Coronation Anthem for
Choir and Orchestra.
Composed by George
Frideric Handel. Edited
by Damian Cranmer. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1727. 18 pages.
Duration 3'. Eulenburg
Edition #ETP1702.
Published by Eulenburg
Edition (HL.49009666).
ISBN 9790200211412.
UPC: 073999354386.
5.25x7.5x0.095 inches.
English.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
Orchestra SKU: HL.14009640 Composed by Edward Elgar. Music Sales America....(+)
Orchestra
SKU:
HL.14009640
Composed
by Edward Elgar. Music
Sales America. Classical.
Score. Music Sales
#NOV951709. Published by
Music Sales
(HL.14009640).
The Chanson de
Nuit was originally
entitled Evensong, though
it is difficult to
discern any religiosity
in the work. And although
published in 1897,
scholars suggest that
these works may have been
written in the 1880's.
The contrast of the two
melodies which Elgar then
intertwines yield a
satisfying short work,
especially with the
composer's fine
Orchestration.Elgar
published the Chanson de
Nuit - and its partner,
Chanson de Matin - at the
time of his life when he
was also creating the
Enigma Variations and The
Dream of Gerontius. This
work was originally
created as a Violin and
Piano duet, but Elgar
then Orchestrated the
work and it was presented
at the Proms. Sincethen,
other arrangements have
been created.
Orchestra - Grade 1.5 SKU: AP.49462 The Prince of Denmark March. C...(+)
Orchestra - Grade 1.5
SKU: AP.49462
The Prince of Denmark
March. Composed by
Jeremiah Clarke. Arranged
by Bob Phillips. Series;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Light Concert;
Masterwork Arrangement.
Score and Part(s).
Duration 2:00. Alfred
Music #00-49462.
Published by Alfred Music
(AP.49462).
ISBN
9781470650261. UPC:
038081571041.
English.
This
arrangement of The Prince
of Denmark March, or
Trumpet Voluntary,
provides the perfect
setting for advocacy and
striving for excellence
since it is so
recognizable. Three
different versions of the
final 8 bars, containing
incorrect notes, are
included. Each version
contains an increasing
percentage of correct
pitches. Each represents
a different letter grade.
Play all four versions
and then explain to
parents and
administration that the
A+, 100% correct version
is what we do every day
in orchestra. All
sections play the melody
in this piece, still
providing a solid musical
setting in a novelty
piece. Audience members
are sure to recognize it
which makes it perfect
for finding errors. Along
with the real music for
the final 8 bars, three
other versions are
included. The first
version has 80% of the
correct notes and 20%
incorrect. The next has
90% correct notes and 10%
incorrect. The next has
95% correct notes and 5%
incorrect. The final,
real version has 100%
correct notes. The 100%
version should be played
first for the audience
explaining this version
would get an A+ in an
academic setting. Then
play the 80% or B-
version, then the 90% or
A- Version, and then the
95% A version. Then
explain to parents and
administration that the
only version that is
acceptable is the 100%
version and that is what
we do every day in
orchestra. This provides
a perfect advocacy moment
to discuss the benefits
of music education with
parents and a tangible
explanation of striving
for excellence to parents
and students. Includes an
educational packet with
each part that features
technical exercises,
history, theory,
composition, and more.
Correlated to Sound
Innovations, Book 1,
Level 5. (2:00).
Orchestra - Grade 1.5 SKU: AP.49462S The Prince of Denmark March. ...(+)
Orchestra - Grade 1.5
SKU: AP.49462S
The Prince of Denmark
March. Composed by
Jeremiah Clarke. Arranged
by Bob Phillips. Series;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Light Concert;
Masterwork Arrangement.
Score. Duration 2:00.
Alfred Music #00-49462S.
Published by Alfred Music
(AP.49462S).
ISBN
9781470650278. UPC:
038081571058.
English.
This
arrangement of The Prince
of Denmark March, or
Trumpet Voluntary,
provides the perfect
setting for advocacy and
striving for excellence
since it is so
recognizable. Three
different versions of the
final 8 bars, containing
incorrect notes, are
included. Each version
contains an increasing
percentage of correct
pitches. Each represents
a different letter grade.
