Orchestra - Grade 2 SKU: AP.44859S As Performed by Bruno Mars. Com...(+)
Orchestra - Grade 2
SKU: AP.44859S
As Performed by Bruno
Mars. Composed by
Bruno Mars, Charles
Wilson, Devon Gallaspy,
Jeff Bhasker, Lonnie
Simmons, Mark Ronson,
Nicholaus Williams,
Philip Lawrence, Robert
Wilson, Ronnie Wilson,
and Rudolph Taylor.
Arranged by Michael
Story. Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Funk;
Pop/Rock. Score. 8 pages.
Alfred Music #00-44859S.
Published by Alfred Music
(AP.44859S).
UPC:
038081521817.
English.
One of the
biggest hits of 2015 and
the winner of the GRAMMY
Award for Record of the
Year in 2016, this funky
offering is playable by
your
young-to-intermediate
string orchestra. This
effective arrangement
simplifies many of the
rhythms while maintaining
the infectious groove of
the original tune.
Himmel Punk Orchestre SATB, Orchestre Fennica Gehrman
Orchestra SKU: FG.55011-652-8 Composed by Antti Auvinen. Study score. Fen...(+)
Orchestra
SKU:
FG.55011-652-8
Composed by Antti
Auvinen. Study score.
Fennica Gehrman
#55011-652-8. Published
by Fennica Gehrman
(FG.55011-652-8).
ISBN
9790550116528.
Himm
el Punk was born out of
social commentary. It
addresses
narrow-mindedness
manifesting itself in the
rejection of particular
values on religous
grounds. Piety turns to
hypocrisy as those who
think otherwise are
branded as an inferior
caste, thereby even
justifying the denial of
human rights to them.
Orchestra SKU: FG.55011-651-1 Composed by Antti Auvinen. Study score. Fen...(+)
Orchestra
SKU:
FG.55011-651-1
Composed by Antti
Auvinen. Study score.
Fennica Gehrman
#55011-651-1. Published
by Fennica Gehrman
(FG.55011-651-1).
ISBN
9790550116511.
The
collective memory does
not extend beyond three
generations. This
facilitated the new rise
of the extreme right in
Europe in the 2010s.
Young men without a
meaningful purpose in
their lives are
particularly susceptible
to neo-Nazi ideologies.
Adult sons still living
with their parents
channel their resentment
into self-declared
superiority, becoming
entitled braggarts with a
supposed motive to
disparage anyone who is
of a different colour or
from a different country.
Such a home made National
Socialist is the nomil
character underlying in
orchestral work Junker
Twist.
Orchestra - Grade 3.5 SKU: AP.41259S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 3.5
SKU: AP.41259S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Novelty.
Score. 24 pages.
Highland/Etling
#00-41259S. Published by
Highland/Etling
(AP.41259S).
ISBN
9781470664718. UPC:
038081480688.
English.
The word
steampunk refers to a
genre of science fiction
that features
steam-powered machinery.
Works of fiction in this
style are most often set
in the 19th century
British Victorian era or
the American Wild West.
Machines and technology
found in the works of
Jules Verne and H.G.
Wells would be good
examples of
steampunk-style
inventions. The piece
itself follows no
specific narrative, but
rather is meant to
capture the spirit and
mood of this hearty,
highly imaginative,
industrial-based
movement. This title is
available in MakeMusic
Cloud.
Featuring: Just the Way You Are / When I Was Your Man / Uptown Funk. Full...(+)
Featuring: Just the
Way You Are / When I Was
Your Man / Uptown
Funk. Full Orchestra;
Score. Pop Concert Full
Orchestra. Pop. 32 pages.
Published by Alfred Music
(AP.45853S).
Featuring: Just the Way You Are / When I Was Your Man / Uptown Funk. Arranged by...(+)
Featuring: Just the Way
You Are / When I Was Your
Man / Uptown Funk.
Arranged by Victor Lopez.
Full Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Pop. 248
pages. Published by
Alfred Music
Featuring "The Syncopated
Clock," "Sleigh Ride,"
"Blue Tango," "Plink,
Plank, Plunk!," and
"Serenata". By Leroy
Anderson. Arranged by
Jack Bullock. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Level: 3.5
(grade 3.5). Conductor
Score. 36 pages.
Published by Alfred
Publishing.
