(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald...(+)
(The Journey from
Darkness to Light). By
Lloyd Larson. Arranged by
Mary Mcdonald. Orchestra.
For Flute, Clarinet, 2
Trumpet, Horn, 2
Trombone, Percussion,
Piano, Synthesized
Strings. Cantata. Choral:
Advent. Orchestral Score
and Parts. Published by
Lorenz Publishing Company
Orchestra SKU: LO.30-2423L The followers of Jesus reflect on His final...(+)
Orchestra
SKU:
LO.30-2423L
The
followers of Jesus
reflect on His final
days. Composed by
Lloyd Larson. Choral,
cantatas. Eastertide,
Lent, Sacred. Orchestral
score and parts. Lorenz
Publishing Company
#30/2423L. Published by
Lorenz Publishing Company
(LO.30-2423L).
UPC:
000308120899.
This
compelling reflection
upon Jesus’ final
days is viewed through
His eyes and the eyes of
those surrounding Him:
Mary, sister of Martha;
an officer to Caiaphas;
Judas; Peter; Jesus
Himself; Pilate; Mary,
the mother of Jesus; Mary
Magdalene; and Thomas. A
sequence of dramatic,
scripture-based
monologues tells the
story, alternating with
Lloyd Larson’s
masterfully inspired
music as the “voice
of the believerâ€
responds. Flexibly
conceived, this work may
be presented as simply or
as elaborately as you
wish, depending upon your
resources and
preferences. Performance
options range from use as
a source of single
anthems for your seasonal
service needs to a short
worship program with
monologues and choruses
or a special, fully
staged production. It is
our hope that this work
will prompt your own
reflections upon the
great wonder and mystery
of the Incarnate God Who,
for the love of His
people, humbled Himself,
dying for our salvation
and triumphing over
death.
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; P...(+)
By Leon Jessel
(1871-1942). Arranged by
Ralph Ford. Orchestra.
Full Orchestra; Part(s);
Score. Belwin Concert
Full Orchestra.
Christmas; Winter. Grade
3. 150 pages. Published
by Alfred Music
Publishing
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; S...(+)
By Leon Jessel
(1871-1942). Arranged by
Ralph Ford. Orchestra.
Full Orchestra; Score.
Belwin Concert Full
Orchestra. Christmas;
Winter. Grade 3. 16
pages. Published by
Alfred Music Publishing
Romantic opera in
three acts. Composed
by Franz Schubert. Edited
by Walther Durr. This
edition: complete
edition, urtext edition.
Linen. New Schubert
Edition (Neue Ausgabe
samtlicher Werke) Series
II, Volume 6. 3 part
volumes. Opern, dt.
(German Opera). Complete
edition, Score. D 732.
Duration 2 hours, 30
minutes. Baerenreiter
Verlag #BA05540_00.
Published by Baerenreiter
Verlag (BA.BA05540).
ISBN 9790006497126. 33
x 26 cm inches. Text:
Franz von
Schober.
In late
September or early
October 1821 Schubert and
his close friend, Franz
von Schober, vacationed
in the countryside of
Lower Austria. Their
first stopover was at
Ochsenburg Castle, which
belonged to the Bishop of
St. Pölten (a close
relative of
Schober’s), after
which they moved on to
St. Pölten itself.
Roughly a year earlier,
two stage works by
Schubert had been
performed in Vienna: the
one-act singspiel Die
Zwillingsbrüder and
the melodrama Die
Zauberharfe. The
librettos were both
written by the seasoned
Viennese playwright Georg
von Hofmann, who blamed
the press for the
indifferent reception the
two works were given by
the audience. Schubert
and Schober now decided,
it would seem, to write a
grand romantic opera
uninfluenced by the
workaday world of the
theatre and beholden
solely to their own ideas
of what an opera should
be.
Not until 24
June 1854 was the opera
finally performed in
Weimar, under the baton
of Franz Liszt. It only
achieved success,
however, in an
arrangement by Johann
Nepomuk Fuchs that was
staged on many German and
Austrian stages in
1881–2, allegedly
with brilliant
acclaim.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob ...(+)
Classic Rock for the
String Orchestra
(Teacher's Score).
Arranged by Bob Phillips
and Daryl Silberman.
Book; CD; Play-Along;
String Orchestra
Collection. Rock. 48
pages. Published by
Alfred Music (AP.40742).
