Full orchestra SKU: LO.30-3601L Choral. Sacred Anthem, Concert, General. ...(+)
Full orchestra
SKU:
LO.30-3601L
Choral.
Sacred Anthem, Concert,
General. Orchestral score
and CD with printable
parts. Lorenz Publishing
Company #30/3601L.
Published by Lorenz
Publishing Company
(LO.30-3601L).
UPC:
000308150612.
Orche
stral Score and CD with
Printable Parts for Let
There Be Peace on Earth
(10/5163L) Mary
McDonald’s setting
of the classic song about
peace and unity is a
great option for
concerts, choir features,
and themed services. The
optional full
orchestration adds to the
beauty and emotive nature
of the song, ensuring it
will be a staple in your
music library.
Full orchestra SKU: LO.30-3600L Choral. Sacred Anthem, Christmas, General...(+)
Full orchestra
SKU:
LO.30-3600L
Choral.
Sacred Anthem, Christmas,
General. Orchestral score
and parts. Lorenz
Publishing Company
#30/3600L. Published by
Lorenz Publishing Company
(LO.30-3600L).
UPC:
000308150605.
Orche
stral Score and Parts for
Let There Be Peace on
Earth (10/5163L) Mary
McDonald’s setting
of the classic song about
peace and unity is a
great option for
concerts, choir features,
and themed services. The
optional full
orchestration adds to the
beauty and emotive nature
of the song, ensuring it
will be a staple in your
music library.
Full Orchestra (Print) Choral (Orchestra Accompaniment) SKU: HL.334240 (+)
Full Orchestra (Print)
Choral (Orchestra
Accompaniment)
SKU:
HL.334240
A Celtic
Christmas
Celebration. Composed
by Joseph M. Martin.
Shawnee Sacred. Cantata,
Christmas, General
Worship, Sacred.
Softcover. Duration 2700
seconds. Published by
Shawnee Press
(HL.334240).
ISBN
9781540085146. UPC:
840126909050.
8.5x14.0x2.735
inches.
Inspired by
Celtic music traditions
and time-honored carols,
this new work overflows
with seasonal spirit.
From prophecy to
Epiphany, the cantata
covers the entire
Christmas story and wraps
it in jubilant and
approachable music.
Supported by encouraging
narration, dazzling
orchestrations and a
complete line of support
products, this
spectacular work will be
a warm holiday welcome to
your community of faith.
Songs include: A
Christmas Invitation; A
Festival Gathering of
Carols; Upon the Wind,
There Comes a Song; From
the Prophet Comes a
Promise; A Song of Joy;
The Silent Stars Go By;
Comfort and Joy; Look to
the Silver Sky; Sing of a
Merry Christmas; Glad
Tidings of Great Joy.
Score and Parts for Full
Orchestra (fl 1-2/pic,
ob/eng hn, cl 1-2, bn, hn
1-2, tpt 1-3, tbn 1-2,
tba, timp, perc 1-2, hp,
pno, vn 1-2, va, vc, db)
available as a Printed
Edition and as a digital
download. Score and Parts
for Celtic Consort (pno,
gtr, fl/pwhis, cl, bls,
perc, vn, vc) available
as a Printed Edition and
as a digital download.
Score and Parts for
Chamber Orchestra (pno,
fl, cl, tpt 1-2, tbn,
bls, perc, kybd strings)
available as a digital
download.
Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+)
Arranged by Sandra
Dackow. Conductor's score
and set of performance
parts for string
orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- 3rd violin/viola
(treble clef), 5 - viola,
5 - cello, 5 - string
bass, 1 - piano
accompaniment). Series:
Orchestra Expressions
Series. Published by
Alfred Publishing.
Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen, Chri...(+)
Composed by Franz Joseph
Haydn (1732-1809). Edited
by Andreas Friesenhagen,
Christin Heitmann. For
orchestra. This edition:
Urtext edition. Stapled.