Leroy Anderson Favorites Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Featuring: The Syncopated Clock / Sleigh Ride / Blue Tango / Plink, Plank, Plunk...(+)
Featuring: The Syncopated
Clock / Sleigh Ride /
Blue Tango / Plink,
Plank, Plunk! / Serenata.
By Leroy Anderson.
Arranged by Jack Bullock.
For Full Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Level: 3.5
(grade 3.5). Conductor
Score and Parts. 234
pages. Published by
Alfred Publishing.
Orchestra - Grade 3 SKU: AP.42079 Featuring: What Is Hip? / You're Sti...(+)
Orchestra - Grade 3
SKU: AP.42079
Featuring: What Is
Hip? / You're Still a
Young Man / Down to the
Nightclub. Composed
by David Garibaldi,
Emilio Castillo, and
Stephen Kupka. Arranged
by Victor Lopez. Full
Orchestra; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Pop Concert Full
Orchestra. Form: Medley.
Blues; Funk; Jazz; Light
Concert. Score and
Part(s). 248 pages.
Duration 5:30. Alfred
Music #00-42079.
Published by Alfred Music
(AP.42079).
UPC:
038081480930.
English.
Want to
know what's hip? Well,
this is it! Give your
students and audiences a
taste of some real funky
music and don't be
surprised if you see
grandma getting down
during the performance.
Includes What Is Hip?,
You're Still a Young Man,
and Down to the
Nightclub. (5:30) This
title is available in
MakeMusic Cloud.
Orchestra (2.2.2.2. -
4.3.3.0. - timp.perc - hp
-str)
SKU:
BR.PB-4862-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Hannover, March
13, 1972
Music
post-1945. Study Score.
Composed 1972. 82 pages.
Duration 15'. Breitkopf
and Haertel #PB 4862-07.
Published by Breitkopf
and Haertel
(BR.PB-4862-07).
ISBN
9790004206591. 7 x 9.5
inches.
Variationen
(Ouverture / Thema /
Variation / Coda),
Lyrisches Intermezzo
(Sostenuto), Symphonische
Nachklange (Allegro con
moto).Immer wieder lassen
sich Komponisten von
Themen alterer oder auch
zeitgenossischer Meister
zu Variations-Zyklen
anregen (Brahms: Handel-
und Haydn-Variationen,
Reger:
Mozart-Variationen,
Holler:
Sweelinck-Variationen).
Themen von Robert
Schumann fanden bisher
relativ selten Beachtung
- (Regers
Schumann-Variationen fur
zwei Klaviere sind eine
Ausnahme) - vielleicht,
weil sie zu sehr in sich
vollendet und
abgeschlossen sind und
deshalb kaum
Moglichkeiten zur
Veranderung enthalten.
Dennoch beschaftigte mich
schon langer die Idee,
eine ,,Musik mit
Schumann, Nachklange oder
Erinnerungen an Schumann
zu gestalten, mit der
Absicht, ein heiteres,
liebenswurdiges (und
nachdenkliches) Werk zu
schreiben, einmal ohne
Experimente-, als
,,Divertimento fur den
Normalhorer, gelegentlich
behutsam verbunden mit
modernen Techniken -
nicht ohne
hintergrundigen Humor.
Der 1. Satz wurde
inspiriert von den
,,Papillons (opus 2 fur
Klavier); er gliedert
sich in vier
variationsahnliche
Abschnitte. Die
,,Ouverture exponiert
drei kurze Themen, die
sich trotz ihres
gegensatzlichen
Charakters wie
selbstverstandlich
erganzen
(Einleitungsgirlande und
Schlussfanfare der
Papillons und das
bekannte Anfangsmotiv aus
,,Vogel als Prophet). Die
Abschnitte ,,Thema,
,,Variationen und ,,Coda
entwickeln und verandern
das Hauptthema der
,,Papillons; dieses
dominiert uber weite
Strecken des Satzes und
wird mit den Motiven der
Ouverture kombiniert.
Vielfaltig gegliedert ist
das ,,Lyrische
Intermezzo. Zu Beginn
gewinnt ein Motiv aus den
,,Nachtstucken (fur
Klavier) Bedeutung,
taucht mehrere Male auf,
von mehrtonigen b-a-c-h
Clustern ,,gestort. Im
Mittelpunkt stehen das
Thema des 2. Satzes der
g-moll Klavier-Sonate op.