Orchestra SKU: BR.SON-508 Filmmusik zu The Grapes of Wrath/Hangmen Als...(+)
Orchestra
SKU:
BR.SON-508
Filmmusik zu The
Grapes of Wrath/Hangmen
Also Die. Composed by
Hanns Eisler. Edited by
Johannes C. Gall.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 508. Published by
Breitkopf and Haertel
(BR.SON-508).
ISBN
9790004803301. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-511 Orchestermusik. Composed by Hanns Eisler...(+)
Orchestra
SKU:
BR.SON-511
Orchestermusik.
Composed by Hanns Eisler.
Edited by Knud Breyer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 248 pages.
Breitkopf and Haertel
#SON 511. Published by
Breitkopf and Haertel
(BR.SON-511).
ISBN
9790004803448. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-506 Kammersymphonie op.69. Composed by Hanns...(+)
Orchestra
SKU:
BR.SON-506
Kammersymphonie
op.69. Composed by
Hanns Eisler. Edited by
Tobias Fasshauer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 148 pages.
Breitkopf and Haertel
#SON 506. Published by
Breitkopf and Haertel
(BR.SON-506).
ISBN
9790004802779. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-509 Filmmusik zu Nuit et brouillard. Compose...(+)
Orchestra
SKU:
BR.SON-509
Filmmusik zu Nuit et
brouillard. Composed
by Hanns Eisler. Edited
by Knud Breyer and Oliver
Dahin. Hardback. Complete
Works. Early modern;
Music post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 509. Published by
Breitkopf and Haertel
(BR.SON-509).
ISBN
9790004803318. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
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.
ISBN
9790006567560. 33 x 24.3
cm inches. Text: Duplat
de Monticourt,
Pierre-Jacques.
Thi
s edition unites all the
purely instrumental parts
of Rameau’s
comdie-ballet “Les
Paladins†for
performance as a suite in
the concert
hall.
In view of
the wealth of the
work’s musical
treasures and the
stylistic innovations
– similar to the
“Boradesâ€
– the rather
frosty reception of the
premiere series in the
spring of 1760 seems
completely
incomprehensible to us
today. It led to this
stage work not being
performed again until
well into the 20th
century. The story that
the comdie-ballet tells
is based on a fable by La
Fontaine, “Le Petit
chien qui secoue de
l’argent et des
pierreries†(i.e.
“The little dog who
shakes silver and
stonesâ€). In
medieval Veneto, the
guardian Anselme
undermines the love
affairs of his ward
Argies. Scenes of tragic
expression are contrasted
with folk-comic ones; and
last but not least, the
sexually ambiguous fairy
Manto may have caused
difficulties for the bold
work at the Paris
Opra.
This
critical edition is based
on the corresponding
volume issued in the
series “Opera omnia
Rameau†(BA
8870-01). Since
“Les
Paladins†remained
unpublished during
Rameau’s lifetime
and was also not included
in the “Œuvres
complètesâ€, this
is the first edition of
the work. It satisfies
both scholarly demand and
the practical needs of
musicians.
The
orchestral parts are
available on
hire.
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
Full orchestra SKU: LO.30-3082L Hymn of Christian Unity. Composed ...(+)
Full orchestra
SKU:
LO.30-3082L
Hymn
of Christian Unity.
Composed by Edwin M.
Willmington. Choral.
Sacred Anthem, All
Saints' Day, Evangelism,
General, Trinity Sunday.
Orchestral score and
parts. Lorenz Publishing
Company #30/3082L.
Published by Lorenz
Publishing Company
(LO.30-3082L).
UPC:
000308136821.
This
inspiring anthem begins
quietly, builds to a
reminder of our mission
to the world, and
concludes with a joyful
affirmation that one day
all believers will join
together to praise God
for eternity. A perfect
blend of meaningful
lyrics and a strong
melody make The Jesus
Prayer an anthem that
your whole congregation
will enjoy. (Ob, 2 Hn, 3
Tpt, 2 Tbn, Tuba, Timp,
Perc, 2 Vln, Vla, Cello,
Bass).
Orchestra SKU: LO.30-2425L Composed by Joseph M. Martin. Arranged by Bran...(+)
Orchestra
SKU:
LO.30-2425L
Composed
by Joseph M. Martin.
Arranged by Brant Adams.
