Orchestra - Grade 3

SKU: AP.43840

Composed by Shirl Jae Atwell. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score and Part(s). 124 pages. Duration 3:15. Highland/Etling #00-43840. Published by Highland/Etling (AP.43840).

UPC: 038081497280. English.

Arousing wonder and inquisitiveness---that is mystere. And this piece exemplifies, through music, the wonder and incomprehension of a mystery with melodies and counter melodies throughout. (3:15)
Concert/Contest ; Festival.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

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.

By Frank Sinatra. Arranged by John Moss. HL Full Orchestra. Standards. Published by Hal Leonard

Orchestra - Grade 3.5

SKU: AP.WBSO9403

Composed by Lorenz Hart. Arranged by Calvin Custer. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Broadway; Great American Songbook. Score and Part(s). 63 pages. Duration 4:31. Belwin Music #00-WBSO9403. Published by Belwin Music (AP.WBSO9403).

UPC: 029156111699. English.

You will achieve brilliance from the strings and with an added rhythm section (piano, bass, drums, and guitar) you'll have a modern, contemporary piece that is most appealing. Read the lyrics to the players, add the beautiful melody, and listen to some inspired playing. (4:31).

Orchestra full (bells, sus cymbal/snare drum, bass drum (opt drumset), tamb/wind chimes, opt pno, vln3) - Grade 3

SKU: AP.36007

Composed by Akon, Claude Kelly, and Giorgio Tuinfort. Arranged by Michael Story. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Intermediate Full Orchestra. Form: Ballade. Light Concert; Pop. Score and Part(s). 122 pages. Alfred Music #00-36007. Published by Alfred Music (AP.36007).

UPC: 038081420431. English.

This beautiful ballad featuring Michael Jackson and Akon that was released in late 2010 is sure to have a special place in your programming. Timely and timeless.

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.

Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover. Sheet music. Study score. Composed 2010. Omni Music Publishing #OMNI 50796. Published by Omni Music Publishing

Orchestra

SKU: HL.14028514

Composed by Kaija Saariaho. Music Sales America. Classical. Score. Composed 2002. 80 pages. Duration 1080 seconds. Chester Music #CH62700. Published by Chester Music (HL.14028514).

ISBN 9780711997813. UPC: 888680744199. 8.25x11.75x0.26 inches.

Concerto for flute and orchestra. Study score edition. First performed at the Flanders Festival in Brussels 12th October 2001. Composer's Notes: I have been very familiar with the flute since my earliest pieces. I like the sound in which breathing is ever present and with timbral possibilities that befit my musical language: the instrument's body makes it possible to write phrases that go through grinding textures coloured with phonemes whispered by the flutist which gradually go towards pure and smooth sounds. Kaija Saariaho Duration 18 minutes. Solo part is also available on sale. Conductor's score and orchestral parts are available on hire only.

Orchestra

SKU: SU.94010400

For Orchestra. Composed by James Lee III. Orchestra. Study Score. Subito Music Corporation #94010400. Published by Subito Music Corporation (SU.94010400).

2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset.

Orchestra - Grade 1.5

SKU: AP.48038

Composed by Rob Grice. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score and Part(s). 156 pages. Duration 2:35. Belwin Music #00-48038. Published by Belwin Music (AP.48038).

UPC: 038081554631. English.

Armor of the Mystic by Rob Grice is an ominous piece for younger orchestras that offers the opportunity to perform a mature-sounding composition without parts that are too technically demanding. With dissonant harmonies and pulsating rhythms, this powerful concert work is sure to stimulate the imaginations of young musicians as well as capture the attention of your audience. This work is great for festival performances and will program well on your next concert! This title is available in MakeMusic Cloud. (2:35).

Orchestra - Grade 2.5

SKU: AP.45880

In the Window. Arranged by Brendan Mcbrien. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Chanukah; Jewish Heritage; Multicultural; Traditional; Winter. Score and Part(s). 118 pages. Duration 3:00. Highland/Etling #00-45880. Published by Highland/Etling (AP.45880).

UPC: 038081523835. English. Traditional Hanukkah.

This traditional Hanukkah song, My Candles (sometimes known as In the Window), is a lovely and haunting melody written in strophic form. Strophic music is a song that has only one phrase of melodic material with changing text to give variation. Now combined by arranger Brendan McBrien with an original melody that appears between verses, this piece is a beautiful addition to the holiday repertoire! (3:00).

Orchestra - Intermediate

SKU: LO.765762191600

Composed by Tom Payne. Allegis. Orchestration, enhanced CD. Lillenas Publishing Company #765762191600. Published by Lillenas Publishing Company (LO.765762191600).