22 (ein Mondnachtlied
ohne Worte; Holzblaser)
und ein Adagio-Gedanke
aus dem Klavier-Zyklus
,,Kreisleriana (tiefe
Streicher); beide Themen
werden kontrapunktiert
von zwolftonigen
Strukturen und
Klangbandern
(Holzblaser). Die
,,Fruhlings-Symphonie-Fan
fare eroffnet das Finale.
Danach bilden sich uber
rotierenden Klangflachen
(Streicher) einzelne Tone
und Intervalle,
aleatorisch frei,
verdichten sich, wie aus
der Erinnerung
auftauchend, zu Motiven
aus Schumanns
bekanntester Symphonie.
Nach diesem zogernden
Beginn entwickelt sich
ein fast klassisch
anmutender
Sonaten-Durchfuhrungsteil
mit mehreren melodischen
Gedanken (Kopfmotiv der
g-moll Klaviersonate,
tanzerische und ostinate
Themen aus der
Fruhlings-Symphonie), die
zum Teil in- und
ubereinander geschichtet
werden, bis auf dem
Hohepunkt des Satzes das
Schlussthema der
Klavierfantasie op. 17,
pathetisch-ironisch in
den Blechblasern
erklingt. Eine kurze
Reprise mit dem
Hauptgedanken fuhrt zur
Anfangsfanfare zuruck;
der Satz verklingt im
pianissimo. Wollte man
dem ganzen opus ein Motto
voranstellen, dann die
Schumann-Uberschrift (aus
den Kinderszenen) :
,,Fast zu ernst - aber
eben nur ,,fast. (Jurg
Baur)CD:Sinfonieorchester
des Bayerischen
Rundfunks, cond.
Hanns-Martin SchneidtCD
Thorofon CTH 2270
Bibliography:Wallerang,
Lars: Die Orchesterwerke
Jurg Baurs als Dialog
zwischen Tradition und
Moderne, Koln: Dohr
2003.Nonnenmann, Rainer:
Vergegenwartigungen.
Umgang mit historischem
Material bei Zimmermann,
Baur, Killmayer, Schnebel
und Zender, in: Jurg
Baur, hrsg. von Ulrich
Tadday (= Musik-Konzepte.
Neue Folge, Heft
184/185), Munchen:
Edition Text+Kritik 2019,
S. 26-46.
Orchestra (picc.2.2.cor
ang.2.B-clar.2.dble bsn -
4.3.3.1. - timp.perc(3) -
hp - cel - str)
SKU:
BR.PB-5105-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Bremen,
February 1, 1982
Symphony; Music
post-1945. Study Score.
Composed 1981. 68 pages.
Duration 17'. Breitkopf
and Haertel #PB 5105-07.
Published by Breitkopf
and Haertel
(BR.PB-5105-07).
ISBN
9790004208557. 9 x 12
inches.
Gesualdo,
Don Carlo, Furst von
Venosa (1560-1613) gehort
zu den eigenwilligsten
italienischen
Madrigal-Komponisten der
Spatrenaissance. Seine
ungewohnlich kuhne,
selbst fur heutige Ohren
modern klingende
Harmonik, seine
chromatischen
Stimmfortschreitungen,
seine ubersteigerte
expressive Tonsprache
regten mich schon vor
Jahren zu einer grosseren
Orgelkomposition an und
inspirierten mich 1981 zu
den >>Sinfonischen
Metamorphosen<<. Dieses
Werk ist eine
vielgestaltige
weitausgesponnene
Fantasie. Sieben
choralartige typische
Klangbeispiele aus
Gesualdos spaten
funfstimmigen Madrigalen
(4., 5. u. 6. Band)
werden teils streng,
teils frei zitiert und
von Holz- oder
Blechblasern intoniert.
Diese Zitate gliedern,
als formale und
inhaltliche Schwer- und
Ruhepunkte, den Verlauf
des gesamten Werks. Jedes
Zitat steht zu Beginn
eines neuen
Satzabschnitts; die
darauffolgenden
>>Metamorphosen<<
entwickeln sich als
rhapsodische
kontrastreiche
Charakterstucke. Im
>>Preludio<< werden aus
den vertonbaren
Buchstaben vom Namen
>>Gesualdo<< (G - E - Es
- A - D) schwebende
Klangflachen,
rezitativische Gedanken
und ein pragnantes
rhythmisches Paukenthema
gebildet. Diese
,,Grundelemente
(Grundstrukturen) tauchen
im Verlauf des Stucks
immer wieder
leitmotivisch auf. Im
zweiten Abschnitt stehen
sich lineare
Streicher-Episoden und
dichte
Blaser-Klangballungen
kontrastierend gegenuber.
