Stabat Mater Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Choral; String Orchestra (Study Score) SKU: HL.48024551 Choir and Stri...(+)
Choral; String Orchestra
(Study Score)
SKU:
HL.48024551
Choir
and String Orchestra.
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 140
pages. Duration 3180
seconds. Boosey & Hawkes
#M060135071. Published by
Boosey & Hawkes
(HL.48024551).
ISBN
9781784544393. UPC:
888680916695.
7.25x10.0x0.472 inches.
Text: Jacopone de
Todi.
Composed in
2015, Stabat Mater was
commissioned by the
Genesis Foundation for
Harry Christophers and
The Sixteen. Scored for
mixed chorus and string
orchestra, it is a
long-awaited sequel to
the early masterpiece
Seven Last Words from the
Cross (1993), for the
same forces; indeed, the
later work begins with
the pianissimo 'dying
breaths' with which the
earlier score so
unforgettably closes.
Cast in four movements,
Stabat Mater has a
duration of 53 minutes.
Following the premiere
London's Financial Times
commented that the
composer speaks of a
'painful world of loss,
violence, and spiritual
desolation'. Both sides
of MacMillan are to be
found here, the
devotional and the
painter of bold, dramatic
canvases - the former in
the ethereal writing for
solo and ensemble voices,
the latter in the
lacerating blows and
feverish anxieties
depicted in the string
ensemble..
Knights Of The Round Table Orchestre [Conducteur et Parties séparées] Editions Marc Reift (Swiss import)
Les Chevaliers de la Table Ronde = Ritter der Tafelrunde. By Scott Richards. For...(+)
Les Chevaliers de la
Table Ronde = Ritter der
Tafelrunde. By Scott
Richards. For orchestra.
Swiss import. Score and
parts. Published by
Editions Marc Reift. (EMR
4591)
Score. Composed by
Joaquí and n
Rodrigo. This edition:
Saddle stitching. Sheet
music. Ediciones Joaquin
Rodrigo. Classical.
Score. Composed 1952. 88
pages. Duration 22'.
Schott Music #ED 9477.
Published by Schott Music
(HL.49008427).
ISBN
9790001132145. UPC:
073999352535.
8.25x11.75x0.272
inches.
The story
of the Nativity is
musically retold in eight
short seasonal pieces.
The varied forces
employed provide each
section with its own
inimitable Christmas
flavour. For soloists
(mezzo, baritone),
children's choir, mixed
choir (SATB) and small
orchestra.
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
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.
Ergaenzungen von Nors S. Josephson. Composed by Anton Bruckner (1824-1896...(+)
Ergaenzungen von Nors
S. Josephson.
Composed by Anton
Bruckner (1824-1896).
Arranged by Nors. S.
Josephson. This edition:
Paperbound. German title:
Finale zur 9.Sinfonie.
Full score. WAB 109, No.
4. 162 pages. Duration 15
minutes. Published by
Carus Verlag
(CA.4058800).
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; stapled.
Eulenburg Orchestral
Series. Suite; Romantic.
Full score. 68 pages.
Duration 18'. Breitkopf
and Haertel #EOS 20829.
Published by Breitkopf
and Haertel
(BR.EOS-20829).
ISBN
9790004780275. 10 x 12.5
inches.
From Stage Flop to
Concert
Favorite
The story of Alphonse
Daudet's drama
L'Arlesienne to
which Georges Bizet
composed several pieces
in 1872 focuses on the
story of love and suicide
and was inspired by true
events. The musical drama
had flopped at its
premiere, but the suite
that Bizet arranged
shortly afterwards from
its stage music enjoys
great popularity to this
very day. After Bizet's
death, his friend Ernest
Guiraud put together four
more movements of themes
and motives by Bizet for
a second suite
establishing a musical
connection to Provence
und Arles especially in
the outer movements, the
Pastorale and the
effective Fandarole. With
this edition, Breitkopf &
Hartel continues its
successful collaboration
with Eulenburg.
Orchestra (Study Score) SKU: HL.51489052 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489052
Orchestra Study
Score. Composed by
Franz Joseph Haydn.
Edited by Klaus Lippe and
Sonja Gerlach. Study
Score. Clothbound. Henle
Study Scores. Classical.
