Orchestra - Grade 3.5

SKU: AP.FO9912C

Arranged by Jerry Brubaker. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Concert Full Orchestra. Light Concert; Movie. Score. 44 pages. Duration 7:24. Belwin Music #00-FO9912C. Published by Belwin Music (AP.FO9912C).

UPC: 654979000365. English.

The world has waited years, and finally, last May, the motion picture event of the century exploded on the screen. Jerry Brubaker presents a highly creative mix of these great themes from the power-packed John Williams' score: Star Wars (Main Theme), Anakin's Theme, Augie's Great Municipal Band, Duel of the Fates, and the End Credits. Every orchestra in the world will be playing this one! (7:24).

Orchestra (bassoon, 4Hn, 2 Trp, 3trombone, timpani, percussion, harp, Str)

SKU: BA.BA05540

Romantic opera in three acts. Composed by Franz Schubert. Edited by Walther Durr. This edition: complete edition, urtext edition. Linen. New Schubert Edition (Neue Ausgabe samtlicher Werke) Series II, Volume 6. 3 part volumes. Opern, dt. (German Opera). Complete edition, Score. D 732. Duration 2 hours, 30 minutes. Baerenreiter Verlag #BA05540_00. Published by Baerenreiter Verlag (BA.BA05540).

ISBN 9790006497126. 33 x 26 cm inches. Text: Franz von Schober.

In late September or early October 1821 Schubert and his close friend, Franz von Schober, vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle, which belonged to the Bishop of St. Pölten (a close relative of Schober’s), after which they moved on to St. Pölten itself. Roughly a year earlier, two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann, who blamed the press for the indifferent reception the two works were given by the audience. Schubert and Schober now decided, it would seem, to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.

Not until 24 June 1854 was the opera finally performed in Weimar, under the baton of Franz Liszt. It only achieved success, however, in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881–2, allegedly with brilliant acclaim.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Arranged by Bob Cerulli. For Conductor. String Orchestra Collection. Book. 72 pages. Published by Alfred Publishing.

By John Kander, Fred Ebb. Arranged by Ted Ricketts. Full Orchestra. Size 9x12 inches. Published by Hal Leonard.

Arranged by Jerry Brubaker. Arr. Jerry Brubaker. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. Movie. Level: Medium Easy to Medium (grade III-IV). Conductor Score and Parts. 426 pages. Duration 7:24. Published by Alfred Publishing.

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.

Orchestra (STP)

SKU: HL.49041890

Einfuhrung und Analyse. Composed by Ludwig van Beethoven. This edition: Paperback/Soft Cover. Sheet music. Serie Musik. Siehe Rubrik Bucher/Multimedia. Study Score. Composed 1811-1812. Op. 93. 180 pages. Schott Music #SP 8122. Published by Schott Music (HL.49041890).

ISBN 9783795781224. German.

Ludwig van Beethoven stellte seine 8. Sinfonie am 27. Februar der Offentlichkeit vor; zuvor erklangen anlasslich dieser Akademie das Schwesterwerk, die Sinfonie Nr. 7 A-Dur, sowie die Schlachtensinfonie 'Wellingtons Sieg oder die Schlacht bei Vittoria', die Beethoven einen seiner grossten Erfolge als Komponist bescherte. Zwar war die Aufnahme der Achten durch das Publikum nach den vorangegangenen Programmpunkten eher kuhl, und auch heute noch steht die Achte wie auch etwa die Pastorale im Schatten der ungeraden Sinfonien - doch gewinnt sie bei Horern mehr und mehr an Beliebtheit: die vielen unerwartenden Wendungen in diesem Werk liessen die Einschatzugn eines Paradebeispiels fur den Humor in der Musik entstehen.Herbert Schneider legt in seiner Werkeinfuhrung dar, wie die Achte entstand, erstmals aufgefuhrt, gestochen und schliesslich gedruckt, wie sie auf Zeitgenossen und spatere Generationen wirkte, und schildert dies in diesem Buch auf Grund wissenschaftlich begrundeter Fakten auf anschauliche Weise; analytische und die Interpretation betreffende Kommentare schliessen sich an. Anregungen zur weiteren Beschaftigung mit dieser popularen Sinfonie geben Literaturhinweise und eine Diskographie. Anhand der vollstandig wiedergegebenen Partitur kann der Leser den Notentext beim Horen verfolgen und die analytischen Kommentare nachvollziehen.

Soprano, baritone, spoken voice, mixed choir (SSSSAAAATTTTBBBB, and 9 boys' voices, S/A) and orchestra (Score) - difficult

SKU: HL.49006187

(The Raft of the Medusa). Composed by Hans Werner Henze. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. Composed 1968/1990. 168 pages. Duration 70'. Schott Music #ED6326. Published by Schott Music (HL.49006187).

ISBN 9790001067270. UPC: 884088099282. 8.25x11.75x0.41 inches. German - English.

4 (1., 2. auch Picc., 3., 4. auch Altfl.) * 1 * Ob. d'am. * Engl. Hr. * Heckelphon * Es-Klar. * 1 * Altklar. (oder Bassetthr.) * Bassklar. * Sopransax. * Tenorsax. * 2 * Kfg. - 4 * Picc.-Trp. * 2 * Basstrp. * Altpos. * 1 * Basspos. * Alt-Ofikleide (oder Bombardino) * Bass-Ofikleide (oder Pos. mit Quartventil) * Bombardino (oder Tb. in F) * Wagnertb. * 1 * Kb.-Tb. - P. S. (3 Trgl. * 3 hg. Beck. * Beckenpaar * 3 Gongs * Kuhgl. * 5 Tamt. * Tamb. * Mil. Tr. * 3 Bong. * Tabla * orient. Woodbl. * gr. Tr. * 2 Tempelbl. * Metallbl. * Woodbl. * Mar. * Guiro * Bambusbundel * 3 Metallplatten * Shell-Chimes * Vibr. * Marimba * Rohrengl.) (12 Spieler) - E-Git. * E-Bassgit. * 2 Hfn. * Klav. * E-Org. - Str. (12 * 0 * 8 * 6 * 4).

Full Score. By Carlo Farina. Arranged by Gunther Schuller. (score). Orchestra. Size 9x12 inches. Published by Associated.

Arranged by Calvin Custer. Arr. Calvin Custer. For Full Orchestra. Full Orchestra. Concert Full Orchestra. Level: Medium Easy to Medium (grade III-IV). Conductor Score and Parts. 452 pages. Duration 7:30. Published by Alfred Publishing.

Arranged by Calvin Custer. For Full Orchestra. Full Orchestra. Concert Full Orchestra. Level: 3.5 (grade 3.5). Conductor Score. 44 pages. Published by Alfred Publishing.

Orchestra

SKU: CA.1950219

Composed by Gunther Kretzschmar. Complete orchestral parts. Sacred vocal music, Songs for children, Advent, Christmas. Set of Orchestra Parts. Carus Verlag #CV 19.502/19. Published by Carus Verlag (CA.1950219).

ISBN 9790007192716.

Scor e and parts available separately - see item CA.1950200.