Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Full orchestra SKU: LO.30-3086L Composed by Mark Hayes. Choral. Sacred An...(+)
Full orchestra
SKU:
LO.30-3086L
Composed
by Mark Hayes. Choral.
Sacred Anthem, General,
Lent. Orchestral score
and CD with printable
parts. Lorenz Publishing
Company #30/3086L.
Published by Lorenz
Publishing Company
(LO.30-3086L).
UPC:
000308136920.
Thou
art the Way, the Truth
and the Life. Thou art
the Christ. Mark Hayes
has created this
inspirational setting of
Deborah E. Harris's text,
full of intricate harmony
and shifting keys. It is
equally effective with
piano accompaniment alone
or full orchestra. (2 Fl,
Ob, 2 Cl, Bsn, 2 Hn, 3
Tpt, 3 Tbn, Tuba, Timp, 2
Perc, Harp, Pno, 2 Vln,
Vla, Cello, Bass).
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.
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 Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Voice; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Set of parts. 1116 pages.
Duration 65'. Breitkopf
and Haertel #OB 5641-60.
Published by Breitkopf
and Haertel
(BR.OB-5641-60).
ISBN
9790004348833. 10.5 x 14
inches.
The Song of
the Earth, composed in
the summer of 1908, is
Mahler's best-known and
most personal work.
Reflecting drastic
changes in his life, its
immense emotional density
is very moving. Until the
very end, Mahler
continued to refine the
extremely differentiated
instrumentation, as is
evident in numerous
retouchings in the
autograph score and
engraver's model. It is
therefore all the more
regrettable that he was
neither able to perform
his Symphony in Songs
himself nor that he was
involved in its printing.
Unfortunately, in the
posthumously published
first edition of 1912 and
the subsequent editions
edited by Erwin Ratz and
Karl Heinz Fussl, many
questions remained
unanswered, while other
were answered in a
dubious way.The edition
is the first
text-critical one of the
work on a scientifically
sound basis. It offers
not only a more reliable
musical text, but also
systematically and
lucidly prepared
information on the
sources, their
transmission and
evaluation. All editorial
decisions have been
documented in a
transparently
comprehensible manner -
in particular those
leading to new audible
results. Work-related
notes on performance
practice, which for the
first time include
Mahler's conducting
indications, offer
valuable, indispensable
interpretive aids. In
addition to the regular
five clarinet parts, the
set of parts includes two
additional parts (3rd
clarinet/Eb clarinet,
bass clarinet/3rd
clarinet in places where
the latter plays Eb
clarinet) to allow
performances with only
four clarinets.The
completely revised piano
reduction reproduces the
orchestral texture true
to the score without
losing sight of
playability. Both
Mahler's piano autograph
and the piano reduction
by Woss, which was
commissioned by the
composer himself, served
as an inspiration for
this.
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
(Note-for-Note Transcriptions of the Brass, Woodwind, Strings and More). By The ...(+)
(Note-for-Note
Transcriptions of the
Brass, Woodwind, Strings
and More). By The
Beatles. For Orchestra.
Transcribed. Softcover.
192 pages. Published by
Hal Leonard
Orchestra (Full Score) SKU: HL.244904 For Orchestra. Composed by B...(+)
Orchestra (Full Score)
SKU: HL.244904
For Orchestra.
Composed by Bryce
Dessner. Music Sales
America. Classical.
Softcover. Composed 2017.
64 pages. Duration 1020
seconds. Chester Music
#CH83985. Published by
Chester Music
(HL.244904).
8.25x12.0x0.508
inches.
Quilting,
co-commissioned by the
BBC Symphony Orchestra
and the Los Angeles
Philharmonic, is my first
stand alone work for
orchestraand is loosely
inspired by the American
tradition of quilt
making. I composed
Quilting while living
most of last year in
Paris.During my time
there, I thought a lot
about what it means to
compose symphonic music
as a young American in
the 21st century, when so
many of the many
masterworks which are
programmed year in and
out by orchestras across
the country are European.