Der dritte Teil lauft als
Passacaglia (Thema ist
der Bass eines
Gesualdo-Zitats) in
mehreren Variationen ab.
Im vierten Abschnitt
dominiert lebhafte
Streicherbewegung,
kontrapunktiert von
tiefen Blaser-Signalen.
Der funfte Teil steigert
sich- nach kantablem
Beginn- zum ekstatischen
Trauermarsch. Abschnitt
sechs stellt sich als
>>Rondello<< dar, mit um
sich selbst kreisenden
Klangfiguren (in
verschiedenen Tongruppen
(zwei, drei, funf). Im
siebten und letzten Teil
wird die
verhalten-resignierende
Stimmung des Anfangs
beschworen, ehe eine
knappe Stretta in den
hymnischen Schluss
mundet. In den Textender
ausgewahlten Zitatstellen
geht es meist um
Todessehnsucht,
Liebesqual und
Verzweiflung. z. B. 1.
und 2. Zitat: Moro lasso,
al mio duolo (Ich sterbe,
matt, an meiner Qual) (6.
Buch) 3. Zitat: Gia
piansi nel dolore; o
dolorosa Sorte (Schon
weinte ich in Schmerzen,
oh schmerzliches
Geschick) (6. Buch) 4.
Zitat: Ahi gia mi
discolero (Ach schon
entfarbte ich mich)
(Wehe, der Tod kommt) (4.
Buch) 5. Zitat:
Dolcissima mia vita (Mein
allerliebstes Leben)
(Dich zu lieben oder zu
sterben) (5. Buch) 6.
Zitat: lo moro (Ich
sterbe) (5. Buch) Dem
Werk liegen zwar eine
Reihe von
dodekaphonischen
Strukturen zugrunde (die
teilweise von Gesualdos
Klangzitaten abgeleitet
wurden), doch sind die
einzelnen Abschnitte
auf,,tonale Pfeiler (G -
E - A - D) gegrundet; das
Stuck beginnt in G und
endet aufD, ist also
ubergeordnet tonal
konzipiert, - der Versuch
einer Synthese moderner
Ausdrucksmittel von
Vergangenheit und
Gegenwart. Die
>>Metamorphosen<< sind
ein Stuck Bekenntnismusik
- Bekenntnis zum Leben
und Schaffen Gesualdos,
eines Mannes, der vom
Schicksal gezeichnet war,
denn der Chronik Neapels
bekannt war durch die
Ermordung seiner ersten
Frau und ihres
Liebhabers. Dieser
eminente Musiker war
zugleich ein Mensch von
ubertriebener
Sensibilitat und wilder
ekstatischer Heftigkeit:
,,Er wurde von einer
Horde von Damonen
heimgesucht, die ihm
keine Ruhe gaben, heisst
es in einem
zeitgenossischen Bericht.
Seine Kunst und sein
Leben stand unter dem
Gesetz der inneren
Zerrissenheit, zwischen
Auflehnung und
Resignation (Verzweiflung
und Hoffnung), zwischen
Zartheit und
Leidenschaft. Davon will
meine Musik etwas
aussagen. (Jurg
Baur)CD:Sinfonieorchester
des Westdeutschen
Rundfunks, cond. Rudolf
BarschaiCD Thorofon CTH
2270Bibliography:Abels,
Robert: Studien zur
Gesualdo-Rezeption durch
Komponisten des 20.
Jahrhunderts (= Studien
zur Musik 20), Leiden u.
a.: Wilhelm Fink 2017,
pp. 277-345,
485-489.Wallerang, Lars:
Die Orchesterwerke Jurg
Baurs als Dialog zwischen
Tradition und Moderne,
Koln: Dohr 2003.
Study score.
Composed by Friedhelm
Dohl. Softbound.
Partitur-Bibliothek
(Score Library). World
premiere Hannover, 1984.
Music post-1945. Study
Score. Composed 1984. 72
pages. Duration 16'.
Breitkopf and Haertel #PB
5153-07. Published by
Breitkopf and Haertel
(BR.PB-5153-07).
ISBN
9790004208953. 14 x 11.5
inches.