Play all four versions
and then explain to
parents and
administration that the
A+, 100% correct version
is what we do every day
in orchestra. All
sections play the melody
in this piece, still
providing a solid musical
setting in a novelty
piece. Audience members
are sure to recognize it
which makes it perfect
for finding errors. Along
with the real music for
the final 8 bars, three
other versions are
included. The first
version has 80% of the
correct notes and 20%
incorrect. The next has
90% correct notes and 10%
incorrect. The next has
95% correct notes and 5%
incorrect. The final,
real version has 100%
correct notes. The 100%
version should be played
first for the audience
explaining this version
would get an A+ in an
academic setting. Then
play the 80% or B-
version, then the 90% or
A- Version, and then the
95% A version. Then
explain to parents and
administration that the
only version that is
acceptable is the 100%
version and that is what
we do every day in
orchestra. This provides
a perfect advocacy moment
to discuss the benefits
of music education with
parents and a tangible
explanation of striving
for excellence to parents
and students. Includes an
educational packet with
each part that features
technical exercises,
history, theory,
composition, and more.
Correlated to Sound
Innovations, Book 1,
Level 5. (2:00).
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 SKU: BT.MUSM570366699 Composed by Ed Hughes. Score Only. 62 pag...(+)
Orchestra
SKU:
BT.MUSM570366699
Composed by Ed Hughes.
Score Only. 62 pages.
University of York Music
Press #MUSM570366699.
Published by University
of York Music Press
(BT.MUSM570366699).
English.
Le
Voyage Dans La Lune is a
continuous orchestral
score of approximately 14
minutes comprising two
outer fast sections and a
slower inner section of a
dream-like character. The
work is directly inspired
by the film Le Voyage
Dans La Lune (1902),
written and directed by
the pioneering French
film-maker, Georges
Méliès. Méliès was
influenced by 19th
century interests in
science and discoveries,
as well as the science
fiction of Jules Verne.
At the same time his work
seems fantastic, surreal
and satirical. Some
critics point out an
underlying critique of
colonial adventuring. The
plot centres on a group
of astronomers who decide
to launch a rocket to the
moon containing a handful
of their number. They
reach the moon (famously
landing on the moon’s
face) and then encounter
a strange race of aliens,
whom they battle and
destroy. The return to
earth involves a dramatic
descent, a plunge into
the ocean and then
celebratory dancing. The
film inhabits a surreal
and dream-like space, and
uses an idiosyncratic
visual language which
transforms reality. This
inspired an active
musical response in my
own score, which is by
turns abrupt, smooth,
lyrical and violent, and
expresses something of
the strange shifting
surfaces and multiple and
layered tempos evident in
the film. The canons in
the horns in the first
scene reflect the intense
arguments of the
astronomers as they
consider the project. The
slower inner section is
inspired by the scenes of
the industrial City
viewed from its rooftops
by the astronomers. It
also expresses the wonder
of the astronomers as
they see the earth rise
from the perspective of
the moon after their
arrival there. The music
of the final section is
in places conflicted,
reflecting the violent
encounters with the
moon’s inhabitants. It
moves into a more
harmonious phase at the
close to match the
celebrations upon the
astronomers’ return
from their adventuring.
The music could be
considered to be a
surreal mini-opera
without voices, voicing
instead the characters of
the silent screen. - Ed
Hughes.
Orchestra SKU: BT.MUSM570366712 Composed by Ed Hughes. Classical. Study S...(+)
Orchestra
SKU:
BT.MUSM570366712
Composed by Ed Hughes.
Classical. Study Score.
62 pages. University of
York Music Press
#MUSM570366712. Published
by University of York
Music Press
(BT.MUSM570366712).
English.
Le
Voyage Dans La Lune is a
continuous orchestral
score of approximately 14
minutes comprising two
outer fast sections and a
slower inner section of a
dream-like character. The
work is directly inspired
by the film Le Voyage
Dans La Lune (1902),
written and directed by
the pioneering French
film-maker, Georges
Méliès. Méliès was
influenced by 19th
century interests in
science and discoveries,
as well as the science
fiction of Jules Verne.