I considered which
artistic traditions
defined the American
19th-century. I began to
think of the American
crafts-tradition of
quilting as a foilto the
high-art tradition of
European orchestral
composition. As the score
for my new work began to
take shape, I started
thinking about the
manuscript itself as an
object, its vertical and
horizontal planes create
a kind of patterned
geometry of their own.
Visually the way a
musical score is woven
together like patchwork
brought to mind quilts
and the great American
tradition of quilting. I
imagined about how
conducting an orchestra
can feellike stitching a
piece together, or sewing
together a large number
of musical ideas and
musicians into a coherent
and transcendent whole.
Quilting was an integral
part of American
vernacular in the 18th
and 19th centuries, the
African-American quilting
tradition is especially
fascinating, and the
quilts tell the stories
of the women and
communities who made
them. The names of the
quilt patterns themselves
can have their own sense
of narrative: 'jacobs
ladder', 'drunkards
path', 'solomon's
puzzle', and (my favorite
for its relevance to this
piece) 'the road to
California. - Bryce
Dessner.
Composed by Pepper Choplin. Arranged by Michael Lawrence. Choral, cantatas. C...(+)
Composed by Pepper
Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas.
Christmas. CD with
printable
parts. Lorenz Publishing
Company #30/3591L.
Published
by Lorenz Publishing
Company
Orchestra (4(2picc).3(cor
ang).heck.Eb-clar.2.Bb-cl
ar(clar).4(dble bsn) -
8(4T-tuba).2alphn.4.4.2 -
org.cel -
2hp.2timp.perc(6).wind
m.thunder m - str - off
stage: 12hn.2trp.2tbne)
SKU: BR.PB-5710
Tone Poem -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphonic poem;
Late-romantic; Early
modern. Sheet Music. 204
pages. Duration 50'.
Breitkopf and Haertel #PB
5710. Published by
Breitkopf and Haertel
(BR.PB-5710).
ISBN
9790004216477. 10.5 x 14
inches.
Richard
Strauss's last completed
tone poem is regarded as
the pinnacle of his art
of orchestration: Now
I've finally learned to
orchestrate, he himself
is once supposed to have
said about it after the
dress rehearsal. The
single-movement Alpine
symphony that we know
today ultimately evolved
- over almost 15 years -
from the original drafts
of an artist's tragedy,
titled Der Antichrist.
Eine Alpensinfonie [The
Antichrist. An Alpine
Symphony] up to the stage
of the last sketches.
With unprecedented
plasticity, the work
showcases a
(metaphysical?) mountain
hike with stops in the
forest, at the waterfall,
on the alpine pasture
and, of course, at the
summit. Apropos alpine
pastures: up to the
score's fair copy stage,
Strauss envisaged a high
and a low alphorn for the
section Auf der Alm [On
the Alpine Pasture] and
the well-known Dulioh
theme, though for various
reasons first detailed in
our new Urtext edition,
these exotic instruments
did not find their way
into the printed version.
In the new edition, the
editor, Nick Pfefferkorn,
reproduces the alphorn
passages in small print,
also adding two alphorn
parts to the performance
material, besides
evaluating the
corrections made by
Walter Seifert at
Strauss's
request.
First
Urtext edition since the
first editionEvaluation
of all available sources,
including sketches and
the score corrected by
Walter Seifert Extensive
preface on the work's
compositional history and
receptionDetailed
Critical ReportFacsimile
pages.
Composed by Jean Sibelius (1865-1957). Edited by Ulrich Mahlert. This edition: u...(+)
Composed by Jean Sibelius
(1865-1957). Edited by
Ulrich Mahlert. This
edition: urtext.
Partitur-Bibliothek
(Score Library). Study
score. 116 pages.
Published by Breitkopf
and Haertel
(BR.PB-5564-07).
