiner italienischen Opern zu Papier bringt. Mehr als eine Viertelstunde lang sind wir dabei, horen nicht die entstehende Musik, sondern das nervose Kratzen der Feder auf dem groben Notenpapier in nachmittaglicher Stille - nur der gleichmassige Pendelschlag der Wanduhr ist noch zu horen -, und wir erleben diese sekundare Klangwelt kaum weniger intensiv als nachher andere Horer die dabei stumm entstehende Musik.) Das Orchester in meinem Stuck ,,schreibt. Es fugt Strich zu Strich, versteht sich selbst als eine Art vielfaltiges ,,Schreib-Gerat. Wir als Horer lesen nicht das ,,Geschriebene, aber wir horen den Vorgang des Schreibens, den Bogenstrich, die Bewegung des scharrenden Holzstabs auf Fell oder Tamtam, und wir beobachten dessen Imitation bzw. Transformation durch - zeitweise auch tonlos - sich zu linearen Gestalten verbindende Blasinstrumente als eine Art klingender Schreib-Zeremonie. Es ergibt sich eine Musik, die gelegentlich ihren gedanklichen Ausgangspunkt vergisst und sich als autonome Klang-Situation fortentwickelt und verwandelt, und die schliesslich im hochsten Register eine Art ,,Kantilene be-schreibt. Wer das deutsche Wort ,,Schreiben (engl. ,,to write) schreibt, der schreibt dabei auch unweigerlich das Wort ,,Schrei (engl. ,,shout), und er schreibt auch das Wort ,,reiben (engl. ,,to rub). So emotional der erste Begriff gedacht werden kann, so nuchtern-praktisch ist der zweite. Von beiden Aspekten, samt ihrer Gegensatzlichkeit, ist mein Stuck gepragt. (Helmut Lachenmann, 2003)

World premiere: Tokyo/Japan, December 4, 2003.

Orchestra

SKU: BT.DV-10633

Composed by David Fontanesi. Contemporary Music. Set (Score & Parts). 56 pages. Da Vinci Publishing #DV 10633. Published by Da Vinci Publishing (BT.DV-10633).

English.

Orchestra

SKU: HL.14028038

Composed by Poul Ruders. Music Sales America. Classical. Score. 95 pages. Music Sales #KP00294. Published by Music Sales (HL.14028038).

ISBN 9788759854730. 12.0x16.5x0.3 inches. English.

The word GONG is saturated with associations: the splendour of the Orient, mysticism, drama, loud metallic clangour, violent impact, etc. The present piece draws upon all those connotations, but it is primarily a symphonic drama about the life and behaviour of the sun, our closest star and prime source of life on Earth. Describing the sun in music is not a new idea, of course; during a visit to Greece, Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the Helios Overture. GONG is a Helios Overture too, of sorts, albeit more abstract. Recent astronomical research shows, that the surface of the sun reverberates like a gong, in four different, simultaneous tempi (not directly depicted in the score, though); the sun looks like a GONG, - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun, from the initial explotional birth through the hyper-activity as energy source as we know it today to the final, predicted flaring up and collapse into a so-called white dwarf. But - being a musical composition, not an astrophysical thesis - GONG is brought to its compositional conclusion by a real concert-ending, a chord taken from the middle of the piece and sustained over several bars, from virtual nothingness to full force.

Orchestra

SKU: PO.UME12

Composed by Eve de Castro-Robinson. Sws. Full score. Promethean Editions #UME12. Published by Promethean Editions (PO.UME12).

ISBN 9781877564888.

Comm issioned by the Royal Plunket Society for the New Zealand Symphony Orchestra, Eve de Castro-Robinson's These arms to hold you channels both tender adoration and the excitement of a new arrival. The children's choir maintains an expectant energy in this work with handclaps, overlapping chants, glissandi, ecstatic yelps and lullabies. Esteemed New Zealand poet Bill Manhire provided text for the choir, with excerpts taken from actual Plunket books heard alongside Manhire's own prose. Castanets and temple blocks are made curious and playful in this setting as they provide a bubbling rhythmic drive for the orchestra. These arms to hold you was the winner of the 2007 SOUNZ Contemporary Award.

Orchestra - Grade 2.5

SKU: AP.43761

Composed by Domenico Gallo. Arranged by Douglas E. Wagner. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Baroque; Masterwork Arrangement. Score and Part(s). 148 pages. Duration 2:35. Belwin Music #00-43761. Published by Belwin Music (AP.43761).

UPC: 038081496375. English.

This spontaneously happy work will be familiar to many who have heard it as the opening to the Overture to Stravinsky's ballet, Pulcinella. The music virtually dances off the page and is perfect for strings. (2:35).

Natural horn brass band - Grade 4

SKU: RM.DELB07647-CO

Composed by Laurent Delbecq. Large orchestra. Orchestra. Conductor's score. Editions Robert Martin #DELB07647-CO. Published by Editions Robert Martin (RM.DELB07647-CO).