Score. Text Language:
German/English. Hob.
I:48. Duration 27
minutes. Published by
Baerenreiter Verlag
Double Bass; Orchestra (STUDY SCORE) SKU: HL.51487451 Study Score....(+)
Double Bass; Orchestra
(STUDY SCORE)
SKU:
HL.51487451
Study
Score. Composed by
Serge Koussevitzky.
Edited by Tobias Glö
and ckler. Henle Study
Scores. Classical.
Softcover. 92 pages. G.
Henle #HN7451. Published
by G. Henle
(HL.51487451).
UPC:
196288158110.
6.75x9.5x0.294
inches.
Thanks to
its skilful combination
of Romantic melody and
sparkling virtuosity,
KoussevitzkyÂ’s Double
Bass Concerto op. 3 has
been one of the most
popular works of its
genre since its Moscow
premiere in 1905. No
wonder, for the virtuoso
double bass player
Koussevitzky had composed
it for his very own
instrument. As early as
1906/07 a first piano
reduction was published
in Moscow, followed by a
second in 1910 in
Leipzig. However, both
contain so many mistakes
in the solo part that
there is still
uncertainty about the
correct musical text in
many passages to this
day. The double bass
player Tobias Glöckler
has therefore prepared
his Urtext edition using
several sources: as well
as the manuscript
performance material and
the piano reductions
published during the
composer's lifetime, he
has also studied
recordings with
Koussevitzky as soloist -
thereby finally producing
a
thoroughly-researchedUrte
xt edition of the
orchestral score and
piano reduction of this
classic of the double
bass literature. As with
all double bass concertos
published by Henle
Publishers, this edition
also contains the piano
reduction by Christoph
Sobanski in two keys (E
minor and F sharp minor)
for performance with solo
or orchestral tuning.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Ouverture JS 145,
Baletscen JS 163.
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Linen. Complete
Works. Late-romantic;
Early modern. Complete
Works. 196 pages.
Breitkopf and Haertel
#SON 627. Published by
Breitkopf and Haertel
(BR.SON-627).
ISBN
9790004803295. 10 x 12.5
inches.
In 1998, at
the end of the 20th
century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts … are models
of scholarly editions,
and should be required
reading for all
bibliography and
music-editing courses.
… In sum, the JSW
is a remarkable project:
the scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. … For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. … JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Scenes
historiques op.25,
op.66. Composed by
Jean Sibelius. Edited by
Kari Kilpelainen. Linen.
Complete Works.
Late-romantic; Early
modern. Complete Works.
228 pages. Breitkopf and
Haertel #SON 625.
Published by Breitkopf
and Haertel (BR.SON-625).
ISBN 9790004803271. 10
x 12.5 inches.
In
1998, at the end of the
20th century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts ... are models of
scholarly editions, and
should be required
reading for all
bibliography and
music-editing courses.
... In sum, the JSW is a
remarkable project: the
scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. ... For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. ... JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Overture to the Opera
- Urtext. Composed by
Ludwig van Beethoven.
Edited by Christian
Rudolf Riedel. Orchestra;
Softcover.
Partitur-Bibliothek
(Score Library).
For
the new Fidelio
Overture, which was
written at lightning
speed in 1814, there is a
copy of the score in the
Austrian National Library
which offers a reliable
basis for a new,
text-critical
edition.
Overture;
Classical. Study Score.
40 pages. Duration 7'.
Breitkopf and Haertel #PB
5307-07. Published by
Breitkopf and Haertel
(BR.PB-5307-07).
ISBN
9790004212318. 6.5 x 9
inches.
Urtext
virgin territory: the
Fidelio OvertureTo this
day, the two major
Fidelio overtures are
still performed from
music texts that go back
to the imprecise and
corrupted first editions
of the parts. In the
meantime, however, the
state of the sources for
both works has
significantly improved
through many new
findings.For the new
Fidelio Overture, which
was written at lightning
speed in 1814 for the
reprise of the opera (and
was performed with a
slight delay), there is a
copy of the score in the
Austrian National Library
which offers a reliable
basis for a new,
text-critical edition.