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.
Full orchestra SKU: LO.30-3741MD Composed by Mary McDonald. Arranged by J...(+)
Full orchestra
SKU:
LO.30-3741MD
Composed
by Mary McDonald.
Arranged by Jay Rouse.
Choral, cantatas. Advent,
Christmas, Sacred. Score
and parts, plus CD with
printable parts.
Medallion Music
#30/3741MD. Published by
Medallion Music
(LO.30-3741MD).
UPC:
000308154764.
Score
and Parts plus CD with
Printable Parts for
65/2104MD Mary McDonald
and Jay Rouse combine
their compositional gifts
to bring us this moving
musical for Advent and
Christmas. Beautiful
music from Mary and Jay,
deeply thoughtful
narrations from Rose
Aspinall, and a fabulous
orchestration by Ed Hogan
and Jay highlight the
message at the heart of
Christmas—Godâ€
™s love through Jesus
Christ. You’ll
find a bit of everything
here, including original
songs, familiar carols,
fresh settings of
timeless Christmas
favorites, and ministry
songs that will reach the
heart of every listener.
Songs like Mary’s
Sing Out Our
Savior’s Birth and
Look on Him with Love and
Jay’s A Midwinter
Noel and Love Made a Way
all serve to bring into
focus God’s
undeserved and
unfathomable love through
Jesus Christ. Celebrate
how love made a way for
each of us with this
impactful musical! His
coming means freedom for
the captive, sight for
the blind, good news for
the poor. Jesus is Love
incarnate, and He alone
makes a way home for
fallen man..
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
Full orchestra SKU: LO.30-3739MD Composed by Mary McDonald. Arranged by J...(+)
Full orchestra
SKU:
LO.30-3739MD
Composed
by Mary McDonald.
Arranged by Jay Rouse.
Choral, cantatas. Advent,
Christmas, Sacred.
Instrumental parts.
Medallion Music
#30/3739MD. Published by
Medallion Music
(LO.30-3739MD).
UPC:
000308154788.
Set
of Parts for 65/2104MD
Mary McDonald and Jay
Rouse combine their
compositional gifts to
bring us this moving
musical for Advent and
Christmas. Beautiful
music from Mary and Jay,
deeply thoughtful
narrations from Rose
Aspinall, and a fabulous
orchestration by Ed Hogan
and Jay highlight the
message at the heart of
Christmas—Godâ€
™s love through Jesus
Christ. You’ll
find a bit of everything
here, including original
songs, familiar carols,
fresh settings of
timeless Christmas
favorites, and ministry
songs that will reach the
heart of every listener.
Songs like Mary’s
Sing Out Our
Savior’s Birth and
Look on Him with Love and
Jay’s A Midwinter
Noel and Love Made a Way
all serve to bring into
focus God’s
undeserved and
unfathomable love through
Jesus Christ. Celebrate
how love made a way for
each of us with this
impactful musical! His
coming means freedom for
the captive, sight for
the blind, good news for
the poor. Jesus is Love
incarnate, and He alone
makes a way home for
fallen man..
Full orchestra SKU: LO.30-3740MD Composed by Mary McDonald. Arranged by J...(+)
Full orchestra
SKU:
LO.30-3740MD
Composed
by Mary McDonald.
Arranged by Jay Rouse.
Choral, cantatas. Advent,
Christmas, Sacred. CD
with printable parts.
Medallion Music
#30/3740MD. Published by
Medallion Music
(LO.30-3740MD).
UPC:
000308154771.
CD
with Printable Parts for
65/2104MD Mary McDonald
and Jay Rouse combine
their compositional gifts
to bring us this moving
musical for Advent and
Christmas. Beautiful
music from Mary and Jay,
deeply thoughtful
narrations from Rose
Aspinall, and a fabulous
orchestration by Ed Hogan
and Jay highlight the
message at the heart of
Christmas—Godâ€
™s love through Jesus
Christ. You’ll
find a bit of everything
here, including original
songs, familiar carols,
fresh settings of
timeless Christmas
favorites, and ministry
songs that will reach the
heart of every listener.