Choral. Sacred Anthem,
Palm/Palm-Passion Sunday.
Orchestral score and
parts. Lorenz Publishing
Company #30/2425L.
Published by Lorenz
Publishing Company
(LO.30-2425L).
UPC:
000308121858.
Fill
your sanctuary with Palm
Sunday majesty and
excitement with this
anthem from Joe Martin.
The first of three verses
is a lively
call-and-response setting
of the scripture:
“Who is this King
of glory?†The
contrasting middle verse
is an inventive pairing
of the traditional hymn
tune LEONI with the text
“All Glory, Laud
and Honor.†The
final verse returns the
lively theme of the first
in counterpoint with
drum-like hosannas. An
energetic accompaniment
that ties all three
verses together, whether
provided by piano alone
or orchestra, makes this
anthem the perfect choice
for Palm Sunday. (From
the cantata Who Is This
King? SATB –
55/1096L; SAB –
55/1097L.)
Instrumentation: 2
Flutes, Oboe, 2
Clarinets, Bassoon, 2 F
Horns, 3 Trumpets, 2
Trombones, Tuba, Timpani,
2 Percussion, Violin 1 &
2, Viola, Cello,
Bass.
Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). C...(+)
Tone Poem - Urtext based
on
the Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean Sibelius
(1865-1957). Edited by
Timo
Virtanen. Full score.
Breitkopf and Haertel
#PB-
5658. Published by
Breitkopf
and Haertel
Composed by Richard Wagner (1813-1883). Edited by Ulrich Konrad. This edition:...(+)
Composed by Richard
Wagner
(1813-1883). Edited by
Ulrich
Konrad. This edition:
facsimile. Half-leather
binding. Documenta
musicologica II/56 /
Barenreiter Facsimile.
Facsimile. Baerenreiter
Verlag #BVK02418.
Published
by Baerenreiter Verlag
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.
Concert Band; Orchestra - Grade 0.5 SKU: AP.49115 Angels We Have Heard...(+)
Concert Band; Orchestra -
Grade 0.5
SKU:
AP.49115
Angels We
Have Heard on High / God
Rest Ye Merry, Gentlemen
/ Deck the Halls / Dreydl
Song / Jingle Bells.
Arranged by Chris M.
Bernotas. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Sound
Innovations for Concert
Band. Chanukah;
Christmas; Holiday Pops;
Traditional; Winter.
Score and Part(s). 89
pages. Duration 2:20.
Alfred Music #00-49115.
Published by Alfred Music
(AP.49115).
UPC:
038081563398.
English.
This
version of Holiday Rock
arranged by Chris
Bernotas is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
This holiday
mash-up only uses the
first six notes of the
scale and is VERY
easy---perfect for the
first concert. With no
articulations, dynamics,
dotted notes, or key
signature, this wonderful
arrangement by Chris
Bernotas is playable by
the youngest of bands.
(2:20)
Concert Band; Orchestra - Grade 0.5 SKU: AP.49115S Angels We Have Hear...(+)
Concert Band; Orchestra -
Grade 0.5
SKU:
AP.49115S
Angels
We Have Heard on High /
God Rest Ye Merry,
Gentlemen / Deck the
Halls / Dreydl Song /
Jingle Bells.
Arranged by Chris M.
Bernotas. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Sound
Innovations for Concert
Band. Chanukah;
Christmas; Holiday Pops;
Traditional; Winter.
Score. 16 pages. Duration
2:20. Alfred Music
#00-49115S. Published by
Alfred Music (AP.49115S).
UPC: 038081563404.
English.
This
version of Holiday Rock
arranged by Chris
Bernotas is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
This holiday
mash-up only uses the
first six notes of the
scale and is VERY
easy---perfect for the
first concert. With no
articulations, dynamics,
dotted notes, or key
signature, this wonderful
arrangement by Chris
Bernotas is playable by
the youngest of bands.
(2:20)
Orchestra SKU: LO.30-2651L Composed by Pepper Choplin. Arranged by Stan P...(+)
Orchestra
SKU:
LO.30-2651L
Composed
by Pepper Choplin.
Arranged by Stan Pethel.
Choral. Sacred Anthem,
Palm/Palm-Passion Sunday.
Orchestral score and
parts. Lorenz Publishing
Company #30/2651L.