This manuscript, in which
one finds countless
indications of
corrections and
completions in
Beethoven's hand, is the
only extant source that
was examined by the
composer
himself.
For the
new Fidelio Overture,
which was written at
lightning speed in 1814,
there is a copy of the
score in the Austrian
National Library which
offers a reliable basis
for a new, text-critical
edition.
Full orchestra SKU: LO.30-3681MD Composed by Jay Rouse. Choral collection...(+)
Full orchestra
SKU:
LO.30-3681MD
Composed
by Jay Rouse. Choral
collection. Sacred
Choral, Concert,
Eastertide, General.
Orchestral score and CD
with printable parts.
Medallion Music
#30/3681MD. Published by
Medallion Music
(LO.30-3681MD).
UPC:
000308153286.
Orche
stral Score and CD with
Printable Parts for
55/1199MD This deeply
moving collection from
Jay Rouse includes six
songs that glory in the
cross of Christ. Highly
appropriate for use
throughout the Easter
season, it is just as
impactful year-round. It
includes the classic
Annie Herring Easter Song
in an easily learned
contemporary style; a
gospel setting of the
much-loved hymn My
Savior’s Love; two
modern worship anthems,
Broken Bread, Broken Life
and Jesus Crucified; the
beloved Dottie Rambo song
I Will Glory in the
Cross; and an elegant
setting of the timeless
hymn Beneath the Cross of
Jesus. Optional
narrations from gifted
writer Rose Aspinall will
bring the truths of
scripture to life in a
refreshing way.
There’s an eternal
mystery in the cross,
that instrument of death
and grace. Hanging there
by His own choosing, the
Son of God purchases life
for you and me..
Full orchestra SKU: LO.30-3680MD Composed by Jay Rouse. Choral collection...(+)
Full orchestra
SKU:
LO.30-3680MD
Composed
by Jay Rouse. Choral
collection. Sacred
Choral, Concert,
Eastertide, General.
Orchestral score and
parts. Medallion Music
#30/3680MD. Published by
Medallion Music
(LO.30-3680MD).
UPC:
000308153279.
Orche
stral Score and Parts for
55/1199MD This deeply
moving collection from
Jay Rouse includes six
songs that glory in the
cross of Christ. Highly
appropriate for use
throughout the Easter
season, it is just as
impactful year-round. It
includes the classic
Annie Herring Easter Song
in an easily learned
contemporary style; a
gospel setting of the
much-loved hymn My
Savior’s Love; two
modern worship anthems,
Broken Bread, Broken Life
and Jesus Crucified; the
beloved Dottie Rambo song
I Will Glory in the
Cross; and an elegant
setting of the timeless
hymn Beneath the Cross of
Jesus. Optional
narrations from gifted
writer Rose Aspinall will
bring the truths of
scripture to life in a
refreshing way.
There’s an eternal
mystery in the cross,
that instrument of death
and grace. Hanging there
by His own choosing, the
Son of God purchases life
for you and me..
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
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.
With an
Authentic Concert Ending
based on the
Harmoniemusik from
Donaueschingen.
Composed by Wolfgang
Amadeus Mozart. Edited by
Bastiaan Blomhert.
Arranged by H. C. Robbins
Landon. Orchestra;
Softcover.
Partitur-Bibliothek
(Score Library).
Overture; Classical. Full
score. 40 pages. Duration
5'. Breitkopf and Haertel
#PB 5266. Published by
Breitkopf and Haertel
(BR.PB-5266).
ISBN
9790004210345. 9 x 12
inches.
There are
many clues hinting that
Mozart himself wrote the
wind-band version of his
"Entführung&rdq
uo; located in
Donaueschingen. Our
arrangement features a
concert close to the
Overture which is
unquestionably superior
to the posthumous endings
added by other musicians.