Softcover. 60 pages. G.
Henle #HN9052. Published
by G. Henle
(HL.51489052).
ISBN
9790201890524. UPC:
888680950682.
7.0x9.0x0.238 inches.
Preface: Ullrich
Schneidler.
Orchestra SKU: FG.55011-323-7 The Trees Op. 75 (for orchestra). Co...(+)
Orchestra
SKU:
FG.55011-323-7
The
Trees Op. 75 (for
orchestra). Composed
by Jean Sibelius.
Arranged by Ernst
Pingoud. Score. Fennica
Gehrman #55011-323-7.
Published by Fennica
Gehrman (FG.55011-323-7).
ISBN
9790550113237.
Erns
t Pingoud was a notable
composer and orchestral
colorist. His orchestral
transcription of
Sibelius's beloved The
Trees suite brings to
life the depiction of
forest trees in their
fulll color.
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score)
SKU: HL.49046988
Lyric Trilogy After
Maurice Maeterlinck Study
Score, French.
Composed by Aribert
Reimann. Edition Schott.
Classical. Softcover. 280
pages. Duration 5400
seconds. Schott Music
#ED23491. Published by
Schott Music
(HL.49046988).
ISBN
9781705174333. UPC:
842819115281.
8.25x11.75x0.695
inches.
SYNOPSIS
Aribert Reimann's
'Trilogie lyrique' is
based on three plays by
Maurice Maeterlinck: In
L'Intruse, a family is
sitting at the table with
their blind grandfather.
They are waiting for the
doctor to arrive and tend
to his daughter who is
lying ill in bed after
having given birth: her
new-born son has not yet
made a single sound. The
old man senses that
something is wrong due to
the uneasy atmosphere in
the room. Who is sitting
in our midst? he asks. He
is the only one who
cansee the presence of
death. Interieur: Once
again a family is
gathered round the table
in the evening, but this
time we observe the
action from outside,
looking through the
window with the
grandfather and a
stranger: no sound can be
heard. Outside the house,
the stranger reports that
the eldest daughter has
drowned and that he has
pulled her out of the
river. Although the
corpse is already being
carried through the
village to the family,
the grandfather cannot
bring himself to destroy
this idyll. La Mort de
Tintagiles: The young
Tintagiles is told a
story about a mysterious
castle and the aged queen
who has all potential
heirsto the throne
murdered. His siblings
sense that Tintagiles has
been summoned to the
castle to be murdered,
but nobody openly
expresses this fact. It
is the sinister
messengers of death from
the interludes, now
visible as the queens
servants, who ful?l her
demand and snatch the
sleeping boy from his
sisters'arms. Commentary
'In comparison with his
Medea for example with
its stormy outbreaks of
emotion and violence,
Reimann's score is worked
in an impressive
refinement of sound. It
begins with rumbling,
hesitating and expressive
music in the first
section, demanding highly
ingenious sound effects
from the lower strings
including tapping and
faltering glissandos in
its noisy expression of
mortal fear. Inthe second
part, the woodwind
formation plays at times
almost in chamber music
fashion and is then
suddenly painfully
shrill. The third part
luxuriates and rages in
its rich, full
orchestration. The manner
in which Reimann displays
his mastery in textural
shading, the invention of
sounds welling up and
fading away, the rhythmic
and melodic capacity of
suffering and the music's
inner violence are all
utterly
compelling.'(Wolfgang
Schreiber, Opernwelt,
November 2017).
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; Softcover.
Eulenburg Orchestral
Series.
The world
premiere of the play
L'Arlesienne
with the incidental music
by Georges Bizet was a
notable failure not only
for the playwright
Alphonse Daudet, but also
for the composer.
Suite; Romantic. Full
score. 60 pages. Duration
17'. Breitkopf and
Haertel #EOS 20828.
Published by Breitkopf
and Haertel
(BR.EOS-20828).
ISBN
9790004784693. 10 x 12.5
inches.
The two
four-movement orchestral
suites, in turn, are
still thrilling
concert-goers all over
the world, ever since
their first performances
in 1872 and 1880
respectively. In 1998 and
2001, Lesley A. Wright
presented the score and
orchestral parts of the
two repertoire pieces in
an Urtext edition
prepared for the first
time on the basis of all
relevant sources. Thus
not only will the yellow
Urtext angel be gracing
the conducting score and
orchestral parts, but,
next to the standardized
large format and new
layout of the parts,
there are other
user-friendly
improvements, such as
practical page-turns,
page-turn aids and
intelligent cue
notes.