Die
Komposition entstand Juli
bis November 1984 im
Auftrag des Norddeutschen
Rundfunks fur die Tage
der Neuen Musik Hannover
1985. Der Titel ,,Passion
ist in seinem
mehrdeutigen Sinn zu
verstehen, wie ich ihn
einerseits in Bachs
Matthaus-Passion
widergespiegelt finde,
hier besonders im letzten
Choral in der Zeile
,,wenn mir am
allerbangsten, auf die
mich einst Uwe Rohl
aufmerksam machte,
andererseits in Trakls
Gedicht ,,Passion (s.
u.).Meine Musik ist
primar ,,Medium der
Selbstbegegnung. Dass sie
sich hier zugleich auf
Bach und Trakl bezieht,
ist kein Widerspruch.
Auch Bach und Trakl sind
fur mich ,,aktuell - als
Medium der
Selbstbegegnung. Die
Perspektiven von Bachs
und Trakls ,,Passion
bedingen sich,
vertauschen sich (Trakls
,,Passion - Bachs Traum?
Bachs ,,Passion - Trakls
Er-Innerung, wie der
Orpheusmythos? Bach - der
Expressionist? Trakl -
der Mystiker?). In der
Wechselbeziehung beider
erkenne ich mich, meine
,,Umwelt, unsere
Betroffenheit: ,,wenn mir
am allerbangsten,
,,wandelnd an den
schwarzen Ufern,
,,schauen wir uns am
Kreuzweg ... (Friedhelm
Dohl)CDs:Nordwestdeutsche
Philharmonie, cond. Klaus
BernbacherMusik in
Deutschland 1950-2000CD
RCA 74321 73613
2Rundfunkorchester
Hannover des NDR, cond.
Othmar MagaCD Dreyer
Gaido 21042
Orchestra SKU: M7.BP-1292 Composed by Antonio Rosetti. Edited by Johannes...(+)
Orchestra
SKU:
M7.BP-1292
Composed
by Antonio Rosetti.
Edited by Johannes
Moesus. Sheet music.
Score. Amadeus Verlag #BP
1292. Published by
Amadeus Verlag
(M7.BP-1292).
ISBN
9790015129209.
Rose
tti schrieb dieses
farbige und
kontrapunktische dichte
Werk, das zu seinen
Lebzeiten weite
Verbreitung und
Anerkennung fand, im
November 1782 für das
brühmte Pariser
Concert spirituel. Ein
Paradebeispiel
Rosettischer
Kompositionskunst!
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.
Composed by Doug Spata.
MakeMusic Cloud;
Performance Music
Ensemble; String
Orchestra.
Highland/Etling String
Orchestra. Classical;
Masterwork Arrangement.
Score. 8 pages. Duration
1:52. Highland/Etling
#00-48080S. Published by
Highland/Etling
(AP.48080S).
UPC:
038081583894.
English.
Inspired
by the sound of
elementary Orff
ensembles, Gamelan
Groove, by Doug Spata,
consists of easy
two-measure phrases with
layered pizzicato
throughout creating fun
and funky textures. Using
only the notes of the D
and A strings (basses go
up to open G), this piece
will give beginners a
great introduction to
ensemble playing and note
reading. (1:52) This
title available in
MakeMusic Cloud.
Prestige collection - Grade 5 SKU: RM.HERV04780-BA Composed by Antoine He...(+)
Prestige collection -
Grade 5
SKU:
RM.HERV04780-BA
Composed by Antoine
Herve. Original music.
Prestige collection.
Orchestra. Full set.
Duration 13 minutes.
Editions Robert Martin
#HERV04780-BA. Published
by Editions Robert Martin
(RM.HERV04780-BA).
Prestige collection - Grade 5 SKU: RM.HERV04780-CO Composed by Antoine He...(+)
Prestige collection -
Grade 5
SKU:
RM.HERV04780-CO
Composed by Antoine
Herve. Original music.
Prestige collection.
Orchestra. Conductor's
score. Duration 13
minutes. Editions Robert
Martin #HERV04780-CO.
Published by Editions
Robert Martin
(RM.HERV04780-CO).
Composed by Doug Spata.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Classical;
Masterwork Arrangement.
Score and Part(s). 62
pages. Duration 1:52.
Highland/Etling
#00-48080. Published by
Highland/Etling
(AP.48080).
UPC:
038081553887.
English.