Bastiaan Blomhert
transposed this coherent
close to the orchestral
version. After "Don
Giovanni” there ist
now a second authentic
concert close for a
Mozart overture.
Baritone, Choral, Orchestra (Study Score) SKU: HL.48024806 The Passion...(+)
Baritone, Choral,
Orchestra (Study Score)
SKU: HL.48024806
The Passion of our
Lord Jesus Christ
according to John Study
Score. Composed by
James Macmillan. Boosey &
Hawkes Scores/Books.
Classical, Sacred.
Softcover. 380 pages.
Boosey & Hawkes
#M060134470. Published by
Boosey & Hawkes
(HL.48024806).
ISBN
9781784543792. UPC:
888680978648. 8.25x11.75
inches.
Scored for
baritone solo, small
'narrator' chorus, large
chorus and orchestra,
MacMillan's first Passion
setting was composed in
2007. Lasting 87 minutes
the work is divided into
two parts, with 10
movements overall. As
Paul Spicer has
commented, “The
originality of the St
John Passion lies in
MacMillan's ability to
mix old with new, rather
in the manner of Bach in
his day. There are
passages of sumptuous
polyphony and there is a
fresh look at the text
where passages of Latin
are interspersed with the
Gospel story in English.
In movement seven ('Jesus
and his Mother'),
MacMillan introduces not
only part of the Stabat
Mater but also his own
words ('Lully, lulla, my
dear darling'). The final
movement, which is purely
orchestral, is a kind of
via doloroso march with a
Scots lament over quite
brass chords. The string
writing here, with its
elegiac cello lines, is
deeply reminiscent of the
early 20th-century
English school. This
should be the War Requiem
of the 21st
century.&rdquo.
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dy...(+)
Recorded by Frank
Sinatra. Edited by
Rob DuBoff, Jeffrey
Sultanof, and Dylan
Canterbury. Arranged by
Don Costa. Jazz, Swing.
Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-9510).
Orchestra (2.2.2.2.dble
bsn.serp - 2.2.3.0 - timp
- str)
SKU:
BR.PB-5581
Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Thomas Schmidt.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphony; Romantic. Full
score. 140 pages.
Duration 30'. Breitkopf
and Haertel #PB 5581.
Published by Breitkopf
and Haertel (BR.PB-5581).
ISBN 9790004213919. 10
x 12.5 inches.
A
Programmatic Declaration
of BeliefFelix
Mendelssohn Bartholdy
composed his Reformation
Symphony for the
celebrations marking the
300th anniversary of the
Confessio Augustana, the
Protestant declaration of
faith. Owing to various
and only partially
explained reasons, there
was no performance in
1830, the year in
question; it was only two
years later that the
composer conducted the
premiere of his work, now
heavily revised, in
Berlin. There was only
one more performance in
Mendelssohn's lifetime,
this one conducted by
Julius Rietz in
Dusseldorf; the composer
had since distanced
himself from his
opus.Conceived for the
concert hall, the
symphony formulates its
theological references
through the integration
of various motives. This
occurs in the finale, for
example, in which
Mendelssohn quotes the
Luther chorale Ein feste
Burg in the flute, from
where it builds up to a
triumphant principal
theme. The strong
extra-musical aspect must
have been one of the
reasons for the
composer's later
avoidance of this score,
especially since
Mendelssohn was becoming
increasingly skeptical
about explicitly
programmatic music in the
instrumental domain. Next
to the Dusseldorf
performance material of
1837, two scribal copies
have been examined for
the first time; they
transmit the main stages
of the version of
1830.
Orchestra - Grade 2.5 SKU: AP.35973S Composed by Susan H. Day. Performanc...(+)
Orchestra - Grade 2.5
SKU: AP.35973S
Composed by Susan H. Day.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form: Ballade.