Orchestra (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required)) SK...(+)
Orchestra (2(picc).2(cor
ang).2.2 - 2.1.0.0 - hp-
str (6 db are required))
SKU: BR.PB-5569-07
Suite d'Orchestre -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). An
homage to Francois
Couperin, but most
notably to the French
music of the late 18th
century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way. Have a look into PB
5540. Suite; Ballet;
Early modern. Study
Score. 72 pages. Duration
17'. Breitkopf and
Haertel #PB 5569-07.
Published by Breitkopf
and Haertel
(BR.PB-5569-07).
ISBN
9790004213797. 6.5 x 9
inches.
Ravel's
multi-layered homage in
Breitkopf UrtextIn his
homage Le Tombeau de
Couperin, Ravel is less
specifically interested
in Couperin than in
French music of the late
18th century. In his
preface, editor
Jean-Francois Monnard
explains how Ravel paid a
moving and intensely
personal tribute to the
events of World War I
with his multi-layered
work. The orchestral
version goes back to the
original, eponymous piano
suite (1914-17). Then, in
1919, the composer
selected four pieces from
this source, orchestrated
them with all of his
grace and artistry; the
result provides a
charming contrast to the
pseudo-Baroque musical
idiom, and places the
pieces in a new and
effective sequence. The
work quickly gained great
popularity immediately
after the concertant
world premiere, when the
three dance movements of
the orchestral suite were
included in a ballet
production.The
underpinnings of
Monnard's edition are
provided by the most
important sources. The
preface features a great
deal of information on
the interpretation and
performance history of
the work. This is the
fifth major Ravel work
now available in print
from Breitkopf
Urtext.
An homage
to Francois Couperin, but
most notably to the
French music of the late
18th century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Orchestra SKU: HL.48181134 For Orchestra. Composed by Eugene Bozza...(+)
Orchestra
SKU:
HL.48181134
For
Orchestra. Composed
by Eugene Bozza. Leduc.
Classical. Softcover.
Alphonse Leduc #AL20312.
Published by Alphonse
Leduc (HL.48181134).
UPC: 888680860561.
11.0x13.5x0.083
inches.
To this
day, Eugene Bozza
(1905-1991) remains one
of the most prolific
composers French
composer. His
Instrumental Board
provides a clear glossary
of all principal
orchestral instruments.
During his studies at the
Paris Conservatoire,
Bozza won prizes for
violin, conducting and
composition, as well as
the Grand Prix de Rome.
He then conducted the
orchestra of the
Opera-Comique and became
Head of the Conservatoire
in Valenciennes, whilst
remaining a prominent
composer. Compiled in
1947, Bozza's
Instrumental Board
addresses the range of
each instruments and
their potential. The
Instrumental Board
provides a helpful aid to
orchestral writing.
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
Composed
by Hershy Kay. Arranged
by Robert Longfield.
Boosey & Hawkes
Orchestra. Classical. 20
pages. Boosey & Hawkes
#M051778843. Published by
Boosey & Hawkes
(HL.48030040).
UPC:
884088867324.
9.0x12.0x0.043
inches.
Known for
his extensive
orchestration work with
Leonard Bernstein and
numerous Broadway hits,
Hershy Kay was a notable
composer in his own
right. This movement is
taken from his popular
Cakewalk ballet suite for
orchestra, which was
based on piano melodies
of Louis Moreau
Gottschalk.
Speakers, choir and orchestra SKU: HL.49004562 Schauspiel von William ...(+)
Speakers, choir and
orchestra
SKU:
HL.49004562
Schauspiel von William
Shakespeare. Composed
by Carl Orff. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Piano
reduction. Composed
1917/1962. 148 pages.
Duration 125'. Schott
Music #ED 3992. Published
by Schott Music
(HL.49004562).
ISBN
9790001047814.
9.75x12.0x0.607
inches.