Songs like Mary’s
Sing Out Our
Savior’s Birth and
Look on Him with Love and
Jay’s A Midwinter
Noel and Love Made a Way
all serve to bring into
focus God’s
undeserved and
unfathomable love through
Jesus Christ. Celebrate
how love made a way for
each of us with this
impactful musical! His
coming means freedom for
the captive, sight for
the blind, good news for
the poor. Jesus is Love
incarnate, and He alone
makes a way home for
fallen man..
Full orchestra SKU: LO.30-3738MD Composed by Mary McDonald. Arranged by J...(+)
Full orchestra
SKU:
LO.30-3738MD
Composed
by Mary McDonald.
Arranged by Jay Rouse.
Choral, cantatas. Advent,
Christmas, Sacred. Full
score. Medallion Music
#30/3738MD. Published by
Medallion Music
(LO.30-3738MD).
UPC:
000308154795.
Full
Score for 65/2104MD Mary
McDonald and Jay Rouse
combine their
compositional gifts to
bring us this moving
musical for Advent and
Christmas. Beautiful
music from Mary and Jay,
deeply thoughtful
narrations from Rose
Aspinall, and a fabulous
orchestration by Ed Hogan
and Jay highlight the
message at the heart of
Christmas—Godâ€
™s love through Jesus
Christ. You’ll
find a bit of everything
here, including original
songs, familiar carols,
fresh settings of
timeless Christmas
favorites, and ministry
songs that will reach the
heart of every listener.
Songs like Mary’s
Sing Out Our
Savior’s Birth and
Look on Him with Love and
Jay’s A Midwinter
Noel and Love Made a Way
all serve to bring into
focus God’s
undeserved and
unfathomable love through
Jesus Christ. Celebrate
how love made a way for
each of us with this
impactful musical! His
coming means freedom for
the captive, sight for
the blind, good news for
the poor. Jesus is Love
incarnate, and He alone
makes a way home for
fallen man..
Full orchestra SKU: LO.30-3734L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3734L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred. Score
and parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3734L. Published by
Lorenz Publishing Company
(LO.30-3734L).
UPC:
000308154627.
Score
and Parts plus CD with
Printable Parts for
65/2106L Joel Raney calls
on Celtic musical
traditions and
instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3733L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3733L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred. CD
with printable parts.
Lorenz Publishing Company
#30/3733L. Published by
Lorenz Publishing Company
(LO.30-3733L).
UPC:
000308154610.
CD
with Printable Parts for
65/2106L Joel Raney calls
on Celtic musical
traditions and
instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3732L Composed by Joel Raney. Arranged by Ed Ho...(+)
Full orchestra
SKU:
LO.30-3732L
Composed
by Joel Raney. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred.
Instrumental parts.
Lorenz Publishing Company
#30/3732L. Published by
Lorenz Publishing Company
(LO.30-3732L).
UPC:
000308154603.
Set
of Parts for 65/2106L
Joel Raney calls on
Celtic musical traditions
and instrumentation to
deliver a refreshing
sound for Christmas! The
orchestration by Ed Hogan
incorporates Irish
flutes, drums, acoustic
guitar, and fiddle to
paint vivid imagery of a
beautifully lush and
green Irish countryside.
Familiar Christmas carols
appear, as do some
familiar Christmas texts
set to beloved Irish and
Welsh folk songs. An
ethereal opening sets the
stage before breaking
into an exuberant
rendition of I Saw Three
Ships. Come, Thou
Long-Expected Jesus; Away
in a Manger; Gentle Mary
Laid Her Child; and the
beloved Angels We Have
Heard on High all make
appearances as the work
progresses, culminating
with a rhythmic
re-imagining of O Come,
All Ye Faithful set to
the traditional Scottish
melody Loch Lomond. One
of the highlights of this
musical is O Holy Night,
written for soloist and
choir and set to the
timeless tune,
LONDONDERRY AIR. Present
the Christmas story in a
uniquely captivating way
with this imaginative
work!