Inspired
by the sound of
elementary Orff
ensembles, Gamelan
Groove, by Doug Spata,
consists of easy
two-measure phrases with
layered pizzicato
throughout creating fun
and funky textures. Using
only the notes of the D
and A strings (basses go
up to open G), this piece
will give beginners a
great introduction to
ensemble playing and note
reading. (1:52) This
title is available in
MakeMusic Cloud.
Orchestra - Grade 2 SKU: AP.49460 Composed by Chris M. Bernotas (ASCAP). ...(+)
Orchestra - Grade 2
SKU: AP.49460
Composed by Chris M.
Bernotas (ASCAP).
MakeMusic Cloud; Single
Titles; String Orchestra.
Sound Innovations for
String Orchestra. Score
and Part(s). Duration
1:40. Alfred Music
#00-49460. Published by
Alfred Music (AP.49460).
ISBN 9781470650308.
UPC: 038081571089.
English.
If there
is one thing music
educators are it is
resilient! Resilience, by
Chris M. Bernotas, is
dedicated to all music
educators in recognition
of how they always adapt
to the unknown and rise
to every challenge. This
overture is the perfect
concert opener for your
first-year string
orchestra. Using only the
notes in the key of D,
and melodic parts for
all, every student will
shine. Violin 2 and Viola
are doubled, as are Cello
and String Bass, making
it very flexible and
perfect for any mix of
instruments. Correlated
to Sound Innovations,
Book 2, Level 2. (1:40)
This title is available
in MakeMusic Cloud.
(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Ar...(+)
(Concerto No. 1 for
Marimba, Strings and
Percussion). Composed by
Gillingham. Arranged by
Nathan Daughtrey. For
Soloist(s) with String
Orchestra (Solo Marimba
Percussion 1 (xylophone,
bells, chimes) Percussion
2 (brake drum, cowbell,
shaker, suspended cymbal,
crash cymbals, temple
blocks, triangle)
Percussion 3 (4 toms,
crash cymbals, bass drum,
suspended cymbal, tam
tam, hi hat) Violin I
Violin II). Medium
difficult. Orchestra
score only. Duration
16:30. Published by C.
Alan Publications
Baritone Solo, 8-Part
Chorus and Orchestra
Study Score. Composed
by Johannes Brahms.
Edited by Johannes Behr
and Ulrich Tadday. Henle
Study Scores. Classical.
Softcover. G. Henle
#HN9030. Published by G.
Henle (HL.51489030).
UPC: 196288093763.
6.75x9.5x0.505
inches.
Brahms
composed his Triumphlied
for eight-part chorus,
solo baritone and
orchestra as a direct
reaction to the victory
of the German army in the
Franco-Prussian War of
1870/71 and the
consequent founding of
the German Empire.
Similar to the German
Requiem completed shortly
before, Brahms himself
compiled the text from
the Bible, in this case
from Chapter 19 of the
Book of Revelations.
Because of the somewhat
melodramatic tone of the
composition and the
nationalistic background
to the works genesis, in
recent years the
Triumphlied has seldom
been heard in concert
halls. Unlike
overly-patriotic
occasional works such as
Richard Wagner's
Kaisermarsch, the
Triumphlied is true
Brahms and is a musically
rich composition. This
study edition takes the
musical text from the
Brahms Complete Edition
(HL 51486030), thereby
representing the highest
scholarly precision. The
Appendix contains an
exciting new discovery, a
previously-unknown early
version of the 1st
movement in C major,
which was only
rediscovered in 2012 in
Bremen.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Full orchestra SKU: BA.BVK01601 Facsimile of the autograph score held ...(+)
Full orchestra
SKU:
BA.BVK01601
Facsimile of the
autograph score held in
the Bibliotheque
nationale de France.
Composed by Hector
Berlioz. Edited by Hugh
MacDonald. This edition:
facsimile. Half-leather
binding. Documenta
musicologica II/53 /
Barenreiter Facsimile.
Facsimile of the
autograph score held in
the Bibliothèque
nationale de France.
Facsimile. Opus 14.
292/12 pages.
Baerenreiter Verlag
#BVK01601_00. Published
by Baerenreiter Verlag
(BA.BVK01601).
ISBN
9783761816011. 48.8 x 32
cm inches. Text Language:
English, German,
French.
The two
string quartets by
Camille Saint-Saens
appear here in one volume
for the first time. The
String Quartet No. 1 in E
Minor op. 112 (1899)
numbers among the
composer's most
successful pieces and is
emblematic of the genre
in the French repertoire.