String Orchestra string orchestra (88555) with optional 3rd violin/viola TC (1), piano and percussion (2) - Grade 2

SKU: KN.9052

Composed by Frank Halferty. Voyager String Orchestra. Score and set of parts. Duration ca. 2 minutes. Kendor Music Inc #9052. Published by Kendor Music Inc (KN.9052).

UPC: 822795090529.

Featu ring all the flair and passion that the title suggests, this dramatic original casts low strings in the starring role. Use of the optional percussion parts for wind chimes, castanets and tambourine will definitely enhance the exciting Spanish flavor. Duration ca. 2:00.

Natural horn brass band - Grade 4

SKU: RM.DELB07647-BA

Composed by Laurent Delbecq. Large orchestra. Orchestra. Full set. Editions Robert Martin #DELB07647-BA. Published by Editions Robert Martin (RM.DELB07647-BA).

ISBN 9790231076479.

Facade Entertainments by William Walton (1902-1983). Arranged by David Lloyd-Jones. Narrator, flute ( piccolo), clarinet ( bass clarinet), alto saxophone, trumpet in C, percussion, cello (1-2 players); Percussion: snare drum, cymbal, triangle, Chinese block, castanets, tambourine, jingles). Scores. William Walton Edition. Walton Edition. Full score. 272 pages. Duration 50'. Published by Oxford University Press

Composed by George Benjamin. This edition: For Countertenor, Women�s Voices and Orchestra. Full Orchestra; Masterworks; Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music (AP.12-0571538878).

(Sinfonie Nr. 1 e-moll op. 39). By Jean Sibelius (1865-1957). Edited by Timo Virtanen. For orchestra. This edition: Urtext. Complete Works. Score. Opus 39. 288 pages. Published by Breitkopf and Haertel

Orchestra

SKU: BR.SON-627

Ouverture JS 145, Baletscen JS 163. Composed by Jean Sibelius. Edited by Tuija Wicklund. Linen. Complete Works. Late-romantic; Early modern. Complete Works. 196 pages. Breitkopf and Haertel #SON 627. Published by Breitkopf and Haertel (BR.SON-627).

ISBN 9790004803295. 10 x 12.5 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts … are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. … In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. … For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. … JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.

Orchestra - Grade 2.5

SKU: AP.38399S

Composed by Victor Lopez. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Latin; Multicultural. Score. 12 pages. Belwin Music #00-38399S. Published by Belwin Music (AP.38399S).

UPC: 038081430270. English.

The region of Spain known as Andalucía provides the inspiration for this intense, emotional piece. The blending of flamenco and traditional march styles with a wonderful modal mixture of E minor and C major provides great teaching opportunities. Though optional, the castanets and tambourine will bring authenticity.

Plectrum orchestra

SKU: RM.SENT03130-CO

Composed by Sentis. Plectrum orchetra. Orchestra. Conductor's score. Editions Robert Martin #SENT03130-CO. Published by Editions Robert Martin (RM.SENT03130-CO).

Orchestra

SKU: BT.DV-10614

Composed by David Fontanesi. Contemporary Music. Set (Score & Parts). 24 pages. Da Vinci Publishing #DV 10614. Published by Da Vinci Publishing (BT.DV-10614).

English.

Composed by Richard Meyer. Orchestra. For full (timp, bells/xylophone, Suspended Cymbal, Crash Cymbals, Triangle, Snare Drum, Tambourine, Castanets). Full Orchestra; Part(s); Score. Highland Full Orchestra. Form: Overture. Grade 3. 220 pages. Published by Highland/Etling

Plectrum orchestra - intermediate (grade 4)

SKU: RM.SENT03130-BA

Composed by Sentis. Plectrum orchetra. Orchestra. Full set. Editions Robert Martin #SENT03130-BA. Published by Editions Robert Martin (RM.SENT03130-BA).

ISBN 9790231031300.

Mli - Mli II + Mli III - Mla - G - Mlo - CR.

A Choreographic Poem for Orchestra. By Peter Maxwell Davies. (Study Score). Boosey and Hawkes Scores and Books. 132 pages. Published by Boosey & Hawkes.

Orchestra (2+1.3D1.2+1.2/4.3.3.1,ti mp,perc,str)

SKU: TM.08873SC

Composed by Ferruccio Busoni. Score. Lucks Music Library #A7703. Published by Lucks Music Library (TM.08873SC).

Vorspeil, Kriegstane, Grabdenkmal, Amsturm.

By Nikolay Andreyevich Rimsky-Korsakov. Arranged by Richard Meyer. By Nikolay Rimsky-Korsakov / arr. Richard Meyer. For Full Orchestra. Full Orchestra. First Philharmonic. Level: Grade 2.5. Conductor Score and Parts. Published by Alfred Publishing.