Vor der
Buhne: 3 (auch 3 Picc.) *
0 * 2 (auch Klar. in Es
u. Bassklar.) * 0 - 3 * 0
* 0 * 0 - P. S. (Xyl. *
Mar. * Bassxyl. * Met. *
Glasersp. * Rohrengl. *
Cymb. * Beck. [und ] *
Tamt. * Trgl. * Tamb. * 2
Bngs. * kl. Tr. * gr. Tr.
* 3 Holzbl. * Angklung *
Bambusstabe * Guiro *
Ratsche * Rassel *
Peitsche) (4-5 Spieler) -
Hfe. * Cel. * Klav. *
Org. - Str. (6 * 0 * 3 *
3 * 3)Auf der Buhne: 3
Tr. - Rupelorchester : 2
Klar. in C * 2 Tr. * Pos.
* S. (kl. Tr. * gr. Tr. *
Beck.) * 1 Kb.Hinter der
Buhne: Schlitztr. *
Muschelhr. *
Windmasch.Tonband:
Kinder-, Frauen- und
Mannerstimmen * Chor - 3
Picc. - P. S. (Glsp. *
Xyl. * Bassxyl. * Marimb.
* Cymb. * Beck. * Tamt. *
Trgl. *Tamb. * Sistr. *
Bug. * 3 Holzbl. *
Angklung * Bambusstabe *
Glasgl.) - Klav. * Cemb.
* Org. * Handharm. - 1
Kb.
vor der Buhne:
3 (auch 3 Picc.) * 0 * 2
(auch Klar. in Es u.
Bassklar.) * 0 - 3 *
0 * 0 * 0 - P. S. (Xyl. *
Mar. * Bassxyl. * Met. *
Glasersp. * Rohrengl. *
Cymb. * Beck. [und ] *
Tamt. * Trgl. * Tamb. * 2
Bngs. * kl. Tr. * gr. Tr.
* 3 Holzbl. * Angklung *
Bambusstabe * Guiro *
Ratsche * Rassel *
Peitsche) (4-5 Spieler) -
Hfe. * Cel. * Klav. *
Org. - Str. (6 * 0 * 3 *
3 * 3) Auf der Buhne:
3 Tr. - Rupelorchester :
2 Klar. in C * 2 Tr. *
Pos. * S. (kl. Tr. * gr.
Tr. * Beck.) * 1
Kb. Hinter der Buhne:
Schlitztr. * Muschelhr. *
Windmasch. Tonband:
Kinder-, Frauen- und
Mannerstimmen * Chor - 3
Picc. - P. S. (Glsp. *
Xyl. * Bassxyl. * Marimb.
* Cymb. * Beck. * Tamt. *
Trgl. *Tamb. * Sistr. *
Bug. * 3 Holzbl. *
Angklung * Bambusstabe *
Glasgl.) - Klav. * Cemb.
* Org. * Handharm. - 1
Kb.
Study Score.
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 80
pages. Duration 900
seconds. Boosey & Hawkes
#M060136009. Published by
Boosey & Hawkes
(HL.48024880).
ISBN
9781784545154. UPC:
840126918670.
7.25x10.25x0.319
inches.
This
publication presents
under one cover various
short works for sundry
orchestral scorings.
Larghetto for Orchestra
is MacMillan's
orchestration (2017) of
his celebrated Miserere
for a cappella mixed
choir (2009), a setting
in Latin of Psalm 51,
'Have mercy upon me, O
God, according to thy
great mercy', the
penitential text famously
set in the 17th century
by Gregorio Allegri. The
Larghetto orchestration
was commissioned by the
Pittsburgh Symphony
Orchestra in celebration
of Manfred Honeck's 10th
Anniversary as Music
Director. Memoire
imperiale is one of a
number of variations on
General John Reids march
tune Old Gaul
commissioned from
Scottish composers to
mark the centenary in
1994 of the Faculty of
Music at Edinburgh
University. The Faculty
was established following
a bequest by General Reid
(1721-1807), a former law
student at the University
and a renowned flute
player and composer of
marches for the
BritishArmy, and he asked
that an annual concert be
organised at which one or
more of his compositions
be played. Composed in
2012 for the Britten
Sinfonia, One is a monody
in which a single line is
passed around the
instruments, painting it
with different colours as
it emerges and develops.
