Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Orchestra SKU: 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.
Hafner Music: Hafner
Symphony with March in D
major K. 408/2 (385a) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphony; Dances/marches;
Classical. Study Score.
56 pages. Duration 20'.
Breitkopf and Haertel #PB
5552-07. Published by
Breitkopf and Haertel
(BR.PB-5552-07).
ISBN
9790004213629. 6.5 x 9
inches.
Wolfgang
Amadeus Mozart wrote his
Hafner Symphony K. 385 in
the summer of 1782 on the
occasion of the elevation
into the nobility of his
friend and patron Sigmund
Hafner. Next to the
well-known movements,
this version (A) also
contained the March K.
408/2 (385a) and possibly
a second, no longer
extant minuet. Called
Hafner=Musique by Mozart,
the work was
unquestionably a serenade
at first. In early 1783
Mozart then reduced the
Hafner Music for his
subscription concert at
the Vienna Burgtheater on
23 March 1783 to a
four-movement symphony.
This is the form in which
the work was first
printed in 1785 (Version
B). For a further
performance, Mozart added
flute and clarinet parts
to the symphony. In 1805,
this version (C) was
published by Andre in
Offenbach, who thus began
making it known.The
primary sources of the
present Breitkopf Urtext
edition are the
autographs to K. 385 and
K. 408/2 (385a). It thus
becomes possible for the
first time to play all
three versions of the
Hafner Music, since the
variants of Versions A
and B can be easily
discerned through
indications in footnotes
and notes in small
print.
Hafner Music: Hafner
Symphony with March in D
major K. 408/2 (385a) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphony; Dances/marches;
Classical. Full score. 68
pages. Duration 20'.
Breitkopf and Haertel #PB
5373. Published by
Breitkopf and Haertel
(BR.PB-5373).
ISBN
9790004212417. 10 x 12.5
inches.
Wolfgang
Amadeus Mozart wrote his
Hafner Symphony K. 385 in
the summer of 1782 on the
occasion of the elevation
into the nobility of his
friend and patron Sigmund
Hafner. Next to the
well-known movements,
this version (A) also
contained the March K.
408/2 (385a) and possibly
a second, no longer
extant minuet. Called
Hafner=Musique by Mozart,
the work was
unquestionably a serenade
at first. In early 1783
Mozart then reduced the
Hafner Music for his
subscription concert at
the Vienna Burgtheater on
23 March 1783 to a
four-movement symphony.
This is the form in which
the work was first
printed in 1785 (Version
B). For a further
performance, Mozart added
flute and clarinet parts
to the symphony. In 1805,
this version (C) was
published by Andre in
Offenbach, who thus began
making it known.The
primary sources of the
present Breitkopf Urtext
edition are the
autographs to K. 385 and
K. 408/2 (385a). It thus
becomes possible for the
first time to play all
three versions of the
Hafner Music, since the
variants of Versions A
and B can be easily
discerned through
indications in footnotes
and notes in small
print.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Orchestra SKU: HL.14018903 Composed by Asbjorn Schaathun. Music Sales Ame...(+)
Orchestra
SKU:
HL.14018903
Composed
by Asbjorn Schaathun.
Music Sales America.
Score Only. Edition
Wilhelm Hansen #KP01025.
Published by Edition
Wilhelm Hansen
(HL.14018903).
Danish.
Les
Cloches De Monsigneur
Grieg (1993-99) for small
Symphony Orchestra by
Asbjorn Schaathun.
'Edvard Grieg's 'Bell
Ringing' for Piano Op.54,
No.6 ... seen through
Monsigneur A. Schaathun's
half shut eyes...'
Commissioned by the The
Norwegian Radio
Orchestra.
Les
Cloches De Monsigneur
Grieg (1993-99)
for small Symphony
Orchestra by
Asbjørn
Schaathun.
<
br/>
'Edvard
Grieg's 'Bell
Ringing' for Piano Op.54,
No.6...
seen through
Monsigneur A. Schaathun's
half shut
eyes...'
Commissioned by the The
Norwegian Radio
Orchestra.
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.
Orchestra (Score) - advanced to difficult SKU: HL.49002054 Full Score<...(+)
Orchestra (Score) -
advanced to difficult
SKU: HL.49002054
Full Score.
Composed by Carl Philipp
Emanuel Bach. Edited by
Guenter Kehr. This
edition: Saddle
stitching. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Score. 40 pages. Duration
12'. Schott Music #CON6.
Published by Schott Music
(HL.49002054).