Score. 12 pages.
Highland/Etling
#00-35973S. Published by
Highland/Etling
(AP.35973S).
UPC:
038081411804.
English.
As the
title suggests, this
piece offers an
opportunity for players
to create a rich and
elegant sound by using
long, full bows with
slurred note passages.
Written in 3/4 time using
the keys of C and D,
there is a short solo
section to allow your 1st
chair players to shine.
All parts stay in 1st
position except the 1st
violins who have a few
notes in 3rd position.
There are some
accidentals, pizzicato
and divisi throughout,
and all parts share the
melodic lines. A
beautiful piece for
developing expressive
playing in your
group!
Orchestra (2.2.2.2.dble
bsn.serp - 2.2.3.0 - timp
- str)
SKU:
BR.PB-5598-07
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphony; Romantic. Study
Score. 132 pages.
Duration 30'. Breitkopf
and Haertel #PB 5598-07.
Published by Breitkopf
and Haertel
(BR.PB-5598-07).
ISBN
9790004214954. 6.5 x 9
inches.
A
Programmatic Declaration
of BeliefFelix
Mendelssohn Bartholdy
composed his Reformation
Symphony for the
celebrations marking the
300th anniversary of the
Confessio Augustana, the
Protestant declaration of
faith. Owing to various
and only partially
explained reasons, there
was no performance in
1830, the year in
question; it was only two
years later that the
composer conducted the
premiere of his work, now
heavily revised, in
Berlin. There was only
one more performance in
Mendelssohn's lifetime,
this one conducted by
Julius Rietz in
Dusseldorf; the composer
had since distanced
himself from his
opus.Conceived for the
concert hall, the
symphony formulates its
theological references
through the integration
of various motives. This
occurs in the finale, for
example, in which
Mendelssohn quotes the
Luther chorale Ein feste
Burg in the flute, from
where it builds up to a
triumphant principal
theme. The strong
extra-musical aspect must
have been one of the
reasons for the
composer's later
avoidance of this score,
especially since
Mendelssohn was becoming
increasingly skeptical
about explicitly
programmatic music in the
instrumental domain. Next
to the Dusseldorf
performance material of
1837, two scribal copies
have been examined for
the first time; they
transmit the main stages
of the version of
1830.
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Orchestra SKU: PR.41641530L For Suona And Orchestra. Composed by N...(+)
Orchestra
SKU:
PR.41641530L
For
Suona And Orchestra.
Composed by Narong
Prangcharoen. Large
Score. 58 pages. Duration
15 minutes. Theodore
Presser Company
#416-41530L. Published by
Theodore Presser Company
(PR.41641530L).
UPC:
680160625925.
The
Respiration of the Earth
is inspired by the
breathing motion. The
music focuses on the
tension of the air of
breathing. There are many
different types of
breathing such as slow
breath, long breath,
short breath, holding
breath, uneven breath,
etc. The shape of the
music is created by the
inhale and exhale motion.
The piece starts with a
long holding breath,
gradually create a
tension until one can't
hold that breath and
release the air out. The
Suona is acting as the
motion of the air so the
orchestra has to follow.
This piece ends with the
chaotic motion so the
audiences can feel the
tension as if they are
running out of breath.
It's a main concern about
the environment of the
Earth so this piece is a
message to people to keep
the environment clean so
the Earth can breath for
a longer time.
Respiration of the Earth
is commissioned and
dedicated to Mr. Shi
Haibin with the gracious
support from John Simon
Guggenheim
Foundation. The
Respiration of the Earth
is inspired by the
breathing motion. The
music focuses on the
tension of the air of
breathing. There are many
different types of
breathing such as slow
breath, long breath,
short breath, holding
breath, uneven breath,
etc. The shape of the
music is created by the
inhale and exhale motion.