At the same time his work
seems fantastic, surreal
and satirical. Some
critics point out an
underlying critique of
colonial adventuring. The
plot centres on a group
of astronomers who decide
to launch a rocket to the
moon containing a handful
of their number. They
reach the moon (famously
landing on the moon’s
face) and then encounter
a strange race of aliens,
whom they battle and
destroy. The return to
earth involves a dramatic
descent, a plunge into
the ocean and then
celebratory dancing. The
film inhabits a surreal
and dream-like space, and
uses an idiosyncratic
visual language which
transforms reality. This
inspired an active
musical response in my
own score, which is by
turns abrupt, smooth,
lyrical and violent, and
expresses something of
the strange shifting
surfaces and multiple and
layered tempos evident in
the film. The canons in
the horns in the first
scene reflect the intense
arguments of the
astronomers as they
consider the project. The
slower inner section is
inspired by the scenes of
the industrial City
viewed from its rooftops
by the astronomers. It
also expresses the wonder
of the astronomers as
they see the earth rise
from the perspective of
the moon after their
arrival there. The music
of the final section is
in places conflicted,
reflecting the violent
encounters with the
moon’s inhabitants. It
moves into a more
harmonious phase at the
close to match the
celebrations upon the
astronomers’ return
from their adventuring.
The music could be
considered to be a
surreal mini-opera
without voices, voicing
instead the characters of
the silent screen. - Ed
Hughes.
Legacy Orchestre [Conducteur] - Facile Highland/Etling
Orchestra - Grade 3 SKU: AP.47472S Celebrating the past, while creatin...(+)
Orchestra - Grade 3
SKU: AP.47472S
Celebrating the past,
while creating the
future. Composed by
Bob Phillips. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Score. 20
pages. Duration 4:24.
Highland/Etling
#00-47472S. Published by
Highland/Etling
(AP.47472S).
UPC:
038081542034.
English.
With
lovely harmonies and
surprising melodic and
mood changes, this piece
will be perfect for
festivals and to bring
any concert to a rousing
close. From the
contemplative beginning
into a mysterious
interlude, then a driving
melody that moves from
4/4, this piece
transitions into an
accented segment in C
major, a playful
pizzicato section, and
then closes with the
original melody set in
9/8, creating a feeling
of coming home. With such
a wide variety of
settings in one piece,
teaching opportunities
abound.
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:.
String Orchestra string
orchestra (88555) with
optional 3rd violin/viola
TC (3), piano and
percussion - Grade 1
SKU: KN.8180
Composed by John
Caponegro. Accent String
Orchestra. Score and set
of parts. Duration 1
minute, 40 seconds.
Kendor Music Inc #8180.
Published by Kendor Music
Inc (KN.8180).
UPC:
822795081800.
Score
d in D major, this
winning march for
first-year strings opens
and ends with dramatic
pyramid entrances from
the bottom up -- cellos
and basses first, then
violas, then 2nd Violins,
and finally 1st Violins.
Rhythms are simple,
bowings are clearly
marked, and the optional
percussion part for snare
drum and bass drum
enhances the parade-style
theme. Duration 1:40.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
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
Kabanovaâ€. 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
“symphonyâ€
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 forcesâ€.
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 Dunajâ€
– 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 timpaniâ€,
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
loveâ€.
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
Orchestra (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required)) SK...(+)
Orchestra (2(picc).2(cor
ang).2.2 - 2.1.0.0 - hp-
str (6 db are required))
SKU: BR.PB-5569-07
Suite d'Orchestre -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). An
homage to Francois
Couperin, but most
notably to the French
music of the late 18th
century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way. Have a look into PB
5540. Suite; Ballet;
Early modern. Study
Score. 72 pages. Duration
17'. Breitkopf and
Haertel #PB 5569-07.
Published by Breitkopf
and Haertel
(BR.PB-5569-07).
ISBN
9790004213797. 6.5 x 9
inches.
Ravel's
multi-layered homage in
Breitkopf UrtextIn his
homage Le Tombeau de
Couperin, Ravel is less
specifically interested
in Couperin than in
French music of the late
18th century. In his
preface, editor
Jean-Francois Monnard
explains how Ravel paid a
moving and intensely
personal tribute to the
events of World War I
with his multi-layered
work. The orchestral
version goes back to the
original, eponymous piano
suite (1914-17). Then, in
1919, the composer
selected four pieces from
this source, orchestrated
them with all of his
grace and artistry; the
result provides a
charming contrast to the
pseudo-Baroque musical
idiom, and places the
pieces in a new and
effective sequence. The
work quickly gained great
popularity immediately
after the concertant
world premiere, when the
three dance movements of
the orchestral suite were
included in a ballet
production.The
underpinnings of
Monnard's edition are
provided by the most
important sources. The
preface features a great
deal of information on
the interpretation and
performance history of
the work. This is the
fifth major Ravel work
now available in print
from Breitkopf
Urtext.