ISBN
9790001020992. UPC:
884088058791.
9.0x12.0x0.181
inches.
In this
symphony, C.Ph.E. Bach
appears as pioneer of the
Viennese Classicism. Just
in the first movement, we
encounter a theme of
individual form, a
seven-bar (!) combination
of syncopated tone
repetition with
smallsegmented triad
splitting. The fact that
the material of the whole
movement is won from
that, is a principle
which was often used in
the classical period.
Orchestra - advanced to difficult SKU: HL.49002055 Set of Parts. C...(+)
Orchestra - advanced to
difficult
SKU:
HL.49002055
Set of
Parts. Composed by
Carl Philipp Emanuel
Bach. Edited by Guenter
Kehr. This edition:
Folder. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Set of Parts. 142 pages.
Duration 12'. Schott
Music #CON 6-50.
Published by Schott Music
(HL.49002055).
ISBN
9790001021005.
8.5x11.75x0.332
inches.
In this
symphony, C.Ph.E. Bach
appears as pioneer of the
Viennese Classicism. Just
in the first movement, we
encounter a theme of
individual form, a
seven-bar (!) combination
of syncopated tone
repetition with
smallsegmented triad
splitting. The fact that
the material of the whole
movement is won from
that, is a principle
which was often used in
the classical period.
Orchestra - Grade 2 SKU: AP.49059S Composed by Anthony Granata. MakeMusic...(+)
Orchestra - Grade 2
SKU: AP.49059S
Composed by Anthony
Granata. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score. 12
pages. Duration 3:05.
Highland/Etling
#00-49059S. Published by
Highland/Etling
(AP.49059S).
ISBN
9781470645779. UPC:
038081565255.
English.
Written
specially to help young
players gain confidence
and build upon their
beginning playing
abilities, Sinfonietta
for Strings by Anthony
Granata echoes the
composition style of the
classical period. A
Sinfonietta is a smaller
and lighter version of
the symphony. Set in the
key of G major, students
will love the broad and
vigorous unison opening,
the sudden change to E
minor, and the mixture of
dialogue and easy
counterpoint interwoven
throughout the piece.
This piece will help your
students develop skills
in proper right-hand bow
facility, simple slur and
bowing patterns, common
rhythms, identification
of accidentals, and use
of dynamics to achieve a
very strong and dramatic
sound. (3:05) This title
available in MakeMusic
Cloud.
Orchestra - Grade 2 SKU: AP.49059 Composed by Anthony Granata. MakeMusic ...(+)
Orchestra - Grade 2
SKU: AP.49059
Composed by Anthony
Granata. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score and
Part(s). 74 pages.
Duration 3:05.
Highland/Etling
#00-49059. Published by
Highland/Etling
(AP.49059).
ISBN
9781470645762. UPC:
038081565248.
English.
Written
specially to help young
players gain confidence
and build upon their
beginning playing
abilities, Sinfonietta
for Strings by Anthony
Granata echoes the
composition style of the
classical period. A
Sinfonietta is a smaller
and lighter version of
the symphony. Set in the
key of G major, students
will love the broad and
vigorous unison opening,
the sudden change to E
minor, and the mixture of
dialogue and easy
counterpoint interwoven
throughout the piece.
This piece will help your
students develop skills
in proper right-hand bow
facility, simple slur and
bowing patterns, common
rhythms, identification
of accidentals, and use
of dynamics to achieve a
very strong and dramatic
sound. (3:05) This title
is available in MakeMusic
Cloud.
Orchestra SKU: BR.SON-633 Composed by Jean Sibelius. Orchestra; Linen. Co...(+)
Orchestra
SKU:
BR.SON-633
Composed
by Jean Sibelius.
Orchestra; Linen.
Complete Works.
Late-romantic; Early
modern. Complete Works.
156 pages. Breitkopf and
Haertel #SON 633.
Published by Breitkopf
and Haertel (BR.SON-633).
ISBN 9790004803684. 10
x 12.5
inches.
Symphony,
symphonic poem, fantasy,
or something else
entirely different? For a
long time while working
on the Sixth Symphony,
Sibelius was not certain
what his new orchestral
work was now about to
become or what to call
it. He had to interrupt
work on the symphony time
and again during the
Finnish civil war and
because of financial
difficulties that forced
him to earn a living with
little things. So, it is
not surprising that many
small ideas for other
works repeatedly
culminated in the Sixth.
In a letter to a friend,
he describes his early
ideas for the work: The
6th symphony is wild and
turbulent in character.