Full orchestra SKU: LO.30-3592L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3592L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Christmas.
Score and parts, plus CD
with printable parts.
Lorenz Publishing Company
#30/3592L. Published by
Lorenz Publishing Company
(LO.30-3592L).
UPC:
000308151251.
From
the pen of Pepper Choplin
comes Christmas Presence,
a musical telling of the
Christmas story and its
impact on our lives and
the lives of those around
us. From the energetic
opener, The World Awaits
Your Coming, to the
reflective Still They Are
Here, this work inspires
us to dwell on the
important and profound
way that Christmas brings
us together through the
joy of Christ’s
birth. Beautiful original
melodies and thoughtful
texts are paired with and
inspired by favorite
carols of old in a unique
and creative way. The
finale features an
inspiring call to action:
Go into the world to be a
Christmas Presence,
bringing hope, peace, and
love to a world in
need..
Full orchestra SKU: LO.30-3590L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3590L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Christmas.
Instrumental parts.
Lorenz Publishing Company
#30/3590L. Published by
Lorenz Publishing Company
(LO.30-3590L).
UPC:
000308151237.
From
the pen of Pepper Choplin
comes Christmas Presence,
a musical telling of the
Christmas story and its
impact on our lives and
the lives of those around
us. From the energetic
opener, The World Awaits
Your Coming, to the
reflective Still They Are
Here, this work inspires
us to dwell on the
important and profound
way that Christmas brings
us together through the
joy of Christ’s
birth. Beautiful original
melodies and thoughtful
texts are paired with and
inspired by favorite
carols of old in a unique
and creative way. The
finale features an
inspiring call to action:
Go into the world to be a
Christmas Presence,
bringing hope, peace, and
love to a world in
need..
Lemminkainen palaa
kotitienoille - Urtext
based on the Complete
Edition Jean Sibelius
Works (JSW). Composed
by Jean Sibelius. Edited
by Tuija Wicklund.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Late-romantic; Early
modern. Full score. 68
pages. Duration 7'.
Breitkopf and Haertel #PB
5585. Published by
Breitkopf and Haertel
(BR.PB-5585).
ISBN
9790004213957. 10 x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
material may have found
its way into the
Lemminkainen pieces which
he started composing
during that time.
Lemminkainen became
popular from the
beginning and has
attained a fixed position
in the concert
repertoire.On
Lemminkainen's Return
Sibelius commented: I
would like to see more
pride in us Finns. Why
should we be ashamed?
This is the underlying
thought in Lemminkainen's
Return. Lemminkainen is
just as good as the
noblest of earls. He is
an aristocrat, without
question an
aristocrat!.
Orchestra - Grade 2 SKU: AP.49060 Composed by Bruce W. Tippette. MakeMusi...(+)
Orchestra - Grade 2
SKU: AP.49060
Composed by Bruce W.
Tippette. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score and
Part(s). 74 pages.
Duration 2:10.
Highland/Etling
#00-49060. Published by
Highland/Etling
(AP.49060).
ISBN
9781470645786. UPC:
038081565224.
English.
Ideal for
young orchestras,
Majestic Moonlight by
Bruce W. Tippette
incorporates a gentle,
lilting melodic line with
lush harmonies and simple
rhythms. It is a musical
journey that paints a
picture of the moonlight
shining majestically.
Without technical
obstacles in the way,
your students will be
free to enjoy achieving
all of the musical
emotion as the piece
builds to a climactic
maestoso moment before
the peaceful conclusion.
(2:10) This title is
available in MakeMusic
Cloud.