Lasting only a few
minutes, its singularity
is maintained until
blossoming in the lastfew
bars. For Sonny (2011,
orch 2013) and Ein
Lamplein verlosch (2018,
orch 2019) are short,
private memorial tributes
originally for string
quartet and here rescored
for string orchestra.
Hirta was composed in
2016 as part of Deccas
The Lost Songs of St
Kilda project. Nearly a
century ago, the last 36
residents were evacuated
from the most remote part
of the British Isles, St
Kilda, an isolated
archipelago off the
beautiful and rugged
western coast of
Scotland. After 86 years,
the music of St Kilda was
rediscovered, recorded in
a Scottish care home by
Trevor Morrison, an
elderly man who had been
taught piano by an
inhabitant of St Kilda.
The songs were
'reimagined' for the
Decca album by
various.
Hawkes
Pocket Scores 1538.
Composed by Gerald Finzi.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 120 pages.
Boosey & Hawkes
#M060130410. Published by
Boosey & Hawkes
(HL.48024085).
ISBN
9781784541224. UPC:
888680712150.
8.25x11.75x0.398 inches.
Hawkes Pocket Scores
1538.
First
publication of Finzi's
orchestral versions of:
Lo, the full, final
sacrifice op 26 -
festival anthem for
chorus & orchestra
(14 minutes); Magnificat
op 36 - for soloists (ad
lib), chorus &
orchestra (9 minutes);
God is gone up op 27 -
anthem for chorus, string
orchestra & organ (4
minutes); Let us now
praise famous men op 35 -
choral song for tenors
& basses (or sopranos
& altos), string
orchestra & piano (3
minutes). The first three
works as listed are, in
their original organ
versions, established in
the English cathedral
repertoire. Lo, the full,
final sacrifice was
orchestrated for the 1947
Gloucester Three Choirs
Festival, thus bringing
the work into the
mainstream British choral
society repertoire. The
preface by Andrew Burn
(Finzi Trust) gives
details of the
commission, composition
and orchestration of each
work.
(Orchestra) SKU: HL.35027092 Composed by J. Paul Williams. Arranged by Jo...(+)
(Orchestra)
SKU:
HL.35027092
Composed
by J. Paul Williams.
Arranged by Joseph M.
Martin. Harold Flammer
Easter. Communion, Holy
Week, Lent. CD-ROM, Score
and Parts. Published by
Shawnee Press
(HL.35027092).
UPC:
884088472344. 5x5
inches.
Uses:
Communion, Lent, Holy
Week
Scripture:
Psalm 16:11; 1
Corinthians 11:23-26;
Isaiah 25:1-9; Luke
22:19-20
This J.
Paul Williams gem is set
to a well-known American
folk song with
breathtaking results.
Each verse presents a
different tableau in the
life of Christ and takes
us on a journey through
his life and ministry.
Ideal for Communion or
Holy Week services!
Thoughtful! Available
separately: SATB, iPrint
Orch CD-ROM (Flt
1&2,Oboe,Clnt
1&2,Bassoon, Horn 1&2,
Perc 1&2, Harp, Violin 1,
Violin 2, Viola, Cello,
Dbl Bass), StudioTrax CD;
Duration: ca. 3:05.
Orchestra - Grade 3 SKU: AP.38505 Composed by Carrie Lane Gruselle. Perfo...(+)
Orchestra - Grade 3
SKU: AP.38505
Composed by Carrie Lane
Gruselle. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Score and
Part(s). 156 pages.
Highland/Etling
#00-38505. Published by
Highland/Etling
(AP.38505).
UPC:
038081439747.
English.
A
beautiful exploration of
programmatic music and
tonality/modality in four
movements! Although all
four snapshots of
Wisconsin appear to be in
the key of G (one sharp),
closer examination finds
four contrasting tonal
centers and modes,
allowing students to
experience varying
keys/modes and their
inherent expressive
tendencies, while using
similar pitches and
finger patterns.
Tableau Orchestre [Conducteur et Parties séparées] C.L. Barnhouse
SKU: CL.130-2416-00 Composed by Fletcher. String Orchestra. Score and set...(+)
SKU:
CL.130-2416-00
Composed by Fletcher.
String Orchestra. Score
and set of parts.