Gloomy with pastoral
contrasts. Probably in 4
movements with a
conclusion growing into a
dark orchestral shower in
which the main theme
drowns. The editor Kai
Lindberg now presents the
definitive version within
the context of the
Sibelius Complete
Edition.
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.
Orchestra - Grade 1.5 SKU: AP.48071S Featuring Themes from Take Me Out...(+)
Orchestra - Grade 1.5
SKU: AP.48071S
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score. 8
pages. Duration 2:30.
Alfred Music #00-48071S.
Published by Alfred Music
(AP.48071S).
UPC:
038081557601.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title
available in MakeMusic
Cloud.
Orchestra - Grade 1.5 SKU: AP.48071 Featuring Themes from Take Me Out ...(+)
Orchestra - Grade 1.5
SKU: AP.48071
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score and
Part(s). 76 pages.
Duration 2:30. Alfred
Music #00-48071.
Published by Alfred Music
(AP.48071).
UPC:
038081557595.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title is
available in MakeMusic
Cloud.
Baritone; Orchestra (Study Score) SKU: HL.49045995 Chinese Songs Barit...(+)
Baritone; Orchestra
(Study Score)
SKU:
HL.49045995
Chinese Songs Baritone
and Orchestra.
Composed by Krzysztof
Penderecki. This edition:
Saddle stitching. Sheet
music. Study Score.
Chinese, Classical,
Symphony. Softcover.
Composed 2008/2017. 72
pages. Duration 1080
seconds. Schott Music
#ED22970. Published by
Schott Music
(HL.49045995).
ISBN
9790001203692. UPC:
842819100195.
8.25x11.75x0.184 inches.
German.
The history
of the symphony is full
of curiosities, ranging
from works that are
extremely long or scored
for extensive
instrumental forces to
those of dubious
authorship. There are
also famous symphonies
labelled as No. 0, works
with alternate or
multiple opus numbers,
and a wealth of
'unfinished' symphonies.
Krzysztof Pendereckis 6.
Sinfonie can also be
included in this
category, since his
Seventh and Eighth were
completed decades ago.
This work is comprised of
eight songs on Chinese
texts connected by solo
intermezzos played on the
Chinese stringed
instrument,erhu. As in
his two preceding works,
the focus here is on
vowels. This work,
however, is scored for
smaller orchestral forces
and possesses a more
intimate chamber music
character, at times with
greater melancholy than
before. Penderecki has
declared this symphony to
be his farewell from the
genre, although we know
from experience that
anything is possible with
symphonies.
(Study Score). Composed by Johannes Brahms (1833-1897). Edited by Michael Musgra...(+)
(Study Score). Composed
by Johannes Brahms
(1833-1897). Edited by
Michael Musgrave. For
Orchestra (Study Score).
Henle Study Scores.
Softcover. 256 pages. G.
Henle #HN9857. Published
by G. Henle
Orchestra SKU: FG.55011-610-8 Two mythical scenes op 1. Composed b...(+)
Orchestra
SKU:
FG.55011-610-8
Two
mythical scenes op 1.
Composed by Aulis
Sallinen. Study score.
Fennica Gehrman
#55011-610-8. Published
by Fennica Gehrman
(FG.55011-610-8).
ISBN
9790550116108.
Two
Mythical Scenes for
orchestra was completed
in 1956, when Sallinen
was Aarre Merikanto's
composition student for
his second term. The work
received its premiere
performance only after a
good deal of pressure
from Prof. Merikanto's
side, and was finally
premiered in a concert by
the Sibelius Academy
Symphony Orchestra,
conducted by Jussi Jalas.
The work received opus
number 1, as it was the
first publicly performed
work by Sallinen.
The composer has told
that he was inspired by a
1947 book published by
the Finnish Literary
Society (SKS) Myytillisia
kuvia (Mythical
Scenes/Images). The
second movement of the
work, Kalmanvaen
joulukirkko (The
Christmas Service of the
Dead) is based on the
stories in which the dead
rise from their graves
early in the Christmas
Day morning to attend
their own special
ceremony led by a dead
priest. The opening
movement Kulkue
(Procession) depicts the
dead in a procession
towards the church.
In 2020 Sallinen revised
the score slightly. In
his own words with very
small changes helping the
sixty years younger and
less experienced self.
The revisions mostly
concerned nuances and
dynamics, bowings and
some bridges. The
original structure,
rhythmic and harmonic
world is still the same
as they were when young
Sallinen composed the
work in 1956.