An homage
to Francois Couperin, but
most notably to the
French music of the late
18th century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Orchestra SKU: HH.HH094-FSC Composed by Nicolas Gilbert. Orchestral. Full...(+)
Orchestra
SKU:
HH.HH094-FSC
Composed
by Nicolas Gilbert.
Orchestral. Full score.
Duration 9 minutes.
Edition HH Music
Publishers #HH094-FSC.
Published by Edition HH
Music Publishers
(HH.HH094-FSC).
ISBN
9790708041252.
Tcha
l Kouyrouk, the trusty
steed of Toshtuk, Giant
of the Steppes, is going
to recover his
master’s soul,
which has been stolen,
then bring Toshtuk back
to his wife Kenjeke, who
is pregnant with his
child. In those far off
days when Toshtuk,
Kenjeke and Tchal
Kouyrouk were living, the
twelve tone row was
evidently already a
historical necessity. The
rules surrounding its
worship were to be
respected: never
interrupt the twelve tone
row, never make
irreverent remarks about
it, never look at another
system of pitch
organization, apply the
model of the twelve tone
row to everything in the
world to which it might
be applicable.
Full orchestra SKU: LO.30-3667MD Choral. Sacred Anthem, Eastertide, Gener...(+)
Full orchestra
SKU:
LO.30-3667MD
Choral.
Sacred Anthem,
Eastertide, General.
Orchestral score and
parts. Medallion Music
#30/3667MD. Published by
Medallion Music
(LO.30-3667MD).
UPC:
000308153095.
Orche
stral Score and Parts for
10/5295MD Jay Rouse
presents a moving
arrangement of the
classic Bill and Gloria
Gaither song. The gospel
feel, spirited solo, and
Camp Kirkland
orchestration make this
an impactful choice for
worship. So long I had
searched for
life’s meaning,
enslaved by the world and
my greed; then the door
of the prison was opened
by love, for the ransom
was paid, I was
freed..
Full orchestra SKU: LO.30-3763MD Composed by Jay Rouse. Choral. Sacred An...(+)
Full orchestra
SKU:
LO.30-3763MD
Composed
by Jay Rouse. Choral.
Sacred Anthem, General,
Good Friday, Holy Week.
Orchestral score and CD
with printable parts.
Medallion Music
#30/3763MD. Published by
Medallion Music
(LO.30-3763MD).
UPC:
000308156263.
Orche
stral Score and CD with
Printable Parts for
10/5418MD This emotive
ballad by Jay Rouse
reflects on the pivotal
moment that Jesus was
abandoned by God the
Father and was left alone
to die--sacrificing His
life and taking on the
sin of the world. The
dynamic lyrics then
rejoice in the
Resurrection with a
euphoric and victorious
ending.
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.''.
Wind
Orchestra, Grade 4, 8:45
Score. Composed by
Stephan Jaeggi. Arranged
by Gauthier Dupertuis. FC
Music Publishing. Concert
Band. Softcover. Duration
525 seconds. Hal Leonard
#FCMP007-SC. Published by
Hal Leonard (HL.4008713).
UPC:
196288190936.
As
part of the year 2023,
dedicated to Swiss
composers, the Swiss Wind
Band Association has
commissioned Gauthier
Dupertuis to write a new
orchestration of the
Overture in E-flat major
by Stephan Jaeggi.
Indeed, an update of the
instrumentation was
necessary for the
interpretation of this
work with modern
orchestras. Therefore,
the orchestration that
Gauthier Dupertuis
proposes and which he
wanted to be faithful to
the original while
meeting current
standards, will allow
todayÂ’s orchestras to
perform this piece of
classical-romantic
inspiration. Stephan
Jaeggi was a Swiss
composer and conductor
who was born into a large
family in Fulenbach
(Canton of Solothurn) in
1903. He began playing
the clarinet at the age
of 13, then studied music
at the Basel Conservatory
and attended his military
training with the Swiss
Army Band. Thereafter, he
became the conductor of
several wind orchestras.
In this role, and also
that of a composer,
Stephan Jaeggi went on to
achieve great success.
His early death in 1957
put a premature end to
Stephan Jaeggi's creative
life. All the more reason
why his work lives on
with unbroken power to
this day.
Orchestra SKU: HL.48181134 For Orchestra. Composed by Eugene Bozza...(+)
Orchestra
SKU:
HL.48181134
For
Orchestra. Composed
by Eugene Bozza. Leduc.
Classical. Softcover.
Alphonse Leduc #AL20312.
Published by Alphonse
Leduc (HL.48181134).
UPC: 888680860561.