The piece starts with a
long holding breath,
gradually create a
tension until one
can’t hold that
breath and release the
air out. The Suona is
acting as the motion of
the air so the orchestra
has to follow. This piece
ends with the chaotic
motion so the audiences
can feel the tension as
if they are running out
of breath. It’s a
main concern about the
environment of the Earth
so this piece is a
message to people to keep
the environment clean so
the Earth can breath for
a longer time.Respiration
of the Earth is
commissioned and
dedicated to Mr. Shi
Haibin with the gracious
support from John
SimonGuggenheim
Foundation.
Composed by Poul Ruders.
Music Sales America.
Classical. Set. 86 pages.
Edition Wilhelm Hansen
#WH29830. Published by
Edition Wilhelm Hansen
(HL.14027994).
ISBN
9788759864593.
New
York is the city which
fascinates and inspires
Ruders. Time and again he
goes back there to work.
'Manhattan Abstraction'
(1982) subtitles - a
symphonic skyline for
large orchestra - was
conceived there. Ruders'
Brittish colleague Oliver
Knussen defines the piece
as: - a performance of an
extraordinary
Morden-Times-like
construction. It is a
sort of symphonic
sculpture, which in the
composer's own words
words propels forth from
one particular
inspiration: the New York
profile, as seen from
Liberty Island, one icy
cold January day with
it's open, clear sky and
dazzling sun light.
'Manhatten Abstraction'
appears as an amalgam of
some of the
compositorical habits
found in present pieces.
For instance, are present
here compositorical ideas
and melodic loans from
'Capriccio Pian'e Forte',
2nd String Quartet(1979),
'Four Compositions'
(1980), and 2nd Piano
Sonata(1982). The
question at hand is
mainly concerned with the
enhanced elaboration of
Ruders' use of the
classic English
change-ringing system: a
permuting method
pre-determining the order
of tone-appearances and
/or tone groups; a serial
technique in other words.
In spite of the rigidly
fixed material, Ruders
somehow manages to chisel
out a personal expression
by way of emphasising
contrasting elements
already existing within
the material itself. The
spiky, repetitive
sections form a
counterpart to a more
human violin-solo. This
dialectical tension is -
as hinted by the title -
a symphonic abstraction
of a fascinating
metropolis; the most
beautiful and the
ugliest. The subtitle: a
symphonic skyline
reflects the musical
erection of the Manhattan
profile, which under the
clear sky, materializes
into the most powerful
and compelling man-made
sculpture on earth. Thus
'Manhattan Abstraction'
is a homage to, as well
as a vision of, this
giant contraption of
concrete, glass, and
chrome.
Orchestra (Viola) SKU: BA.BA08841-79 Composed by Claude Debussy. Edited b...(+)
Orchestra (Viola)
SKU:
BA.BA08841-79
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Folded.
Barenreiter Urtext.
Single part. 4 pages.
Duration 10 minutes.
Baerenreiter Verlag
#BA08841_79. Published by
Baerenreiter Verlag
(BA.BA08841-79).
ISBN
9790006541232. 32.5 x
25.5 cm
inches.
Prelude a
l'apres-midi d'un faune,
often referred to as the
first composition of the
modern era, is one of
Debussy's most popular
and frequently performed
orchestral works. The
piece comes down to us in
an array of sources, and
several important ones
are drawn upon for the
first time in
Baerenreiter's new
scholarly-critical
edition. Most of the
currently available
editions are based on the
first edition from 1895
which, however, contains
many engraver errors.
When the corresponding
orchestral parts are also
taken into consideration,
countless discrepancies
are
revealed.