Here Saint-Saens displays
his fully developed
mastery and presents the
wealth of his inspiration
and musical prowess. Only
three years before his
death, he surprisingly
composed the String
Quartet No. 2 in G major
op. 153 (1918) which,
with its classicistic
stance, represents a
homage to the masters of
the late eighteenth
century Viennese
School.
In
addition to the first
critical edition of the
two string quartets, this
second volume of
theOeuvres instrumentales
completesde Camille
Saint-Saens includes the
first version of the
final movementInterlude
et Finalfrom the second
string quartet, the
fragmentary beginning of
an early work for string
quartet as well as the
previously unknown and
unpublished Adagio from
Symphony No. 2 in A Minor
op. 55 for string
quintet. An extensive
Introduction (Fr/Eng/Ger)
illuminates the genesis,
historical performance
and reception histories
of all these pieces; the
Critical Report (Fr)
provides information
about all the sources and
their variants.
Orchestra - Grade 2 SKU: AP.49460S Composed by Chris M. Bernotas (ASCAP)....(+)
Orchestra - Grade 2
SKU: AP.49460S
Composed by Chris M.
Bernotas (ASCAP). Series;
Single Titles; String
Orchestra. Sound
Innovations for String
Orchestra. Score.
Duration 1:40. Alfred
Music #00-49460S.
Published by Alfred Music
(AP.49460S).
ISBN
9781470650315. UPC:
038081571096.
English.
If there
is one thing music
educators are it is
resilient! Resilience, by
Chris M. Bernotas, is
dedicated to all music
educators in recognition
of how they always adapt
to the unknown and rise
to every challenge. This
overture is the perfect
concert opener for your
first-year string
orchestra. Using only the
notes in the key of D,
and melodic parts for
all, every student will
shine. Violin 2 and Viola
are doubled, as are Cello
and String Bass, making
it very flexible and
perfect for any mix of
instruments. Correlated
to Sound Innovations,
Book 2, Level 2.
(1:40).
Orchestra - Grade 2 SKU: AP.45828S Arranged by Michael Story. Performance...(+)
Orchestra - Grade 2
SKU: AP.45828S
Arranged by Michael
Story. Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Folk;
Traditional. Score. 8
pages. Duration 1:50.
Belwin Music #00-45828S.
Published by Belwin Music
(AP.45828S).
UPC:
038081523323. English.
Traditional Russian Folk
Song.
Varying
styles and an exciting
accelerando at the end
make this piece a solid
choice for concert or
festivals. Korobushka
(The Peddler) is a
Russian folk song and
dance. It is based on a
poem written in 1861 by
Nikolay Nekrasov. The
music was written
sometime in the late 19th
century, although the
composer is unknown. The
dance that accompanies
the song became popular
in the early 1900s and
was brought to America by
Russian immigrants. This
is a delightful and
playable arrangement
created by Michael Story.
(1:50).
Loch Lomond Orchestre [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by Traditional. Edited by J. Cameron Law. Arranged by David Bobrowi...(+)
Composed by Traditional.
Edited by J. Cameron Law.
Arranged by David
Bobrowitz.
For string orchestra.
Grade
2+. Score and set of
parts.
Duration 3 minutes.
Published
by Grand Mesa Music
Urtext. Composed
by Friedrich Schneider.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library).
Symphony; Romantic. Full
score. Duration 35'.
Breitkopf and Haertel #PB
5591. Published by
Breitkopf and Haertel
(BR.PB-5591).
ISBN
9790004214015. 0 x 0
inches.
A rewarding
extension to the
repertoire Friedrich
Schneider, remembered in
the music world almost
entirely through his
oratorio Das Weltgericht
(The Last Judgment),
bequeathed at his death
in 1853 an oeuvre of over
1000 works, among them 23
symphonies. Breitkopf &
Hartel, whose association
with Schneider began as
early as 1805, is now
publishing for the first
time an edition of his
Symphony No. 16. The
symphony composed in 1818
is impressive proof that
outside of Vienna the
romantic symphony was
also developing then. To
this day Schneider's
extensive symphonic works
are almost completely
unknown. Inviting us to
rediscover him, the work
offers a welcome and
valuable repertoire
extension in the realm of
the early romantic
symphony.A contemporary
of Beethoven, Schneider's
soundworld is not a
million miles away from
the great man's. He is on
frisky form in his 16th
symphony. (Jeremy Pound,
BBC Music Magazine).