Published by Lorenz
Publishing Company
(LO.30-2651L).
UPC:
000308125962.
With
pulsating energy, Pepper
Choplin's creative genius
vividly conveys the
excitement and the
tension of the crowd as
Jesus rode through the
Jerusalem streets. There
are opportunities for
soloists in this anthem
and the option of using
trumpet and percussion or
full orchestra for
accompaniment. Questions
from the people are
answered with shouts of
affirmation in this
perfect choice for Palm
Sunday. (From the cantata
Come, Touch the Robe
SATB--55/1123L;
SAB--55/1124L) The
orchestra includes a
Conductor's Score and
parts for Flute, Oboe,
Clarinet, 2 Horns, 2
Trumpets, 2 Trombones, 2
Percussion, Piano, Guitar
(nylon strings), 2
Violins, Viola, Cello,
and Bass.
(Orchestra) SKU: HP.8464 Arranged by Jack Schrader. Lent/Easter, Cantata....(+)
(Orchestra)
SKU:
HP.8464
Arranged by
Jack Schrader.
Lent/Easter, Cantata.
Lent & Easter Musicals.
Lent, Easter Sunday,
Sacred. Set of
Instrumental Parts. Hope
Publishing Company #8464.
Published by Hope
Publishing Company
(HP.8464).
UPC:
763628184643.
Lent
& Easter Musical This new
45-minute, Easter musical
from Jack Schrader
utilizes three powerful
devices to dramatically
portray Christ's passion
and glory: well-conceived
choral music,
scintillating orchestral
accompaniment, and
passionate narrations,
with much detail drawn
from the gospels. The
story begins before the
Triumphal Entry of
Christ, and ends, by
implication, beyond his
Ascension. Chorally you
will find many poignant
and powerful moments.
Talented orchestrator,
Mark Kellner, has
provided exquisite
instrumental mosaics to
underscore and support
both choir and narration.
Yet the simple use of
piano accompaniment would
also be very satisfying.
At the most high and holy
time of the Christian
year, this musical
presentation powerfully
proclaims the truth of
the Gospel, and confronts
listener and performer
alike with the claims of
Jesus Christ, the Son of
God.
The
Orchestration contains a
Conductor's Score and
parts for: Flute, Oboe,
Clarinet, 3 Trumpets, 2
Horns, 2 Trombones, Tuba,
Percussion, Timpani,
Harp, Violin 1 & 2,
Viola, Cello, Bass,
Piano, and Electric
Bass.
Orchestra; Score (Study Score) Overture. Composed by Ludwig van Beethoven (1770-...(+)
Orchestra; Score (Study
Score)
Overture. Composed by
Ludwig van Beethoven
(1770-1827). Edited by
Max Unger. Arranged by
Max Unger. This edition:
Saddle stitching. Sheet
music. Eulenburg
Taschenpartituren (Pocket
Scores). Classical. Study
Score. Op. 124. 84 pages.
Eulenburg Edition
#ETP627. Published by
Eulenburg Edition
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).
Orchestra; Score (Study Score) SKU: HL.49010094 In C Major. Compos...(+)
Orchestra; Score (Study
Score)
SKU:
HL.49010094
In C
Major. Composed by
Ludwig van Beethoven.
Edited by Max Unger.
Arranged by Max Unger.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Op. 115. 72 pages.
Eulenburg Edition #ETP
632. Published by
Eulenburg Edition
(HL.49010094).
ISBN
9790200205527. UPC:
073999715347.
5.25x7.5x0.19
inches.
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.
Arranged by Ralph Ford. Traditional. For Full Orchestra. Full Orchestra. Pop Con...(+)
Arranged by Ralph Ford.
Traditional. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Level:
grade 4. Conductor Score.
Published by Alfred
Publishing.
Full orchestra SKU: LO.30-3653L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3653L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Score and
parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3653L. Published by
Lorenz Publishing Company
(LO.30-3653L).
UPC:
000308152227.
Score
and parts plus CD with
printable parts for The
Body of Christ (55/1197L)
Pepper Choplin
beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..
Full orchestra SKU: LO.30-3650L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3650L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Full score.
Lorenz Publishing Company
#30/3650L. Published by
Lorenz Publishing Company
(LO.30-3650L).
UPC:
000308152197.
Full
score for The Body of
Christ (55/1197L) Pepper
Choplin beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..