11.0x13.5x0.083
inches.
To this
day, Eugene Bozza
(1905-1991) remains one
of the most prolific
composers French
composer. His
Instrumental Board
provides a clear glossary
of all principal
orchestral instruments.
During his studies at the
Paris Conservatoire,
Bozza won prizes for
violin, conducting and
composition, as well as
the Grand Prix de Rome.
He then conducted the
orchestra of the
Opera-Comique and became
Head of the Conservatoire
in Valenciennes, whilst
remaining a prominent
composer. Compiled in
1947, Bozza's
Instrumental Board
addresses the range of
each instruments and
their potential. The
Instrumental Board
provides a helpful aid to
orchestral writing.
Suite for Orchestra. Composed by Gabriel Faure (1845-1924). Edited by Rob...(+)
Suite for
Orchestra. Composed
by Gabriel Faure
(1845-1924). Edited by
Robin Tait. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Score. Opus 112.
Baerenreiter Verlag
#BA07894. Published by
Baerenreiter Verlag
(BA.BA07894).
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.
By Doerksen, Brian. Arranged by Jack Schrader. For Orchestra. (SAB or Three-Par...(+)
By Doerksen, Brian.
Arranged by Jack
Schrader. For Orchestra.
(SAB or Three-Part). Call
To Worship, Commitment,
Gathering, Gospel, Praise
and Worship and Sacred.
Print Music Single (SAB).
Published by Hope
Publishing Company.
Orchestra (solo: pno - 3(picc).3(cor ang).2.2 - 4.2.3.1 - timp.perc - hp - cel -...(+)
Orchestra (solo: pno -
3(picc).3(cor ang).2.2 -
4.2.3.1 - timp.perc - hp
- cel - str)
SKU:
BR.PB-15154-07
Impresiones sinfonicas
- Urtext. Composed by
Manuel de Falla. Edited
by Ullrich Scheideler.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Symphonic poem;
Late-romantic; Early
modern. Study Score.
Duration 23'. Breitkopf
and Haertel #PB 15154-07.
Published by Breitkopf
and Haertel
(BR.PB-15154-07).
ISBN
9790004215593. 6.5 x 9
inches.
Composed by
Manuel de Falla during
his lengthy residence in
Paris, these three
symphonic impressions for
piano and orchestra are
an expressive work
bringing the southern
Spanish gardens, which
are laid out in the
European and
Arabic-Moorish tradition,
to life. The influence of
contemporary French music
is noticeable in this
composition. Despite many
modifications, involving
among other things, the
scoring, number of
movements, as well as
layout and content, the
basic idea of a nocturnal
impression is retained
from the outset. The work
was finished - and
likewise the orchestral
material - only shortly
before its premiere on 9
April 1916, which was a
great success. World War
I prevented its
publication, though
further performances
followed, played then
from manuscript material.
The Urtext edition
presented by Ullrich
Scheideler takes as the
main source the first
edition of the score. The
Critical Report gives
detailed information
about the source
situation.
Orchestra (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.PB-5548-07 (+)
Orchestra (picc.2.2.2.2 -
2.2.0.0 - small dr - str)
SKU: BR.PB-5548-07
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). Urtext
of the Revolutionary.
Overture; Romantic. Study
Score. 40 pages. Duration
10'. Breitkopf and
Haertel #PB 5548-07.
Published by Breitkopf
and Haertel
(BR.PB-5548-07).
ISBN
9790004213582. 6.5 x 9
inches.
The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score)
SKU: HL.49046988
Lyric Trilogy After
Maurice Maeterlinck Study
Score, French.
Composed by Aribert
Reimann. Edition Schott.
Classical. Softcover. 280
pages. Duration 5400
seconds. Schott Music
#ED23491. Published by
Schott Music
(HL.49046988).
ISBN
9781705174333. UPC:
842819115281.
8.25x11.75x0.695
inches.
SYNOPSIS
Aribert Reimann's
'Trilogie lyrique' is
based on three plays by
Maurice Maeterlinck: In
L'Intruse, a family is
sitting at the table with
their blind grandfather.