Orchestra SKU: HL.14019145 Composed by Magnus Lindberg. Music Sales Ameri...(+)
Orchestra
SKU:
HL.14019145
Composed
by Magnus Lindberg. Music
Sales America. Classical.
Book [Softcover]. 48
pages. Music Sales
#KP00119. Published by
Music Sales
(HL.14019145).
ISBN
9788759860625.
12.0x16.5x0.436 inches.
English.
This work
was written with a mix
between computer
technology and the more
traditional orchestra,
the piece was composed in
such a way that it would
support its own
acoustics. Lindberg
worked with amplification
of instruments and
electronically
transformed sounds thus
producing greater
possibilities to abandon
acoustic limits. In order
for the piece to be
supported by it's own
acoustics, the piece had
to be written in terms of
foreground and background
harmony, every foreground
chord would always have
it's background, a shadow
existing without it's
main chord. Another theme
to the piece is that of
textural motion as rapid
gestures and motions are
a big part of the
composer's interest.
Static repitions seemed
to limit the piece
however so they were
compensated for on
another level, so with a
repetitive rhythmic
pattern, the harmonic
material changes rapidly
or when a chain of chords
is static the rhythmic
and timbral qualities
vary frequently. Work for
orchestra commissioned by
the Finnish Broadcasting
Company.
Concert Overture No. 1
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Hans Christian
Schmidt. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Christian Martin Schmidt
is laying bare to musical
practice the original
form of Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time. Overture;
Romantic. Full score. 72
pages. Duration 12'.
Breitkopf and Haertel #PB
5364. Published by
Breitkopf and Haertel
(BR.PB-5364).
ISBN
9790004211458. 10 x 12.5
inches.
Autograph
lays bare Mendelssohn's
Overture to A Midsummer
Night's Dream To this
day, Mendelssohns
epoch-making Overture to
A Midsummer Night's Dream
has been performed on the
basis of a more than
dubious transmission.
Neither the first edition
of the parts (1832), and
certainly not the print
of the score based on
these parts (1835) go
back directly to the
autograph of the
17-year-old composer,
which is now located in
Krakow. No wonder, since
Mendelssohn had breezily
given away his original
at an early date. The
result: during his
lifetime, versions were
published with his
authorization, even
though they were full of
unintended
inconsistencies. Yet the
autograph of 1826 is
unequivocal: it is clear,
practically free of
irregularities and
diverges considerably
from the corrupted
printed version.
Christian Martin Schmidt
comes up with
occasionally differing
musical passages, but
above all with logical
and compositionally
compelling performance
instructions, laying bare
to musical practice the
original form buried
beneath layers of
falsified material for
the first
time.
Christian
Martin Schmidt is laying
bare to musical practice
the original form of
Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time.
Composed by Tanner Otto.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Light Concert;
Programmatic. Score and
Part(s). 144 pages.
Duration 2:15. Belwin
Music #00-47431.
Published by Belwin Music
(AP.47431).
UPC:
038081547121.
English.
This
animated piece with
simple, catchy melodies
introduces the tonality
of A major without any
extended finger patterns.
The piece is perfect for
working on staccato
bowing and cut time. The
lighthearted A theme
makes way for the
energetic and driving B
and C sections. Written
in rondo form, it follows
a group of friends on
their summer adventure.
Try having students write
their own narration to
fit the music!
(2:15).
Composed by Tanner Otto.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Light Concert.
Score. 12 pages. Duration
2:15. Belwin Music
#00-47431S. Published by
Belwin Music (AP.47431S).
UPC: 038081547138.
English.
This
animated piece with
simple, catchy melodies
introduces the tonality
of A major without any
extended finger patterns.
The piece is perfect for
working on staccato
bowing and cut time. The
lighthearted A theme
makes way for the
energetic and driving B
and C sections. Written
in rondo form, it follows
a group of friends on
their summer adventure.
Try having students write
their own narration to
fit the music!
(2:15).