Composed 1992. C.L.
Barnhouse #130-2416-00.
Published by C.L.
Barnhouse
(CL.130-2416-00).
Orchestra (Full Score) SKU: HL.14043216 Orchestra Full Score. Comp...(+)
Orchestra (Full Score)
SKU: HL.14043216
Orchestra Full
Score. Composed by
Michael Nyman. Music
Sales America. Classical,
Contemporary. Softcover.
160 pages. Chester Music
#CH60952. Published by
Chester Music
(HL.14043216).
ISBN
9781783056200.
English.
Mic
hael Nyman's
Musique A Grande
Vitesse
(MGV)
translates as ‘high
speed music’ and
was commissioned by the
Festival de Lille for the
inauguration of the TGV
North EuropeanParis-Lille
line in 1993.
This
piece of sheet music runs
continuously, but was
conceived as an abstract,
imaginary journey; or
rather five
inter-connected journeys,
each ending with a slow,
mainly stepwise melody
which isonly heard in its
'genuine' form when the
piece reaches its
destination.
Thematic
'transformation' is a key
to MGV
as a whole. Throughout
the piece ideas -
rhythmic, melodic,
harmonic, motivic,
textural -constantly
change their identity as
they pass through
different musical
'environments'.
The opening bars
establish both a
recurrent rhythmic
principle - 9, 11, or
13-beat rhythmic cycles
heard against a regular 8
- and aharmonic process -
chord sequences (mainly
over C and E) which have
the note E in common.
(Coincidentally,
MGV
begins in C and ends in
E). A later scalic,
syncopated figure (again
first heard over C, E and
A)begins the second
section, featuring Brass,
in D flat.
The
topography of
MGV
should be experienced
without reference to
planning, description or
timetables. Its tempo
changes and unpredictable
slowings downbear no
logical relation to the
high speed of the
Paris-Lille journey,
while the temptation to
treat
MGV as a
concerto grosso, with the
Michael Nyman
band as the ripeno, was
resisted: more suitably
theband (amplified in
live performance) lays
down the tracks on which
MGV
runs.
St John Passion Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Baritone, Choral, Orchestra (Study Score) SKU: HL.48024806 The Passion...(+)
Baritone, Choral,
Orchestra (Study Score)
SKU: HL.48024806
The Passion of our
Lord Jesus Christ
according to John Study
Score. Composed by
James Macmillan. Boosey &
Hawkes Scores/Books.
Classical, Sacred.
Softcover. 380 pages.
Boosey & Hawkes
#M060134470. Published by
Boosey & Hawkes
(HL.48024806).
ISBN
9781784543792. UPC:
888680978648. 8.25x11.75
inches.
Scored for
baritone solo, small
'narrator' chorus, large
chorus and orchestra,
MacMillan's first Passion
setting was composed in
2007. Lasting 87 minutes
the work is divided into
two parts, with 10
movements overall. As
Paul Spicer has
commented, “The
originality of the St
John Passion lies in
MacMillan's ability to
mix old with new, rather
in the manner of Bach in
his day. There are
passages of sumptuous
polyphony and there is a
fresh look at the text
where passages of Latin
are interspersed with the
Gospel story in English.
In movement seven ('Jesus
and his Mother'),
MacMillan introduces not
only part of the Stabat
Mater but also his own
words ('Lully, lulla, my
dear darling'). The final
movement, which is purely
orchestral, is a kind of
via doloroso march with a
Scots lament over quite
brass chords. The string
writing here, with its
elegiac cello lines, is
deeply reminiscent of the
early 20th-century
English school. This
should be the War Requiem
of the 21st
century.&rdquo.
Orchestra (Study Score) SKU: HL.51489053 (La Reine) Orchestra Study Sc...(+)
Orchestra (Study Score)
SKU: HL.51489053
(La Reine) Orchestra
Study Score. Composed
by Franz Joseph Haydn.
Edited by Hiroshi Nakano.
Study Score. Paperbound.
Henle Study Scores.
Classical. Softcover. 51
pages. G. Henle #HN9053.
Published by G. Henle
(HL.51489053).
ISBN
9790201890531. UPC:
888680950651.
6.5x9.0x0.131 inches.
Preface: Ullrich
Schneidler.