They are waiting for the
doctor to arrive and tend
to his daughter who is
lying ill in bed after
having given birth: her
new-born son has not yet
made a single sound. The
old man senses that
something is wrong due to
the uneasy atmosphere in
the room. Who is sitting
in our midst? he asks. He
is the only one who
cansee the presence of
death. Interieur: Once
again a family is
gathered round the table
in the evening, but this
time we observe the
action from outside,
looking through the
window with the
grandfather and a
stranger: no sound can be
heard. Outside the house,
the stranger reports that
the eldest daughter has
drowned and that he has
pulled her out of the
river. Although the
corpse is already being
carried through the
village to the family,
the grandfather cannot
bring himself to destroy
this idyll. La Mort de
Tintagiles: The young
Tintagiles is told a
story about a mysterious
castle and the aged queen
who has all potential
heirsto the throne
murdered. His siblings
sense that Tintagiles has
been summoned to the
castle to be murdered,
but nobody openly
expresses this fact. It
is the sinister
messengers of death from
the interludes, now
visible as the queens
servants, who ful?l her
demand and snatch the
sleeping boy from his
sisters'arms. Commentary
'In comparison with his
Medea for example with
its stormy outbreaks of
emotion and violence,
Reimann's score is worked
in an impressive
refinement of sound. It
begins with rumbling,
hesitating and expressive
music in the first
section, demanding highly
ingenious sound effects
from the lower strings
including tapping and
faltering glissandos in
its noisy expression of
mortal fear. Inthe second
part, the woodwind
formation plays at times
almost in chamber music
fashion and is then
suddenly painfully
shrill. The third part
luxuriates and rages in
its rich, full
orchestration. The manner
in which Reimann displays
his mastery in textural
shading, the invention of
sounds welling up and
fading away, the rhythmic
and melodic capacity of
suffering and the music's
inner violence are all
utterly
compelling.'(Wolfgang
Schreiber, Opernwelt,
November 2017).
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 (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.
Composed by Edward Elgar.
Edited by Barbara Mohn.
Carus digital: Extra
digital products. Full
Score. Composed 1900. Op.
38. Duration 100 minutes.
Carus Verlag #2300400.
Published by Carus Verlag
(CA.2300400).
ISBN
9790007240783.
English/German. Text:
Newman, John
Henry.
This is the
best of me, wrote Edward
Elgar after the final
measure of his Dream of
Gerontius. Premiered in
1900, in Great Britain
the work has long been a
standard work in the
repertoire of large
oratorio choirs. Elgar's
moving, poetic setting of
the eponymous poem by
Cardinal John Henry
Newman is about a dying
man and his journey
beyond death to God.
Before the eyes of the
listeners, a musical
image of the soul is
created which flies past
mocking demons to God
with its protecting angel
at its side, is allowed
to look at God briefly,
then faces the purgatory
confident and comforted.
The work is a real rarity
in the history of
oratorio, and for large
choirs it is a thrilling
alternative to the
established repertoire of
Requiem settings. Its
popularity is thanks to
the suggestive, often
sensuous power of the
music, the great choral
scenes of the demons and
the angels, and the three
impressive solo
parts.All
previous editions were
reprints based on the
historic first printed
materials, which are
inconsistent. By
contrast, Carus has
produced a modern,
newly-engraved edition,
compatible in all
sections, which takes all
the sources into
consideration and
evaluates the autograph
manuscript in detail. For
this edition the complete
orchestral material is
available on sale, and
the vocal score and full
score contain both
English and German
singing texts. The full
score is also available
digitally.*,A milestone of late
Romantic choral music,
and a standard work in
Great Britain*,First
modern score with a full
Critical Report and
complete performance
material- English and
german singing
texts
Orchestra SKU: HL.48187636 Composed by Wolfgang Amadeus Mozart. Leduc. Cl...(+)
Orchestra
SKU:
HL.48187636
Composed
by Wolfgang Amadeus
Mozart. Leduc. Classical.
Study Score. Heugel & Cie
#HE31429. Published by
Heugel & Cie
(HL.48187636).
This is the
miniature study score of
his Concerto for Piano
No.23 in A major KV488,
one of Mozart's most
popular and successful
concertos, not least for
the wistful but loaded
mood and sublime melody.
Completesd in 1946 and
likely performed in
Vienna shortly after, it
is calm and then
vivacious and see Mozart
again impressing his
mastery of orchestration
and compostion..
Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764)....(+)
Fete with a Prologue and
3
Acts. Composed by Jean-
Philippe Rameau
(1683-1764).
Edited by Julien
Dubruque.
This edition: urtext
edition.
Paperback. Symphonies /
Versions of 1746 and
1745.
Score, anthology. RCT 59.
Baerenreiter Verlag
#BA07563.
Published by Baerenreiter
Verlag