UPC: 765762191600.

The fresh and creative Allegis Orchestral Series is designed to give small to mid-sized churches an instrumental resource that fits the needs of any size group, from eight players (minimum) to a full orchestra. These moderately difficult hymn arrangements have been created in popular styles that your instrumentalists and congregation alike with love. Three accompaniment options (piano, live rhythm section, or recorded rhythm tracks).Everything you need for practice and performance is included on the Enhanced CD: printable instrumental parts, (incl. opt parts), plus the rhythm accompaniment track and demonstration track. Minimum Instrumentation: Part 1 – Fl; Part 2 – Ob (Cl, S Sax); Part 3 – Cl (A Sax); Part 4 – Tpt; Part 5 – Tpt (A Sax); Part 6 – Hn (A Sax, Cl); Part 7 – Tbn (Bari TC, T Sax); Part 8 – Tbn (Bari TC, Bari Sax).

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 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: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

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.

Orchestra - Grade 2.5

SKU: AP.40502

As Performed by The Who. Composed by Pete Townshend. Arranged by Douglas E. Wagner. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Rock. Score and Part(s). 120 pages. Duration 2:24. Alfred Music #00-40502. Published by Alfred Music (AP.40502).

UPC: 038081465258. English.

From their first album in 1965 that catapulted them to the top of the rock charts, this classic from The Who is as vital today as it was back then. With this exciting, rhythmically driven arrangement, you'll find great audience acceptance, and it's loads of fun to play! (2:24).

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

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra (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.

Orchestra (Study Score)

SKU: HL.48024683

Orchestra Study Score. Composed by Magnus Lindberg. Boosey & Hawkes Scores/Books. Classical. Softcover. 144 pages. Boosey & Hawkes #M060135880. Published by Boosey & Hawkes (HL.48024683).

ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.

TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.

The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.

Chamber Orchestra; Orchestra; String Orchestra (Study Score)

SKU: HL.48024880

Study Score. Composed by James Macmillan. Boosey & Hawkes Scores/Books. Classical. Softcover. 80 pages. Duration 900 seconds. Boosey & Hawkes #M060136009. Published by Boosey & Hawkes (HL.48024880).

ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.

This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.

Orchestra (solo: S - 4(2picc).3(cor ang).3(Eb-clar.Bb-clar).3 (dble bsn) - 4.3.0.0 - hp.timp.perc(4) - str)

SKU: BR.OB-5634-60

Final Version 1911 - Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Set of parts. 1076 pages. Duration 55'. Breitkopf and Haertel #OB 5634-60. Published by Breitkopf and Haertel (BR.OB-5634-60).

ISBN 9790004345085. 10.5 x 14 inches.

Of all his symphonies, Mahler gave the Fourth, his favorite and problem child, his most particular attention. The Heavenly Life, a humoresque composed in 1892 for soprano and piano, which he already wanted to use in the final movement of the Third Symphony under the title What the Child Tells Me, ultimately became the nucleus and final movement of the Fourth. Even after publication in 1901, Mahler kept repeatedly refining the orchestration. His maxim not without my retouching led to a whole series of revised reprints. It is probably no coincidence that Mahler performed especially the Fourth Symphony in his last two New York concerts in February 1911, using this opportunity to review once again the score and parts. This performance material with his retouching served as the main source for the new edition. Furthermore, included for the first time were corrections and annotations in conjunction with performances of the Fourth, which Mahler entered into the scores of conductors such as Mengelberg and Wickenhauser. PB 5664 has been awarded the Presto Sheet Music Award 2020.

Orchestra - Grade 3

SKU: AP.48096

Composed by Doug Spata. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Masterwork Arrangement. Score and Part(s). 128 pages. Duration 4:50. Highland/Etling #00-48096. Published by Highland/Etling (AP.48096).

ISBN 9781470656676. UPC: 038081550954. English.

The mystical atmosphere of Greece's coastal caves, which shine with dazzling iridescent blue light through crystal-clear waters, is the inspiration of this rich, cinematic selection. Students will be challenged to maintain a balanced, warm tone throughout, with a slow tempo and increased part independence. But they'll adore the flowing, interlocking streams of dreamlike melody in all the parts and an ominous sense of tension and release that builds to a rewarding conclusion. An optional harp part is included. The Blue Caves of Zakynthos, by Doug Spata, is a great way for advanced orchestras to work on higher-level musicianship skills, and it will be a stunning showpiece in any concert program. (4:50).