Baerenreiter
's Urtext edition
incorporates readings of
a printed copy of the
score from c. 1908 which
shows corrections and
emendations by the
composer. These important
changes, found in no
other source, include
metronome markings,
different pitches and
additional notes, as well
as added tempo and
articulation markings,
which all subtly enhance
Debussy's finely sculpted
work. There is even a
breath mark added to the
famous solo flute passage
which opens the
work.* Scholarly
critical edition with
many corrections in the
score and orchestral
parts * Clear
presentation of
orchestral parts in an
enlarged format.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Himmel Punk Orchestre SATB, Orchestre Fennica Gehrman
Orchestra SKU: FG.55011-652-8 Composed by Antti Auvinen. Study score. Fen...(+)
Orchestra
SKU:
FG.55011-652-8
Composed by Antti
Auvinen. Study score.
Fennica Gehrman
#55011-652-8. Published
by Fennica Gehrman
(FG.55011-652-8).
ISBN
9790550116528.
Himm
el Punk was born out of
social commentary. It
addresses
narrow-mindedness
manifesting itself in the
rejection of particular
values on religous
grounds. Piety turns to
hypocrisy as those who
think otherwise are
branded as an inferior
caste, thereby even
justifying the denial of
human rights to them.
Orchestra SKU: FG.55011-235-3 Composed by Jean Sibelius. Score. Published...(+)
Orchestra
SKU:
FG.55011-235-3
Composed by Jean
Sibelius. Score.
Published by Fennica
Gehrman (FG.55011-235-3).
ISBN
9790550112353.
Firs
t publication! This is
the first version of
Cassazione op. 6 (1904)
for large orchestra with
double woodwinds, four
French horns, two
trumpets and three
trombones - a chamber
orchestra version was
made by the composer
later during 1904.
Sibelius made his first
sketches for material
that would later find its
way into Cassazione at
the end of the 1890s.
There are already hints
of it among the sketches
of his first
symphony.
Pan Op. 28 Orchestre SATB, Orchestre Fennica Gehrman
Orchestra SKU: FG.042-08325-3 Composed by Aarre Merikanto. Score. Publish...(+)
Orchestra
SKU:
FG.042-08325-3
Composed by Aarre
Merikanto. Score.
Published by Fennica
Gehrman (FG.042-08325-3).
ISBN
979-0-042-08325-3.
Merikanto completed the
third and final version
of Pan in 1924, having
destroyed the earlier
versions in fits of
self-criticism. Its music
is full of life,
sprouting new impulses
and possibilities, but
there are also opposite
forces at work, arresting
the flow and nurturing
meditative
concen!tration.
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; Softcover.
Eulenburg Orchestral
Series.
The world
premiere of the play
L'Arlesienne
with the incidental music
by Georges Bizet was a
notable failure not only
for the playwright
Alphonse Daudet, but also
for the composer.
Suite; Romantic. Full
score. 60 pages. Duration
17'. Breitkopf and
Haertel #EOS 20828.
Published by Breitkopf
and Haertel
(BR.EOS-20828).
ISBN
9790004784693. 10 x 12.5
inches.
The two
four-movement orchestral
suites, in turn, are
still thrilling
concert-goers all over
the world, ever since
their first performances
in 1872 and 1880
respectively. In 1998 and
2001, Lesley A. Wright
presented the score and
orchestral parts of the
two repertoire pieces in
an Urtext edition
prepared for the first
time on the basis of all
relevant sources. Thus
not only will the yellow
Urtext angel be gracing
the conducting score and
orchestral parts, but,
next to the standardized
large format and new
layout of the parts,
there are other
user-friendly
improvements, such as
practical page-turns,
page-turn aids and
intelligent cue
notes.
(Prelude to the Afternoon of a Faun). By Claude Debussy (1862-1918). Edited by D...(+)
(Prelude to the Afternoon
of a Faun). By Claude
Debussy (1862-1918).
Edited by Douglas
Woodfull-Harris. For
orchestra (3 flutes/2
oboes/english horn/2
clarinets/2 bassoons/4
horns/cymbal/2 harps/2
violins/viola/cello/doubl
e bass). This edition:
Stapled, Urtext edition.
Score. Text Language:
English/French/German. 44
pages. Duration 10'.
Published by Baerenreiter
Verlag